Saturday, September 5, 2020
A magisterial study of celebrated photographer Walker Evans
Walker Evans (1903–75) was a great American artist photographing people and places in the United States in unforgettable ways. He is known for his work for the Farm Security Administration, addressing the Great Depression, but what he actually saw was the diversity of people and the damage of the long Civil War. In Walker Evans, renowned art historian Svetlana Alpers explores how Evans made his distinctive photographs. Delving into a lavish selection of Evans’s work, Alpers uncovers rich parallels between his creative approach and those of numerous literary and cultural figures, locating Evans within the wide context of a truly international circle.
Alpers demonstrates that Evans’s practice relied on his camera choices and willingness to edit multiple versions of a shot, as well as his keen eye and his distant straight-on view of visual objects. Illustrating the vital role of Evans’s dual love of text and images, Alpers places his writings in conversation with his photographs. She brings his techniques into dialogue with the work of a global cast of important artists—from Flaubert and Baudelaire to Elizabeth Bishop and William Faulkner—underscoring how Evans’s travels abroad in such places as France and Cuba, along with his expansive literary and artistic tastes, informed his quintessentially American photographic style.
A magisterial account of a great twentieth-century artist, Walker Evans urges us to look anew at the act of seeing the world—to reconsider how Evans saw his subjects, how he saw his photographs, and how we can see his images as if for the first time.
Wednesday, September 2, 2020
Swann Galleries will open the fall 2020 auction season with a sale of American Art on September 17. The sale encompasses the visions of Impressionism, Regionalism and early Modernism, with seaside portraits showcasing various coastal destinations featuring prominently throughout the sale.
A top highlight of the auction is a work by Anna Mary Robertson (Grandma) Moses. Completed at 101 years of age, Happy Days is a 1961 oil-on-masonite painting depicting a typical scene of Moses’s, a rural family working happily on their farm. The work is set to come across the block estimated at $50,000 to $80,000. The painting, with exhibition and publication history, last appeared on the market more than 40 years ago.
Works from the nineteenth century include a run of circa-1880 coastal scenes by Alfred Thompson Bricher with the oil-on-canvas works Low Tide, South Head, Grand Manan Island ($20,000-30,000), and Schooner off the Coast, Bishop’s Rock, Grand Manon Island ($15,000-20,000), as well as the watercolor A Coastal Scene($2,000-3,000). Also of note are still life scenes with fruit, including an 1850s oil-on-wood panel by Severin Roesen ($15,000-20,000), and a circa-1860 oil by William Mason Brown.
Impressionist scenes lead the sale with coastal watercolors by Childe Hassam: A Shady Spot (Appledore, Isle of Shoals), 1892 ($80,000-120,000), and Sailboat off the Coast, Isle of Shoals, 1894 ($30,000-50,000). Also depicting the Isle of Shoals is John Appleton Brown’s circa-1890 color pastel Celia Thaxter’s Garden and View of the Sea, Isle of Shoals ($7,000-10,000). Further Impressionist works of note include Alice Mary (Beach) Winter’s circa-1915 oil-on-canvas View of Gloucester ($5,000-8,000), Edward Potthast’s oil-on-canvas New England Harbor Scene, circa 1900–10 ($5,000-8,000), and a small run of works by Gertrude Fiske including the oil board Boston Waterfront, circa 1919–22 ($2,000-3,000).
Marsden Hartley’s 1922–23 color crayon and pastel drawing Seated Male Nude stands out in an offering of early Modernism ($30,000-50,000). Charles Burchfield is present with Untitled (Harmony in Nature) gouache over pencil, circa 1915–16 ($7,000-10,000), and Frozen House in Winter, watercolor and gouache, circa 1918 ($10,000-15,000). Joseph Stella’s oil-on-canvas Still Life with Chrysanthemums and Goldfish, circa 1911–12 makes an appearance ($12,000-18,000). Additional highlights include works by Walt Kuhn and Jerome Myers.
Scenes of New York City throughout the seasons include Guy Wiggins’s circa-1940 oil-on-canvas Snow Scene, depicting a busy winter day as people make their way to their destinations in a snowstorm ($20,000-30,000). Reginald Marsh’s circa-1930 oil-on-canvas Manhattan, Waterfront, which depicts the Manhattan skyline on a clear day ($15,000-20,000), and John Marin’s 1953 watercolor View of Central Park, New York, showing a loose rendering of the park’s trees and the city skyline ($15,000-20,000), are also available.
Thursday, August 20, 2020
The Amon Carter Museum of American Art (the Carter) announces the first exhibition in nearly 30 years to highlight the pioneering and inventive career of Texas artist Everett Spruce (1908–2002). Featuring nearly 50 works from private and public collections from across the country, the exhibition traces five decades of Spruce’s career, revealing how he adapted his style and subjects to the era in which he worked. On view August 18 through November 1, 2020, with three Carter member-only preview days August 14–16, Texas Made Modern reclaims the legacy of this Texas artist.
About Everett Spruce
Monday, August 10, 2020
Article with images:
Article with images: