4 15 183 https://omeka.wilkes.edu/omeka/files/original/844bfe6590c17c9f22f4839aeadb6163.pdf 663f3644b0e787996329c5fad9bbba57 PDF Text Text ��� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. 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Title A name given to the resource 1984 August 26 A Survey of American Art 1815-1980 Creator An entity primarily responsible for making the resource Rembrant Paule Jacob Eichholtz Gilbert Stuart Robert Solomon Thomas Hinckley William Sonntag Max Weber John Singer Sargent Fredrick Carl Frieseke Kaniyoshi Marsden Hatley LeonKelly konrad Cramer OscarBluemner Paul Cadmess PhilipEvergood Aurthor Dove Francis Speight Thomas Hast Benton Waldo Peirce Milton Avery Lennart Anderson John Koch David Levine Hobson Pittman Moses Sayer Jerome Paul Witkin Date A point or period of time associated with an event in the lifecycle of the resource 1984 August 26 - September 23 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource This survey on American Art spans from 1815 to 1980. It includes some pieces from movements such as Dada, Abstract Expressionism, and Modernism. It is on loan from the Pennsylvania State University's Museum of Art. Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/9cbf6327527ddf51fb0ba738c00e5a57.pdf 42e1770a97db4ef1d8a09367477bea8e PDF Text Text ����� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1985 Theodore Earl Butler: Emergence from Monet's Shadow Creator An entity primarily responsible for making the resource Theodore Earl Butler Date A point or period of time associated with an event in the lifecycle of the resource 1985 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource Following in the footsteps of artists like Monet, Theodore Earl Butler made his name as an impressionist and post-impressionist painter. Type The nature or genre of the resource Exhibition program Source A related resource from which the described resource is derived R.H. Love Galleriies, Inc. https://omeka.wilkes.edu/omeka/files/original/909767f9477a215eabe9681e405563ff.pdf 4ef7dad72f4d43c8166e25f5d1901915 PDF Text Text ���� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1985 January 13 Wilkes College Arts Faculty Exhibition Creator An entity primarily responsible for making the resource Mark Cohen Dennis Deane Bernice D'Vorzon Richard A. Fuller Herbert B. Simon William H. Sterling Date A point or period of time associated with an event in the lifecycle of the resource 1985 January 13 - February 3 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource The 1985 Wilkes College Art Faculty Exhibition included artists the like of Mark Cohen, Richard A. Fuller, and William H. Sterling. This exhibition spanned across multiple mediums including painting and sculpture Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/58304fe82507bded7dd2cccabf569602.pdf 96240476fba642525467ab78f8e7f732 PDF Text Text ���������������������������������� https://omeka.wilkes.edu/omeka/files/original/42c6ed296966aeb48c314551ce90c2b8.pdf db296f754e2559016b56e63cf7b0ad86 PDF Text Text irlheNew ExpressiveLandscape I I-' I April 21 through May 19,1985 r r - rdoni Art Gallery, Wilkes College 50RD GA ND1351.6I S66N48 < il �! The New ExpressiveLandscape April 21 through May 19,1985 Sordoni Art Gallery, Wilkes College t Exhibition selection and essay by William H. Sterling Exhibition organized by Judith H. O'Toole I 5 Funded in part by a grant from the Pennsylvania Council on the Arts. E.S. FARLEY LIBRARY WILKES UNIVERSITY WILKES-BARRE, FA 1 �Lenders to the EAibitton Introduction It is surprising how we so easily take landscape painting for granted considering that, in the context of the whole of art history, it is a relatively new concern of artists. Painting and sculpture began as a form of communication as much as a form of decoration. Until comparatively recent times, landscape elements were used in art only as a backdrop for the unfolding of human drama. Abstracted botanical motifs were used in Greek vase painting to set the scene for great battles and important historical or mythological moments. All throughout European art history’ landscape themes — mountains, trees, clouds — are the stage settings for historical and religious events. In fact, great artists such as Rubens would delegate the painting of background landscapes to their apprentices because it was not the important part of the picture. Even the great Dutch landscapists of the seventeenth and eighteenth centuries were interested in recording specific geographical places rather than in responding to or interpreting the natural world. True, the seventeenth r c; /E5 2 century Frenchmen, Poussin and Lorraine, created huge, lush landscapes which dwarfed the figures of their central theme, but the great expanses were lifeless, idealized and sentimental. It was not until the nineteenth century that the evocative aspect of nature was explored by western artists on both sides of the Atlantic. It was then that an emphatic shift began and landscape was