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N.C. WYETH (1882-1945)

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N.C. Wyeth’s extraordinary skills as an illustrator were borne of impeccable draftsmanship and as a painter, his warmly rich, harmonious sense of color, and ability to capture the quality of light itself. But it is his unmatched artistry in vivifying story and character with a powerful sense of mood that we admire most of all — the ability to transport himself to the world and time of his creation and to convey it with a beguiling sense of conviction. That ability is as apparent in the compositional complexities of Treasure Island’s “One More Step, Mr. Hands!” as it is here, in the summary account of a square-rigged, seventeenth-century merchant ship tossed upon the seas. The Coming of the Mayflower in 1620 is a simple statement of observable facts, yet Wyeth’s impeccable genius as an illustrator imbues it with the bracing salt air and taste that captures the adventuresome spirit of the men and women who are largely credited with the founding of America. That spirit is carried on the wind and tautly billowed sails, the jaunty heeling of the ship at the nose of a stiff gale, the thrusting, streamed-limned clouds, and the gulls jauntily arranged to celebrate an arrival as they are the feathered angels of providence guiding it to safe harbor.<br><br>The Coming of the Mayflower in 1620 was based on two studies, a composition drawing in graphite and a small presentation painting. The finished mural appears to have been installed in 1941. N.C. Wyeth’s extraordinary skills as an illustrator were borne of impeccable draftsmanship and as a painter, his warmly rich, harmonious sense of color, and ability to capture the quality of light itself. But it is his unmatched artistry in vivifying story and character with a powerful sense of mood that we admire most of all — the ability to transport himself to the world and time of his creation and to convey it with a beguiling sense of conviction. That ability is as apparent in the compositional complexities of Treasure Island’s “One More Step, Mr. Hands!” as it is here, in the summary account of a square-rigged, seventeenth-century merchant ship tossed upon the seas. The Coming of the Mayflower in 1620 is a simple statement of observable facts, yet Wyeth’s impeccable genius as an illustrator imbues it with the bracing salt air and taste that captures the adventuresome spirit of the men and women who are largely credited with the founding of America. That spirit is carried on the wind and tautly billowed sails, the jaunty heeling of the ship at the nose of a stiff gale, the thrusting, streamed-limned clouds, and the gulls jauntily arranged to celebrate an arrival as they are the feathered angels of providence guiding it to safe harbor.<br><br>The Coming of the Mayflower in 1620 was based on two studies, a composition drawing in graphite and a small presentation painting. The finished mural appears to have been installed in 1941. N.C. Wyeth’s extraordinary skills as an illustrator were borne of impeccable draftsmanship and as a painter, his warmly rich, harmonious sense of color, and ability to capture the quality of light itself. But it is his unmatched artistry in vivifying story and character with a powerful sense of mood that we admire most of all — the ability to transport himself to the world and time of his creation and to convey it with a beguiling sense of conviction. That ability is as apparent in the compositional complexities of Treasure Island’s “One More Step, Mr. Hands!” as it is here, in the summary account of a square-rigged, seventeenth-century merchant ship tossed upon the seas. The Coming of the Mayflower in 1620 is a simple statement of observable facts, yet Wyeth’s impeccable genius as an illustrator imbues it with the bracing salt air and taste that captures the adventuresome spirit of the men and women who are largely credited with the founding of America. That spirit is carried on the wind and tautly billowed sails, the jaunty heeling of the ship at the nose of a stiff gale, the thrusting, streamed-limned clouds, and the gulls jauntily arranged to celebrate an arrival as they are the feathered angels of providence guiding it to safe harbor.<br><br>The Coming of the Mayflower in 1620 was based on two studies, a composition drawing in graphite and a small presentation painting. The finished mural appears to have been installed in 1941. N.C. Wyeth’s extraordinary skills as an illustrator were borne of impeccable draftsmanship and as a painter, his warmly rich, harmonious sense of color, and ability to capture the quality of light itself. But it is his unmatched artistry in vivifying story and character with a powerful sense of mood that we admire most of all — the ability to transport himself to the world and time of his creation and to convey it with a beguiling sense of conviction. That ability is as apparent in the compositional complexities of Treasure Island’s “One More Step, Mr. Hands!” as it is here, in the summary account of a square-rigged, seventeenth-century merchant ship tossed upon the seas. The Coming of the Mayflower in 1620 is a simple statement of observable facts, yet Wyeth’s impeccable genius as an illustrator imbues it with the bracing salt air and taste that captures the adventuresome spirit of the men and women who are largely credited with the founding of America. That spirit is carried on the wind and tautly billowed sails, the jaunty heeling of the ship at the nose of a stiff gale, the thrusting, streamed-limned clouds, and the gulls jauntily arranged to celebrate an arrival as they are the feathered angels of providence guiding it to safe harbor.<br><br>The Coming of the Mayflower in 1620 was based on two studies, a composition drawing in graphite and a small presentation painting. The finished mural appears to have been installed in 1941. N.C. Wyeth’s extraordinary skills as an illustrator were borne of impeccable draftsmanship and as a painter, his warmly rich, harmonious sense of color, and ability to capture the quality of light itself. But it is his unmatched artistry in vivifying story and character with a powerful sense of mood that we admire most of all — the ability to transport himself to the world and time of his creation and to convey it with a beguiling sense of conviction. That ability is as apparent in the compositional complexities of Treasure Island’s “One More Step, Mr. Hands!” as it is here, in the summary account of a square-rigged, seventeenth-century merchant ship tossed upon the seas. The Coming of the Mayflower in 1620 is a simple statement of observable facts, yet Wyeth’s impeccable genius as an illustrator imbues it with the bracing salt air and taste that captures the adventuresome spirit of the men and women who are largely credited with the founding of America. That spirit is carried on the wind and tautly billowed sails, the jaunty heeling of the ship at the nose of a stiff gale, the thrusting, streamed-limned clouds, and the gulls jauntily arranged to celebrate an arrival as they are the feathered angels of providence guiding it to safe harbor.<br><br>The Coming of the Mayflower in 1620 was based on two studies, a composition drawing in graphite and a small presentation painting. The finished mural appears to have been installed in 1941. N.C. Wyeth’s extraordinary skills as an illustrator were borne of impeccable draftsmanship and as a painter, his warmly rich, harmonious sense of color, and ability to capture the quality of light itself. But it is his unmatched artistry in vivifying story and character with a powerful sense of mood that we admire most of all — the ability to transport himself to the world and time of his creation and to convey it with a beguiling sense of conviction. That ability is as apparent in the compositional complexities of Treasure Island’s “One More Step, Mr. Hands!” as it is here, in the summary account of a square-rigged, seventeenth-century merchant ship tossed upon the seas. The Coming of the Mayflower in 1620 is a simple statement of observable facts, yet Wyeth’s impeccable genius as an illustrator imbues it with the bracing salt air and taste that captures the adventuresome spirit of the men and women who are largely credited with the founding of America. That spirit is carried on the wind and tautly billowed sails, the jaunty heeling of the ship at the nose of a stiff gale, the thrusting, streamed-limned clouds, and the gulls jauntily arranged to celebrate an arrival as they are the feathered angels of providence guiding it to safe harbor.<br><br>The Coming of the Mayflower in 1620 was based on two studies, a composition drawing in graphite and a small presentation painting. The finished mural appears to have been installed in 1941. N.C. Wyeth’s extraordinary skills as an illustrator were borne of impeccable draftsmanship and as a painter, his warmly rich, harmonious sense of color, and ability to capture the quality of light itself. But it is his unmatched artistry in vivifying story and character with a powerful sense of mood that we admire most of all — the ability to transport himself to the world and time of his creation and to convey it with a beguiling sense of conviction. That ability is as apparent in the compositional complexities of Treasure Island’s “One More Step, Mr. Hands!” as it is here, in the summary account of a square-rigged, seventeenth-century merchant ship tossed upon the seas. The Coming of the Mayflower in 1620 is a simple statement of observable facts, yet Wyeth’s impeccable genius as an illustrator imbues it with the bracing salt air and taste that captures the adventuresome spirit of the men and women who are largely credited with the founding of America. That spirit is carried on the wind and tautly billowed sails, the jaunty heeling of the ship at the nose of a stiff gale, the thrusting, streamed-limned clouds, and the gulls jauntily arranged to celebrate an arrival as they are the feathered angels of providence guiding it to safe harbor.