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American Art in the Gilded Age with Tom Venditti

PUBLISHED IN: Videos

Tom Venditti, Director of Heather James Fine Art Montecito speaks about our exhibition A Beautiful Time: American Art in the Gilded Age

ART IN EXHIBITION

A Beautiful Time: American Art in the Gilded Age

June 24 - December 31, 2021

Montecito, CA

Artwork About Artists

Artwork

JESSIE ARMS BOTKE - The White Peacock - oil on canvas - 25 x 21 in.

JESSIE ARMS BOTKE

The White Peacock

Afternoon Tea on the Terrace (1905-1906) was commissioned by Rodman Wanamaker as part of a mural for the Grand Deluxe Shelburn hotel in Atlantic City. The mural was later divided into seven pieces that were displayed in the hotel dining room. Frieseke’s earliest mural work was for his patron, Rodman Wanamaker. Other commissions included mural decorations that were installed in Wanamaer’s New York department store in 1904 and 1907, the Rodman Wanamaker Hotel in 1905, and the Amphitheater of Music in New York in 1908. Art historians credit Wanamaker’s constant commissions as being the sole reason Frieseke was able to devote himself to painting.

FREDERICK FRIESEKE

Afternoon Tea on the Terrace

"The Ash Blonde" (1918) has remained in the same private collection for nearly 30 years. A superb portraitist, Childe Hassam expertly captures the emotion and character of his subject in the present work. The sitter's facial expression is depicted with an accuracy and nuanced attention to detail that is reminiscent of the Dutch Old Masters, specifically Rembrandt. Painted just one year after his seminal masterpiece in the White House collection, "The Avenue in the Rain" (1917), this portrait is a brilliant counterpoint to the artist's cityscapes.
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<br>Hassam is represented in numerous museum collections, including the Metropolitan Museum of Art in New York, The National Gallery in Washington, D.C., The Museum of Fine Arts, Boston, and The Brooklyn Museum.

25 1/2 x 20 1/2 in.

WINSLOW HOMER - The Shepherdess - oil on canvas - 22 3/4 x 15 3/4 in.

The Shepherdess

22 3/4 x 15 3/4 in.

WINSLOW HOMER - Towing the Boat - watercolor and pencil on paper - 6 1/2 x 11 1/4 in.

Towing the Boat

6 1/2 x 11 1/4 in.

watercolor and pencil on paper

Peaks of St. Gervais is one of the artist’s classic landscapes, with his distinctive swift brushstroke and charming town and structures — half of which he rendered in the shade — dwarfed by the snow-capped mountain. In most of his paintings, Payne used structures and figures not as subject, but to communicate the dramatic scale of mountain landscape. Drawn to the mountains of Europe, Payne trekked and painted the Swiss Alps, the colorful harbors of Brittany and France, and the sailing vessels in Italy.

EDGAR ALWIN PAYNE

Peaks of St. Gervais

GRANVILLE REDMOND - A Coastal Sunset - oil on canvas - 16 1/4 x 20 in.

GRANVILLE REDMOND

A Coastal Sunset

16 1/4 x 20 in.

At the start of the 20th century, Granville Redmond traveled to Arizona and New Mexico to paint scenes for the Santa Fe Railroad. This painting depicts an expansive desert landscape with two Native Americans at a campfire. A Los Angeles Herald journalist who visited Redmond's studio in 1903 called this painting a “jewel set in dull gold.”
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<br>"The Evening Desert" is included in the 2020 exhibition at the Crocker Art Museum: "Granville Redmond: The Eloquent Palette." It is the largest retrospective of Redmond’s work ever assembled and the first retrospective for the artist in over 30 years.

GRANVILLE REDMOND

The Evening Desert

WILLIAM WENDT - Laguna Hills - oil on canvas - 25 x 30 in.

Initially used as a frontispiece illustration for the 1914 novel, “The Witch,” by Mary Johnston, Wyeth’s painting presents a poignant scene of friendship and understanding between a grieving, independent woman and a generous, misunderstood doctor. Although the two hardly know each other, they have a shared understanding of and reverence for what is good. While the rest of the town searches for the devil in all things, these two choose kindness and light. Here, they take a moment to appreciate the lives they have led and the good they have done. Wyeth’s illustration depicts hope and expectation of good despite the perils and sorrows of human life.
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<br>In addition to illustrating more than 100 books, including adventure classics like Treasure Island, Kidnapped, Robinson Crusoe, and The Last of the Mohicans, Wyeth was also a highly regarded muralist, receiving numerous commissions for prestigious corporate and government buildings throughout the United States. Wyeth’s style, honed by early work at the Saturday Evening Post and Scribner’s, demonstrates his keen awareness of the revealing gesture, allowing readers to instantly grasp the essence of a scene.

"Good-bye, Mistress Friendly-Soul!"

44 1/8 x 32 1/8 in.

N.C. WYETH - With a Quick, Noiseless Stride, He Crossed the Narrow Space - oil on canvas - 30 1/4 x 20 1/8 in.

With a Quick, Noiseless Stride, He Crossed the Narrow Space

30 1/4 x 20 1/8 in.

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