used to express internal rather than external phenomena — emotions, ideas, perceptions. William H. Sterling has recognized an important new movement in contemporary painting which concerns landscape. I am grateful to him for his careful selection of the artists represented here and for his insightful comments in the following essay. As always I am grateful to the artists and lenders involved in the exhibition and to the Pennsylvania Council of the Arts for its support. Judith H. O'Toole Director Baskerville Watson Gallery, New York Sharpe Gallery, New York Brooke Alexander, Inc., New York Mr. and Mrs. Sid Singer CDS Gallery, New York SoHo 20 Gallery, New York Berenice D'Vorzon Ann Taylor Fabric Workshop, New York and Philadelphia Edward Thorp Gallery', New York Ingber Gallery, New York Vanderwoude Tananbaum Gallery Kraushaar Galleries, New York Bette and Herman Ziegler Robert Miller Gallery, New York �:tion o easily take landscape painting at, in the context of the whole of new concern of arfcsrs. «gan as a form of s a form of decoration. Until s, landscape elements were used >r the unfolding of human al motifs were used tn Greek ne for great battles and thological moments. All listory landscape themes — - are the stage settings for nts. In fact, great artists such the painting of background tices because it w as not the re. dscapists of the seventeenth ■ere interested in recording s rather than in responding to world. True, the seventeenth century Frenchmen, Poussin and Lorraine, created huge, lush landscapes which dwarfed the figures of their central theme, but the great expanses were lifeless, idealized and sentimental. It was not until the nineteenth century that the evocative aspect of nature was ex-plcred by western artists on both sides of the Atlantic. It was then that an emphatic shift began and landscape was used to express internal rather than external phenomena — emotions, ideas, perceptions. William H. Sterling has recognized an important new movement in contemporary' painting which concerns landscape. I am grateful to him for his careful selection of the artists represented here and for his insightful comments in the following essay. As always I am grateful to the artists and lenders involved in the exhibition and to the Pennsylvania Council of the Arts for its support. Baskerville Watson Gallery, New York Sharpe Gallery, New York Brooke Alexander, Inc., New York Mr. and Mrs. Sid Singer CDS Gallery, New York SoHo 20 Gallery, New York Berenice D'Vorzon Ann Taylor Fabric Workshop, New York and Philadelphia Edward Thorp Gallery, New York Ingber Gallery, New York Vanderwoude Tananbaum Gallery, New York Kraushaar Galleries, New York Bette and Herman Ziegler Robert Miller Gallery, New York Judith H. O'Toole Director 3 �1. Gregory Amenoff Pre-jige (On Loop Road), 1983 Oil on canvas, 55 x 60 Collection Mr. and Mrs. Sid Singer 4 3- Louisa Chase Storm, 1982 Oil on canvas, 72 x 72 Collection Bette and Herman Ziegler �■ •r 5 �The New ExpressiveLandscape ■ ..zs ivc?: a visible renewal of : .—..'and inspiration, by - ■ •. <'.ssicc rather than ..re to capture some of the ■. and logistical parameters, ?. established American ■ landscape appears to be both the :of strongly evocative a-; assertively avant-garde, while —. dc—i styles. In all of them, : -1 vision and a profound .. . ~.ult only in the sense that there .? painters of landscape, and so : - - -a personal choices. IVc wish to : : artists, collectors, and :: for this exhibition. The ■ . -i the Pennsylvania Council •, "i st grateful. u !h:n nature." . ■ 1-1 <s-Barrenative rd the world of the ' ■ . . ast and often ddwww. <_*tim wm primarily a portraitist, but ■ ' ' toward : . -ri ■ •• ' ■ ’' ’ ’ ■ r ‘ - ’ '■ ■ : .: 'i kj, 1 ranz ’ ... ... ( ntury |al,.r e one of the leaders oi the New Ifork Khool of - r ’' ■ : ■ ■ ‘ ‘ ‘ J i.,';, f;.< of i-i,i<vd The point we are stressing is that few American painters of prominence have been uninspired, to some degree, by the landscape. In the nineteenth century, American painting was coming of age at the very time landscape w'as emerging as a preeminent theme in the Romantic movement (not only in the visual arts but in music and literature as well). Nature's vast repertory of dramatic, exotic, and mysterious images reflected the Romantic spirit in all its facets, from the spiritual to the sensual, the pastoral to the demonic. The Hudson River School, the Luminists, Allston, Cole, Homer, and Inness - almost every prominent name in the 19th century American art is profoundly linked to the landscape tradition. Toward the end of the century, the Realists and the Impressionists charted a new course toward more objective interpretations of the physical world, while the Romantic spirit veered into territory of a more deeply psychological kind, giving rise to the Symbolist and Expressionist movements. In Europe, painters such as Van Gogh and Gauguin, and in America Ryder and Eilshemius, announced this important shift which fed directly into the stream of twentieth century Modernism. Many forms of abstraction, in fact, arose out of landscape imagery. Kandinsky, Mondrian, and the Americans Arthur Dove and Georgia O'Keeffe, artists who created some of the first non-objective works in Modern art, had been primarily painters of landscape. The evocative and unpredictable aspects of nature have always made it an ideal foil for human feelings. In America during the twenties and thirties, painters as diverse as Marin, Hartley, Burchfield, and Hopper found their voice in the landscape. Whether we call them Expressionists, Surrealists, or something else, these artists openly shaft' an empathy with nature. In the fifties, many of the Gorky among them — drew much of their energy and inspiration from nature. Although we don't call them landscapists as such, these artists perpetuated America's long devotion to that spirit. The subsequent rise of Pop Art. Color Field Painting, Minimalism, Conceptualism, and other fashions marked a decided turn toward other concerns in the sixties and seventies. The only significant avant-garde movement -i-1- j — —j------ ->during • . .. ............................ associated with ilandscape that period belonged to the sculptors of Earthworks, who employed the actual (and sometimes inaccessible) landscape as their medium. Toward the end of the seventies, a new force appeared in the art world, bringing with it a context in which landscape could once again flourish. Usually called Neo-Expressionism, this force has become the pervasive fashion of the eighties, even as it revives many of the characteristics of earlv twentieth century art. * * * The foregoing overview of past American landscape painting is, of course, grossly simplified. The pluralistic character of contemporary art does not allow for easy generalizations, either. Individualism reigns healthily supreme in Modern art. Because landscape, as a subject, has different meanings and purposes for different artists, little homogeneity can be expected at the individual level. Nevertheless, the artists in this exhibition do have in common their basic historical circumstances, as painters working in America in the 1980's and as artists very much aware ot their artistic heritage. These are inescapable factors which, in various conscious and unconscious ways u'fluence their perceptions and attitudes. Certain fieiieralizations, then, may be extracted from the variety u hich confronts us. One thing immediately nt of typical pre-twentieth cen infrequency of panoramic v Most of the artists here foct a few rocks, a cluster of tree sharing an intimacy with th spirit of identity between ar work. As Louisa Chase rect storms, "During the proces — yet not lost. An amazing remaining totally conscious Landscape becomes virtt paintings, embodying emo which we can empathize. I work: I am trying to removt avoiding distancing tot sometimes impacting t undermine the natural and the viewed. I wan physical than looking, specific feelings in thei position in relation to t idea is to suck the view space, to other physics viewer back to themse are a body primarily. 1 alienation. In my work so I'm starting with th The mystery and potenc usually felt most strongly . a degree of removal from t necessarily a total transfer landscapists seen here ret: �I cpressive Landscape £ ■wt tew »n Mt the « rrn. -,jT7. -t - • - c>. . : . snj\-,r;v . -t-im •' ihcmt " .he T» n the arts but in □n >. turr «■ x*st rc’ix’r .mr . : eb 1 .-. „ -pint y -int he scr.-' .c th. «c TWHuds.' Rn'erScb v H >m« .-’w ’r.cwss — t :r tm . rtor Arftb-ncrtri he lanctM'^pv trac :■ - kt uWry theReafiats and the : a new ;. *r. : aacrrn tatiors .a the r ‘ ■ e the k _ " . • :am.-re-’ -pL MjAj^gjEiltand, pnaf’ntt ti ■»,< r-vr'.tx ~"d m.nrmrrits ir : ; •’.teras Gq0tand and tri vder er d fitohMM «wn-un.»-c tn& i-f.iit whkn led dbadh'wto ttor-stream ■ • . MayimataMtracon*. intact, arose kWMTf fiaaafcad'JLMrrnrin r~, *ndtiw -■'paCHtadfe. Yu Hl-' ~ Artnur thrtew«eu»si.o«-iwr a .>■»’ :• M .c.-r- an hid prwjfiir z ,ar»ds:ape B®^Hwi>®a,®andunp«*d»ctibk I r .■ ’ d»w» ---a- r ar- »*■«; i.■'{.t, -» > untan feeling • In—’-’' ar,dtturtw- puMwh, Hartlry *ut-:hf«rid *r»d H< ppe: i-cidth' r . . . ; WWlcrwcan them £ .pres-.e . ■ ■■, 'JttWiittofcriy «rt.£’-. 'h ’ ’’ i- , • (,,*, j-y14a»jv -.4*t :k\ among them — drew much of their energy and i nation from nature. Although we don't call them -,J-<apL-ts as such, these artists perpetuated America’s . ng devotion to that spirit. The subsequent rise of Pop Art, Color Field Painting, • nimalism, Conceptualism, and other fashions marked a j Jed turn toward other concerns in the sixties and \rnties. The only significant avant-garde movement .. «iated with landscape during that period belonged to wulptors of Earthworks, w'ho employed the actual rd sometimes inaccessible) landscape as their medium, .ard tiie end of the seventies, a new force appeared in art world, bringing with it a context in which landscape uld once again flourish. Usually called Neo-Expressionism, i- >rce has become the pervasive fashion of the eighties, n as it revives many of the characteristics of early s iitieth century' art. Tr ☆ it h- foregoing overview of past American landscape '.ting is, of course, grossly simplified. The pluralistic trader of contemporary art does not allow for easy ■ '■ ralrzations, either. Individualism reigns healthily -preme in Modern art. Because landscape, as a subject, o different meanings and purposes for different artists, ' - homogeneity can be expected at the individual level, tvertheles-i, the artists in this exhibition do have in ■' on their basic historical circumstances, as painters •Wk ng m America in the 1980’s and as artists very much ■ .! thi-ir artistic heritage. These are inescapable *' f b, in various conscious and unconscious ways, t .. p< r( options and attitudes. Certain ■gjrahzatjuns then, may be extracted from the variety ■ ■ i,ii ms us One thing immediately noticeable to anyone who thinks of typical pre-twentieth century landscapes is the infrequency of panoramic views in our present works. Most of the artists here focus on fragments of nature — a few rocks, a cluster of trees, or a bank of clouds — sharing an intimacy with those things. There is even a spirit of identity between artist and nature in much of this work. As Louisa Chase recorded while painting one of her storms, "During the process, 1 do become the storm — lost — yet not lost. An amazing feeling of losing myself yet remaining totally conscious."2 Landscape becomes virtually animate in many of these paintings, embodying emotional and physical forces with which we can empathize. Deborah Kass remarks of her work: I am trying to remove distance in my work. By avoiding distancing tools (like perspective) and sometimes impacting the space, I am seeking to undermine the natural separation between the viewer and the viewed. I want the experience to be more physical than looking. I want the viewer to have specific feelings in their body — to be aware of their position in relation to the activity in the painting. The idea is to suck the viewer into another subjective space, to other physical feelings in order to return the viewer back to themselves with an awareness that they are a body primarily. 1 have equated distance with alienation. In my work I’m trying to find a way back, so I'm starting with the body. I'he mystery and potency of nature expressed here are usually fell most strongly at close range. I hey also involve a degree of remot al from topographical reality, but not necessarily a total transformation. Many of the landscapists seen here retain a strong sense of place in f fi I ■ i ■ f �their works. As Berenice D'Vorzon says of her Louse Point" painting, "Very often my works refer to specific places . . . but it is a particular or an all pervasive experience that I respond to at these places." Ben Frank Moss describes the origin of "Silver Trees:" All of my work is based on a memory — a recollection of an impression. Although my mind holds very specific settings and visual material, I don t set about to illustrate what is already realized in my mind. Rather a work develops on its own terms. It's only after the completion of the work that I am reminded of someplace I've lived or traveled. The painting "Silver Trees" was so named because it reminded me of a grove of beautiful trees I remember visiting and being amazed by almost daily. These remarkable trees were on a grand scale with milky white trunks and leaves that were green on top and white on the under-side. When the wind blew the whole tree would become an atmosphere of light — like flickering silver. I didn't set out to paint this subject and the titled work at best is an echo of what I would like to believe was in part the source — the subconscious attachment to something that repeatedly moved me. In any case the painting was born in the studio miles away from those trees as well as years after we had left the beauty of that place by the Little Spokane River. Less tranquil phenomena of nature are also associated with the Expressive Landscape. Storm clouds and churning seas, for example, as already described by Louisa Chase and Deborah Kass, are spectacles which never fail to arouse awe or excitement. They are natural mirrors of human passions, which become kinesthetically alive through the painter's manipulation of pigment and color. 8 As a matter of purposeful selection, none of the paintings ..................................................................... . os black sun and Gregory Amenoff's organic apparition in this group contains a human figure (except one), but the exemplify this approach, of which Ernest Silva has written: artists are still palpably present through their vision and My recent works continue to represent landscape style. in a language indebted to abstraction. (They) refer to One of the few artists among the Expressive stages, inhabitable spaces, objects as props, and to Landscapists who deals with the traditional panoramic the viewer, as potential participant. All of the work view is Eve Ingalls, who has written of her work: present themselves as the balance of conflicting forces. Trees move in dance-like rhythm, blown by strong In this landscape the only set of coordinates that winds and driven by internal force. Logs lie scattered holds for me is a body-based one. I have always been in the landscape, remnants of wounds inflicted by intensely aware of the vertical center of my body as an some agent that is now absent. Fires burn in a feverish active orienting device. Marking off left from right, up infinite moment. Figures are called forth by our from down, front from back, it helps me to grasp the awareness of their absence or presence as the shadowy cardinal points and to transform space into place. witness to these scenes. The objects are, at once, This vertical has been projected onto the canvases, toy-like and malevolent. They invite playful appearing as the crack between the panels which examination, but lead to the conclusion that the divide each drawing. These strong verticals challenge moment is suspended in potential drama. and experience the strains, the tugs, the tears that the discontinuities of time and space force across the This drama becomes truly Surrealistic in the case of Cheryl surface of the canvas. Laemmle's "Red Spruce." She creates a veritable icon, I often feel that I am standing in the midst of a where the centered subject is protected from secular modern sublime, marked by a vast and unbounded ___by j_________ intrusion a real fence,;_________________ attached to the canvas like an landscape. This landscape almost overwhelms and, in altar rail. The virgin spruce stands in its own hortus so doing, works to stretch the mind and body beyond conclusus. But the bizarre incongruity of the child's wagon their normal capacity; It 'gives us courage to measure and the vaguely naif style in which the entire scene is cast —■’—' transport the picture from religious metaphor to ourselves.' psychological allusion. These words could almost have been written by some The exact relationship of the artist to nature is never Transcendental landscapist in the nineteenth century. clear. The one picture here with a human figure is Vera Only the emphasis upon the self fixes them in the moder11 Element's, but her figure is not in the landscape; it is era. outside of it, as we are. It is apart from it in space, yet a part For many painters in this exhibition, the Expressive °f it in substance and energy. For Klement, the apartness is Landscape is an imaginary one, where nature may be Poignant: transmuted into a set of symbols, coded images of My paintings always have two parts, a comfortable particularly affecting visual experiences. Elena Sisto s resolution between them avoided. The landscape is never alone, b . . . the landsci always generii fields. They hi unattainable, alienation froi relation to a f i; Generalizations from works prodi most prevalent st) austere geometric Minimalism. The Photorealism and positions in that c Minimalism a pre mechanical techn: In reaction to th present generatio and physically ag the term Neo-Expi images of figures severe geometries texture, and prim of the artist as cle; as diverse as Amt employ such tech a debt to Expressi DeKooning and C One thing whic and the present g generated by Pop neon and Chase': rain draw upon tl �’Vorzon says of her "Louse n my works refer to specific lar or an all pervasive experience aces." Ben Frank Moss ter Trees:" ed on a memory — ression. Although my mind ngs and visual material, I don't hat is already realized in my ivelops on its own terms. It's >n of the work that 1 am ! I've lived or traveled. Frees" was so named because it : of beautiful trees I remember ted by almost daily. These >n a grand scale with milky s that were green on top and e. When the wind blew the ne an atmosphere of light — idn't set out to paint this ork at best is an echo of what I as in part the source — the nt to something that repeatedly the painting was bom in the those trees as well as years auty of that place by the Little I of nature are also associated ape. Storm clouds and , as already described by Louisa re spectacles which never fail to They are natural mirrors of :ome kinesthetically alive aulation of pigment and color. As a matter of purposeful selection, none of the paintings in this group contains a human figure (except one), but the artists are still palpably present through their vision and stvle. One of the few artists among the Expressive Landscapists who deals with the traditional panoramic Hew is Eve Ingalls, who has written of her work: In this landscape the only set of coordinates that holds for me is a body-based one. I have always been intensely aware of the vertical center of my body as an active orienting device. Marking off left from right, up from down, front from back, it helps me to grasp the cardinal points and to transform space into place. This vertical has been projected onto the canvases, appearing as the crack between the panels which divide each drawing. These strong verticals challenge and experience the strains, the tugs, the tears that the discontinuities of time and space force across the surface of the canvas. I often feel that I am standing in the midst of a modem sublime, marked by a vast and unbounded landscape. This landscape almost overwhelms and, in so doing, works to stretch the mind and body beyond their normal capacity; It 'gives us courage to measure ourselves.' These words could almost have been written by some Transcendental landscapist in the nineteenth century. Only the emphasis upon the self fixes them in the moder era. For many painters in this exhibition, the Expressive Landscape is an imaginary one, where nature may be transmuted into a set of symbols, coded images of , particularly affecting visual experiences. Elena Sisto s black sun and Gregory Amenoff's organic apparition exemplify this approach, of which Ernest Silva has written: My recent works continue to represent landscape in a language indebted to abstraction. (They) refer to stages, inhabitable spaces, objects as props, and to the viewer, as potential participant. All of the work present themselves as the balance of conflicting forces. Trees move in dance-like rhythm, blown by strong winds and driven by internal force. Logs lie scattered in the landscape, remnants of wounds inflicted by some agent that is now absent. Fires burn in a feverish infinite moment. Figures are called forth by our awareness of their absence or presence as the shadowy witness to these scenes. The objects are, at once, toy-like and malevolent. They invite playful examination, but lead to the conclusion that the moment is suspended in potential drama. This drama becomes truly Surrealistic in the case of Cheryl Laemmle's "Red Spruce." She creates a veritable icon, where the centered subject is protected from secular intrusion by a real fence, attached to the canvas like an altar rail. The virgin spruce stands in its own hortus conclusus. But the bizarre incongruity of the child s wagon and the vaguely naif style in which the entire scene is cast transport the picture from religious metaphor to psychological allusion. The exact relationship of the artist to nature is never dear. The one picture here with a human figure is Vera Ament's, but her figure is not in the landscape; it is outside of it, as we are. It is apart from it in space, yet a par 0 it in substance and energy. For Klement, the apartness is Poignant: My paintings always have two parts, a comfortable resolution between them avoided. The landscape is never alone, but in relation always to another object . . . the landscapes can provide many roles. They are always generic, not specific places. They are usually fields. They have to do with the distant, the unattainable, the longing for the unattainable, and the alienation from the longed-for place. When it is in relation to a figure, it refers also to Expulsion. ☆ * ☆ Generalizations about artistic style may also be drawn from works produced in a particular era. In the 1970's, the most prevalent style among progressive artists was that austere geometric mode called, in its most extreme forms, Minimalism. The seemingly very divergent movements of Photorealism and Conceptualism also held strong positions in that decade; nevertheless, they shared with Minimalism a preference for cool detachment and almost mechanical technique. In reaction to those ascetic qualities, many artists of the present generation have turned to more hotly emotional and physically aggressive manners (now collected under the term Neo-Expressionism). Brashly painted or sculpted images of figures and places have succeeded those clean, severe geometries of the last decade. Garish color, clotted texture, and primitive drawing reveal the emotional pulse of the artist as clearly as they do his energetic hand. Artists as diverse as Amenoff, Campbell, and Steir variously employ such techniques in their individual ways, but with a debt to Expressionist forebears like Hartley and Marin, or DeKooning and Guston. One thing which has interceded between those masters and the present generation is the "vulgar" aesthetic first generated by Pop Art. Silva's "cartoon" trees outlined in neon and Chase's "comic book" clouds spitting day-glo rain draw upon the images projected in mass media as 9 I - ■ •- �much as they do upon earlier art. Perhaps the most extreme use of Pop Culture aesthetics appears in Jedd Caret's "Properties", where a deliberately amateurish technique has been manipulated into a perversely evocative image. The more austere values cherished in the seventies have not been entirely abandoned in our decade, however. Almost Minimalist simplicity remains a significant factor in the contemplative works of Warren Rohrer and Ann Taylor. Rohrer says that his abstract paintings are deeply indebted to the landscape response in their concerns for matters of air, light, and space. Certainly the processes of my work over the last ten to twelve years have paralleled the various processes that relate to the land, its appearance, how it is worked, seasonal changes, and most of all are responses to that glow of the landscape which is so often hard to believe. My paintings have to do with hard, meticulous work, are nurtured by patience and accompanied by risk. In the work of the last several years the painting usually begins when a color idea is triggered by an experience — it could be as simple as placing a color in a blank. space or naming the color of a day. The painting germinates from that seed through layered shifts of color in its attempt to arrive at some altered state, a metaphor for that original bloom. No profuse or agitated style could satisfy this spirit. Geometry also persists. Rohrer's canvases are square. Taylor works on cylinders. Her rectalinear planes, like Sylvia Plimack Mangold's rectangular overlays, sufficient unto themselves for artists in the seventies, now act as rationalist foils to indeterminate nature. Eve Ingalls on the other hand, has retained something of a Photorealist's cool 10 and precise technique to express a similar dichotomy. But whether the style is cool or hot, precisionist or raw, the Expressive Landscape is invariably about a person's relationship with nature. ☆ ☆ ☆ Why has landscape returned as a force in contemporary art? A few years ago, some critics pronounced painting dead, in the belief that the medium had run its full course. Certainly landscape had been put through every conceivable permutation, or so it seemed. The easy answer to our query is that history circles upon itself. The human need for change and the equally human bent for nostalgia eventually uproot those interred styles and find new life in them. But more specific and contemporary motives may also be involved. It is often suggested that as man poisons and desecrates his natural environment to an unprecedented degree, the artist has been moved to portray it out of fear for its survival. This must certainly be true for some, especially those who adopt realistic and idealistic styles. But for the Expressive Landscapists, the fear may be for their own survival, not so much physically as psychologically and humanistically. It may be that they once again seek salvation in nature. William Sterling Qiairman, Department of Art Notes 1. Julien Levy, Arshile Gorky, New York, 1968, p.30. 2. The words of Louisa Chase and Eve Ingalls are drawn from exM’' catalogues produced by the Robert Miller Gallen- and Unn«’“ . Bridgeport, respectively. We are indebted to the other artists qu here for their remarks. s- Deborah Ka Stormy Weather, 1984 Oil on canvas. 70 x 100 Courtesy Baskerville Watson Gallery, New York �n earlier art. Perhaps the most ulture aesthetics appears in Jedd where a deliberately amateurish lanipulated into a perversely alues cherished in the seventies have idoned in our decade, however, nplicitv remains a significant factor in rks of Warren Rohrer and Ann Taylor, bstract paintings bted to the landscape response m matters of air, light, and space, resses of my work over the last ten to ! paralleled the various processes that its appearance,, how it is worked, , and most of all are responses to that tape which is sc often hard to ive to do with hard, meticulous d by patience and accompanied bv if the last several years the painting len a color idea is triggered bv an iuld be as simple as placing a color in anting the color of a day. The tes from that seed through layered :s attempt to arrive at some altered for that original bloom. 1 style could satisfy this spirit, ists. Rohrer's canvases are square, ders. Her rectalinear planes, like aid's rectangular overlays, sufficient rtists in the seventies, now act as terminate nature. Eve Ingalls, on the ied something of a Photorealist's cool $ 5 1 and precise technique to express a similar dichotomy. But whether the style is cool or hot, precisionist or raw, the Expressive Landscape is invariably about a person's relationship with nature. ! 1 ’ATiv has landscape returned as a force in contemporary art? A few years ago, some critics pronounced painting dead, in the belief that the medium had run its full course. Certainly landscape had been put through every conceivable permutation, or so it seemed. The easy answer to our query is that history circles upon itself. The human need for change and the equally' human bent for nostalgia eventually uproot those interred styles and find new life in them. But mere specific and contemporary motives may also be involved. It is often suggested that as man poisons and desecrates his natural environment to an unprecedented degree, the artist has been moved to portray it out of fear for its survival. This must certainly be true for some, especially those who adopt realistic and idealistic styles. But for the Expressive Landscapists, the fear may be for their own survival, not so much physically as psychologically and humanistically. It