<br><br>The Coming of the Mayflower in 1620 was based on two studies, a composition drawing in graphite and a small presentation painting. The finished mural appears to have been installed in 1941. N.C. Wyeth’s extraordinary skills as an illustrator were borne of impeccable draftsmanship and as a painter, his warmly rich, harmonious sense of color, and ability to capture the quality of light itself. But it is his unmatched artistry in vivifying story and character with a powerful sense of mood that we admire most of all — the ability to transport himself to the world and time of his creation and to convey it with a beguiling sense of conviction. That ability is as apparent in the compositional complexities of Treasure Island’s “One More Step, Mr. Hands!” as it is here, in the summary account of a square-rigged, seventeenth-century merchant ship tossed upon the seas. The Coming of the Mayflower in 1620 is a simple statement of observable facts, yet Wyeth’s impeccable genius as an illustrator imbues it with the bracing salt air and taste that captures the adventuresome spirit of the men and women who are largely credited with the founding of America. That spirit is carried on the wind and tautly billowed sails, the jaunty heeling of the ship at the nose of a stiff gale, the thrusting, streamed-limned clouds, and the gulls jauntily arranged to celebrate an arrival as they are the feathered angels of providence guiding it to safe harbor.<br><br>The Coming of the Mayflower in 1620 was based on two studies, a composition drawing in graphite and a small presentation painting. The finished mural appears to have been installed in 1941. N.C. Wyeth’s extraordinary skills as an illustrator were borne of impeccable draftsmanship and as a painter, his warmly rich, harmonious sense of color, and ability to capture the quality of light itself. But it is his unmatched artistry in vivifying story and character with a powerful sense of mood that we admire most of all — the ability to transport himself to the world and time of his creation and to convey it with a beguiling sense of conviction. That ability is as apparent in the compositional complexities of Treasure Island’s “One More Step, Mr. Hands!” as it is here, in the summary account of a square-rigged, seventeenth-century merchant ship tossed upon the seas. The Coming of the Mayflower in 1620 is a simple statement of observable facts, yet Wyeth’s impeccable genius as an illustrator imbues it with the bracing salt air and taste that captures the adventuresome spirit of the men and women who are largely credited with the founding of America. That spirit is carried on the wind and tautly billowed sails, the jaunty heeling of the ship at the nose of a stiff gale, the thrusting, streamed-limned clouds, and the gulls jauntily arranged to celebrate an arrival as they are the feathered angels of providence guiding it to safe harbor.<br><br>The Coming of the Mayflower in 1620 was based on two studies, a composition drawing in graphite and a small presentation painting. The finished mural appears to have been installed in 1941. N.C. Wyeth’s extraordinary skills as an illustrator were borne of impeccable draftsmanship and as a painter, his warmly rich, harmonious sense of color, and ability to capture the quality of light itself. But it is his unmatched artistry in vivifying story and character with a powerful sense of mood that we admire most of all — the ability to transport himself to the world and time of his creation and to convey it with a beguiling sense of conviction. That ability is as apparent in the compositional complexities of Treasure Island’s “One More Step, Mr. Hands!” as it is here, in the summary account of a square-rigged, seventeenth-century merchant ship tossed upon the seas. The Coming of the Mayflower in 1620 is a simple statement of observable facts, yet Wyeth’s impeccable genius as an illustrator imbues it with the bracing salt air and taste that captures the adventuresome spirit of the men and women who are largely credited with the founding of America. That spirit is carried on the wind and tautly billowed sails, the jaunty heeling of the ship at the nose of a stiff gale, the thrusting, streamed-limned clouds, and the gulls jauntily arranged to celebrate an arrival as they are the feathered angels of providence guiding it to safe harbor.<br><br>The Coming of the Mayflower in 1620 was based on two studies, a composition drawing in graphite and a small presentation painting. The finished mural appears to have been installed in 1941.
La llegada del Mayflower en 16201941104 1/2 x 158 3/4 in.(265,43 x 403,23 cm) óleo sobre lienzo
Procedencia
MetLife, Inc. Colección corporativa (encargada para las oficinas de Nueva York)
Heather James Fine Art, Nueva York
Exposición
Nueva York, NY, 1985, nº 13, "Coming of the Mayflower"
Literatura
"Los días de los peregrinos vuelven a vivir en nuestros murales", The Home Office (publicación de Metropolitan Life Insurance Co.), vol. 23. nº 7 (dic. 1941)
N. C. Wyeth, Income Tax Notes for 1941 (inédito, Brandywine River Museum Library)
Douglas Allen y Douglas Allen, Jr., N. C. Wyeth, The Collected Paintings, Illustrations and Murals (Nueva York: Crown Publishers, 1972),...Más.... p. 169-172, ilustración en blanco y negro p. 169
Robert San Souci, N. C. Wyeth's Pilgrims (San Francisco, CA: Chronicle Books, 1991), ilustración detallada. En el frontispicio
Christine B. Podmaniczky, N. C. Wyeth, A Catalogue Raisonné of Paintings (Londres: Scala, 2008), M.67, p. 629
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"Espero que nunca llegue el momento en que me sienta satisfecho. Alcanzar la meta de las propias ambiciones debe ser trágico". - N.C. Wyeth

Sobre la llegada del Mayflower en 1620

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  • Composición Dibujo

    Composición Dibujo

    Dibujo de composición de N.C. Wyeth para el mural de Metropolitan Life "The Coming of the Mayflower" (1940/1941).
  • En nuestra galería

    En nuestra galería

    "La llegada del Mayflower en 1620" (1941) expuesta en nuestra galería de Palm Desert, California.

Las extraordinarias habilidades de N.C. Wyethcomo ilustrador surgieron de su impecable capacidad de dibujo y, como pintor, de su sentido del color, cálidamente rico y armonioso, y de su capacidad para captar la calidad de la propia luz. Pero lo que más admiramos es su inigualable arte a la hora de vivificar la historia y los personajes con un poderoso sentido del humor: la capacidad de transportarse al mundo y al tiempo de su creación y de transmitirlo con un cautivador sentido de la convicción. Esa capacidad es tan evidente en las complejidades compositivas de "Un paso más, señor Manos" deLa Isla del Tesoro como aquí, en el relato resumido de un barco mercante del siglo XVII que se lanza a los mares. La llegada del Mayflower en 1620 es una simple exposición de hechos observables, pero el impecable genio de Wyeth como ilustrador lo impregna del vigoroso aire salino y el sabor que capta el espíritu aventurero de los hombres y mujeres a los que se atribuye en gran medida la fundación de América. Ese espíritu se transmite a través del viento y de las velas tensamente onduladas, la alegre inclinación del barco en la nariz de un fuerte vendaval, el empuje de las nubes con ribetes de chorro y las gaviotas dispuestas alegremente para celebrar una llegada como si fueran los ángeles emplumados de la providencia que lo guían a puerto seguro.

La llegada del Mayflower en 1620 se basó en dos estudios, un dibujo de composición en grafito y una pequeña pintura de presentación. El mural terminado parece haber sido instalado en 1941.

"Era natural que en mi mente y en mi corazón volaran a Plymouth y a los peregrinos como tema adecuado para una serie de cuadros de Nueva Inglaterra. Si, pues, la calidez y el atractivo de estos cuadros son evidentes para quienes los estudian, es principalmente porque son, de alguna manera relacionada, una declaración de mi propia vida y herencia". - N.C. Wyeth

Historia

Antes de que existiera la televisión y de una época en la que el cine aún estaba en pañales, las ilustraciones de N. C. Wyethelectrizaban las historias a las que daba forma y anotaba visualmente. Como joven lector de "La isla del tesoro", ¿quién puede negar la urgencia por leer la siguiente ilustración brillante? ¿O, en excitada expectación, hojear repetidamente las páginas hasta llegar a las ilustraciones que le esperan, tan vivas y vívidas y llenas de bravura?  

En 1939, The Metropolitan Life Company le ofreció a Wyeth un encargo de otro tipo: una serie de murales en lienzo que se basarían menos en la bravuconería, quizá, y más en un profundo sentido del tiempo y del lugar. Ofrecerían una visión enérgica y grandiosa y expresarían el espíritu del orgullo nacional celebrando los sólidos valores que expresan lo que significa ser estadounidense. Wyeth estaba encantado. Los catorce paneles murales que aceptó realizar darían vida al mundo de los peregrinos y "servirían como expresión gráfica y dramática del espíritu de Nueva Inglaterra" (Douglas Allen, et al., N. C. Wyeth: The Collected Paintings, Illustrations, and Murals, pág. 169). Wyeth, un artista de una destreza sin parangón y plenamente comprometido con la autenticidad de los personajes que pueblan sus narraciones, disfrutó de la oportunidad de transmitir el orgullo que sentía hacia su pasado ancestral.

"El romance de las primeras colonizaciones, especialmente la de los peregrinos de Massachusetts, siempre me ha entusiasmado. Mi antepasado, Nicholas Wyeth, llegó de Gales a Massachusetts en 1647. El espíritu de los primeros tiempos en la costa de Massachusetts era un tema muy discutido en mi casa. Nací en Needham, no muy lejos de la ciudad de Plymouth, a la que hice muchas peregrinaciones durante mi infancia, pasando días emocionantes en ese territorio histórico y sus alrededores. Con este antecedente, era natural que en mi mente y mi corazón volaran a Plymouth y a los peregrinos como tema adecuado para una serie de cuadros de Nueva Inglaterra. Si la calidez y el atractivo de estas pinturas son evidentes para quienes las estudian, es principalmente porque son, de alguna manera relacionada, una declaración de mi propia vida y herencia". (Douglas Allen, et al., N. C. Wyeth: The Collected Paintings, Illustrations and Murals, pág. 171)

Más
"Elevar lo pequeño a lo grande es una genialidad". - N.C. Wyeth

CONOCIMIENTOS DEL MERCADO

  • El gráfico elaborado por Art Market Research muestra que los cuadros de N.C. Wyeth han aumentado a una tasa compuesta de crecimiento anual del 11% desde 1976.

  • El precio récord de N.C. Wyeth en subasta se estableció en 2018, cuando Retrato de un granjero, una pintura más pequeña de 1943, se vendió por casi 6 millones de dólares.

  • Ningún cuadro de N.C. Wyeth de escala tan monumental ha aparecido en subasta.

Mejores resultados para N.C. Wyeth en subasta

Témpera sobre panel renacentista, 40 x 60 pulg. Vendido en Sotheby's Nueva York: 23 de mayo de 2018.

"Retrato de un granjero (Pennsylvania Farmer)" (1943) se vendió por 5.985.900 dólares.

Témpera sobre panel renacentista, 40 x 60 pulg. Vendido en Sotheby's Nueva York: 23 de mayo de 2018.
Óleo sobre lienzo, 43 x 30 pulg. Vendido en Christie's Nueva York: 22 de noviembre de 2016.

"Manos arriba" (1906) se vendió por 4.951.500 dólares.

Óleo sobre lienzo, 43 x 30 pulg. Vendido en Christie's Nueva York: 22 de noviembre de 2016.
Óleo sobre lienzo, 46 x 69 1/4 pulg. Vendido en Christie's Nueva York: 28 de octubre de 2020.

"Indian Love Call" (1927) se vendió por 3.510.000 dólares.

Óleo sobre lienzo, 46 x 69 1/4 pulg. Vendido en Christie's Nueva York: 28 de octubre de 2020.

Pinturas de N.C. Wyeth en las colecciones de los museos

"The Lobsterman (The Doryman)" (1944), témpera al huevo sobre madera, 23 1/4 x 47 1/4 in.

Museo Metropolitano de Arte, Nueva York

"The Lobsterman (The Doryman)" (1944), témpera al huevo sobre madera, 23 1/4 x 47 1/4 in.
Our lives depended upon our helmsman (1940) óleo sobre cartón (panel renacentista), 30 x 20 1/2 pulg.

Museo de Arte de Filadelfia, Pensilvania

Our lives depended upon our helmsman (1940) óleo sobre cartón (panel renacentista), 30 x 20 1/2 pulg.
"Funeral en la isla" (1939), témpera al huevo y óleo sobre cartón, 44 1/2 x 52 3/8 pulg.

Museo de Arte del Río Brandywine, Chadds Ford, Pensilvania

"Funeral en la isla" (1939), témpera al huevo y óleo sobre cartón, 44 1/2 x 52 3/8 pulg.
"They Took Their Wives with Them on their Cruises" (c. 1938), óleo sobre tabla, 34 x 24 pulg.

Museo Peabody Essex, Salem, Massachusetts

"They Took Their Wives with Them on their Cruises" (c. 1938), óleo sobre tabla, 34 x 24 pulg.
"El entierro del agua" (1906), óleo sobre lienzo, 24 x 38 pulg.

Museo Gilcrease, Tulsa, Oklahoma

"El entierro del agua" (1906), óleo sobre lienzo, 24 x 38 pulg.
"Elevar lo pequeño a lo grande es una genialidad". - N.C. Wyeth

Galería de imágenes

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Recursos adicionales

Lea esta biografía de N.C. Wyeth escrita por Andrew Wyeth, célebre pintor e hijo de N.C. Wyeth.

"Mi padre" de Andrew Wyeth

Lea esta biografía de N.C. Wyeth escrita por Andrew Wyeth, célebre pintor e hijo de N.C. Wyeth.
Recorra virtualmente la casa y el estudio del artista en Chadds Ford, Pensilvania, a través de este vídeo del Museo de Arte del Río Brandywine.

Casa y estudio de N.C. Wyeth

Recorra virtualmente la casa y el estudio del artista en Chadds Ford, Pensilvania, a través de este vídeo del Museo de Arte del Río Brandywine.
Véase el dibujo de composición de este cuadro, "La llegada del Mayflower en 1620" (1941).

Composición Dibujo

Véase el dibujo de composición de este cuadro, "La llegada del Mayflower en 1620" (1941).

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