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Posts Tagged ‘William Merritt Chase’

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Do not try to paint the grandiose thing. Paint the commonplace so that it will be distinguished.

William Merritt Chase (1849-1916)

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Love these words from the great American painter William Merritt Chase. I echo the sentiment whenever I get a chance to speak with art students, telling them to focus less on subject and more on how they render whatever they choose to depict. Most of the greatest paintings are of very common things, people and places. It is how they are painted that lifts and distinguishes them.

Chase was one of the dominant figures of American art in the late 1800’s. He was a prolific and renowned painter and among the first American Impressionists as well as an influential teacher who established a progressive art academy in NYC, The Chase School, that today is the Parsons School of Design.

Some of Chase’s best known work is a great example of his words above. He painted the gamut of subjects– landscapes, portraits and still lifes– and is well known for each of these fields. His still life paintings with fish were among his favorite subjects, one that he often employed for painting demonstrations for his students. These pieces were done in a fast, wet into wet technique that relied on extreme contrasts of dark and light , setting aside detail for gesture and impression.

I don’t know how many of these fish pieces Chase painted but it appears to be quite a large figure. A number of years back, the Principle Gallery had one of his fish pieces in the gallery for sale and I remember being very impressed because whenever I thought of Chase his fish paintings always came to my mind.

Here are just a few examples.

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Life is very short… but I would like to live four times and if I could, I would set out to do no other things than I am seeking now to do.

William Merritt Chase
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I find this to be a very interesting quote from the American master William Merritt Chase (1849-1916). I don’t think about it very often but given a choice of doing what I am doing with my life and being able to freely pursue any other life, I would continue, like Chase, on the path I am currently on.
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I know there could be greater adventures, greater importance, greater rewards, wider travels and so on in other pursuits. But this life meshes with my character and my preferences so well that the thought of doing anything else seems almost absurd at this point. It never even enters my mind.
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And there is something calming in the certainty of this. It’s one less thing that might gnaw at me, to make me question my own decisions. One less thing in which to find uncertainty in a world overflowing with it. When I enter my studio, I know I am in my proper place. Oh, I might question my decisions, my actions, in that space but I can no longer imagine myself being in any other place. And like Chase, I find myself wishing I could live four more of these lives.
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And that’s a good thing.
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Here are some more painting from William Merritt Chase. Hope his words somehow apply to you. Have a great day.
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Preston_Dickinson_-_Factory_(c__1920) Columbus Museum of ArtI’m a fan of the Precisionist movement in art which was formed in the early 20th century and often depicted the industrial structures that were fueling the growth spurt taking place in America.  There are some big names in this movement, mainly Charles Sheeler and Charles Demuth, both of which I have featured here in the past.  But, like many of the movements in art, there are many lesser  but equally brilliant stars in their universe.  I recently came across one that really hit with me, mainly because of the energy and breadth of his work.  I thought it was all really good, really strong and evocative.  But it moved in many directions, pulling from many inspirations.  There was some Futurist work, some elements of Cubism and others.  It was as though this was an artist that was so talented that he was having trouble finding that single voice that fit his needs.

Preston_Dickinson Old Quarter Quebec 1927 - The Phillips CollectionHis name was Preston Dickinson who was born in NY in 1891.  He studied as a youth at the Art Students League under William Merritt Chase and soon after, with backing from a NY art dealer, headed off to Europe to study and exhibit there.  Coming back to America, he moved around a bit but by the late 1920’s was considered among the stars of American Modernist painting.

In 1930, he moved to Spain to live and paint and several months after being there contracted pneumonia and died there.  He was only 39.  He produced only a few hundred pieces of work in the twenty years or so in which he was producing work.

So maybe there is something to this feeling that he was still in the midst of finding his true voice.  It makes me sad to ponder what might have been and what sort of work was lost to the world when he passed away.  He was obviously a huge talent with an active and inquiring mind.

I am glad to have just stumbled across him now and hope that the joy his work brings me somehow moves into my own.Preston Dickinson Harlem River  MOMA

preston-dickinson-tower-of-gold Preston_Dickinson - Street in Quebec- The Phillips Collection Preston_Dickinson_-_My_House_-_Google_Art_Project Preston_Dickinson - Industry 1923- The Whitney Collection

 

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This is  a very famous photo by Edward Weston of a nautilus shell that is considered one of the jumping off points for the Modernist movement in art back in the first quarter of the 20th century and one of the great photos of all time, selling a few years back at auction for over a million dollars.  It’s a beautiful and simple image that transcends itself.  I came across it recently along with a mention as to how it came about  when  Weston, on a trip to California,  encountered a painter whose work, particularly in some close up pieces of shell, greatly stimulated him.  Her name was Henrietta Shore.

It was not a name I had encountered  and doing a quick Google search came across a number of striking images that reminded me of Georgia O’Keeffe.   It turns out that she was a contemporary of O’Keeffe and  it was said that Shore’s work had eclipsed O’Keeffe’s when they were exhibited together, something which happened a few times.  Shore also had an incredible painting pedigree, training with the likes of William Merritt Chase, Robert Henri and even John Singer Sargeant.  She had lived in London and New York before moving to California, settling in Carmel around 1930.  Once there, she didn’t show her work much outside of the Carmel/Monterey region  and never really gained the notoriety that came to O’Keeffe.  It was another one of those cases where I have come across amazing talents who have fallen off the wider map for some reason that remains a mystery to me.

There is great sensuality in her work, for instance the human-like twist and feel of her Cypress trees, that I found really appealing, something I try to work into my own paintings.  Looking at Weston’s body of work, I can see the similarity in how he portrayed many of his subjects, finding wonderful beauty in simple twists and curves.

I also liked that she stopped dating her paintings because she  didn’t want them categorized into time frames in her career because she viewed her work and her life as being part of a continuum  that transcended time.  Again, something I hope for in my own work.  How had Henrietta Shore escaped my notice for all these many years?

There’s not a lot of data out there about Shore, at least with a quick search.  She didn’t have a long list of exhibitions after the 30’s and those that she did have were in the Monterey area, so became a sort of regional painter which doesn’t take anything away from her great talent.  It only deprives the rest of us from finding her and finding something for ourselves in her work.  Thankfully, modern technology and the web allows us to stumble across such a wonderful painter long after she has faded from the national stage, even though her work will always live on in the continuum.  Just plain good stuff…

 

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My exhibition, Internal Landscapes: The Paintings of GC Myers, has officially opened at the Fenimore Art Museum in lovely Cooperstown, NY.  The exhibit hangs until the end of the year, December 31.  It’s a select group of mostly larger paintings from the last few years along with a few very early small pieces that show the beginning stages of the evolution of my work.

One of the highlights for me is the first public showing of the piece shown above, The Internal Landscape, a painting familiar to regular readers of this blog.  It is a very large painting, measuring 54″ high by 84″ wide.  This large scale gives it  a real presence in any space.

If you can make it to the Fenimore in the next month, the exhibit hanging in the adjacent gallery is American Impressionism: Paintings of Light and Life, which is a grand collection of paintings from the likes of Mary Cassatt, Childe Hassam and William Merritt Chase.  And if you’re looking for real star power, there’s even a piece from one of the most influential Impressionists, Claude Monet.  Plus there are several other great exhibits not to mention the incredible Thaw Collection of American Indian Art, which is worth the trip on its own.  I’m pretty excited to be in such grand company.

On November 7, I will be giving a talk on show after a luncheon, from 12:30 until 2:30,  as part of the museum’s Food For Thought lecture series.

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