may be that they once again seek salvation in nature. William Sterling CJiairman, Department of Art Notes 1- Julien Levy, Arshile Gorky. New York, 1968, p.30. n The v.ords of Louisa Chase and Eve Ingalls are drawn from ex 1 oj catalogue! produced by the Robert Miller Gallery and Univy'5 Y , undgeport, respectively. We are indebted to the other artists q for their remarks. s ■■ e I fg ; 'i s- Deborah Kass Stormy Weather, 1984 Oil on canvas, 70 x 100 tourtesy Baskerville Watson Gallery, New York I 11 - �Checklist of the Exhibition All dimensions in inches unless otherwise noted. Height precedes width. ■ 1. Gregory Amenoff Presage (On Loop Road), 1983 Oil on canvas, 55 x 60 Collection Mr. and Mrs. Sid Singer 2. Gretna Campbell Arbor in Snow, 1984 Oil on canvas, 45 x 56 Courtesy Ingber Gallery, New York 3. Louisa Chase Storm, 1982 Oil on canvas, 72 x 72 Collection Bette and Herman Ziegler 4. Berenice D'Vorzon Louse Point Low, 1984 Watercolor, 22 x 30 Courtesy of the artist 7. Eve Ingalls Moving Through, 1984 Ink, graphite, acrylic on canvas, 80x60 Courtesy SoHo 20 Gallery, New York 8. Deborah Kass Stormy Weather, 1984 Oil on canvas, 70 x 100 Courtesy Baskerville Watson Gallery, New York 9. Vera Klement Far Away, 1983 Encaustic on canvas, 503/4 x 98 */z Courtesy CDS Gallery, New' York 10. Cheryl Laemmle Red Spruce, 1984 Oil, 84 x 56 Courtesy Sharpe Gallery, New York 5. Jedd Garet Properties, 1982 Acrylic on canvas, 5492 x 54x/z Courtesy Robert Miller Gallery, New York 11. Sylvia Piemack Mangold June 2,1984,1984 Pastel on paper, 19V2x30 CourtesyBrooke Alexander, Inc., 6. April Gomik Trees in a Storm, 1982 Oil on canvas, 60 x T2 Courtesy Edward Thorp Gallery New York 12. Ben Frank Moss Silver Trees, 1983 Oil on paper, 335/s x 273/.i V, 12 ?“XKl“shaa'G*ries- 13. Warren Rohrer Recollection, 1983 Oil on canvas, 60 x 60 Courtesy of CDS Gallery, New York 14. Ernest Silva Beneath Fiery Clouds, 1982 Oil on canvas, 48 x 60 Courtesy Vandenvoude Tananbaum Gallery, New York 15. Elena Sisto Landscape in a High Place, 1984 Oil on wood, diptych, 28 x 48 Courtesy Vanderwoude Tananbaum Gallery, New York 16. Pat Steir Calligraphy Screen, 1983 Silkscreen on linen mounted in wooden frame, 63 x 80 x 191 Courtesy Fabric Workshop, New York 17. Ann Taylor Boundless, 1984 Oil on canvas, 70 x 15 (diameter Courtesy of the artist 18. David True Cross China, 1983 Oil on canvas, 78 x 108 Courtesy Edward Thorp Galled New York 2- Gretna Campbell Arbor in Snow. 1984 Oil on canvas, 45 x 56 Courtesy Ingber Gallery, New York �• the Exhibition rwise noted. Height precedes width. 7. Eve Ingalls Moving Through, 1984 Ink. graphite, acry lic on canvas, 80x60 Conrtesv SoHo 20 Gallen', New York 8. Deborah Kass Stormy Weather, 1984 Oil on canvas, 70 x 100 Courtesy Baskerville Watson Gallery, New York 9. VeraKlement Far Au.au, 1983 Encaustic on canvas, 503i< x 981/2 Courtesy CDS Gallery, New York 10. Cheryl Laemmle Red Spruce, 1984 Oil, 84x56 Courtesy Sharpe Gallery', New York 11. Sylvia Piemack .Mangold lune 2,1984,1984 Pasteion paper, 19'wx30 Courtesy Brooke Alexander, Inc New York 12. Ben Frank Moss Silver Trees, 1983 Oil on paper, 33s,'6 x 273i4 Courtesy Kraushaar Galleries, New York 13. Warren Rohrer Recollection, 1983 Oil on canvas, 60 x 60 Courtesy of CDS Gallery, New York 14. Ernest Silva Beneath Fiery Clouds, 1982 Oil on canvas, 48 x 60 Courtesy Vanderwoude Tananbaum Gallery, New York 15. Elena Sisto Landscape in a High Place, 1984 Oil on wood, diptych, 28 x 48 Courtesy Vanderwoude Tananbaum Gallery, New York 16. Pat Steir Calligraphy Screen, 1983 Silkscreen on linen mounted in wooden frame, 63 x 80 x 191 Courtesy Fabric Workshop, New York 17. Ann Taylor Boundless, 1984 > OU on canvas, 70 x 15 (diameter; Courtesy of the artist 18. David True Cross China, 1983 Oil on canvas, 78 x 108 GalleryCourtesy Edward Thorp New York 2 Gretna Campbell Mor in Snow, 1984 Oil on canvas, 45 x 56 Courtesy Ingber Gallery, New York ��I 12 Ben Frank Moss Silver Trees, 1983 Oil on paper, 33^/hz 27 Courtesy Kraushaar Galleries, New York ■ 15 I �Caret Properties, 1982 Vni,conCanvas 5412 x 541, OUrtes.v Robert Miller Gallerj-, New V'rk �■ *} t -4; t ui-v.is, 54*7, X r>4’/? "■- , i’’> •.-. rt Milk j f I k-w York 17 i? ��id 'ry. New York April Gomik Trees in a Storm, 1982 Oil on canvas, 60x72 Courtesy Edward Thorp Gallery, New York 19 �Eve Ingalls Mown? Through. 1984 Ini graphite. acrylic on canvas, 80x60 C ourtesy Sol Io 20 Gallery. New York 10. Cheryl Laemmle /'• J Spruce. 1984 Oil, 84 x 56 Courtesy Sharpe Callery, ” llllllllllll IHllIlllllilHIlHilHilllilHIHIIili! �- _ - 10. Cheryl Laemmle Red Spruce, 1984 7. Eve Ingalls Moving Through. 1984 Ink, graphite, acrylic on canvas, 80 x 60 Courtesy SoHo 20 Gallery, New York Oil, 84x56 Courtesy Sharpe Gallery; New York niiiiiiiiiiiiiiimHhmimimiiimmmmmr ■ 21 �4 11. Sylvia Piemack Mangold June 2, 1984,1984 Pastel on paper, 1992 x 30 Courtesy Brooke Alexander, Inc., New York !-■» Elena Sisto Lt nd- cape in a High Place, 1984 Oil on wood, diptych, 28 x 48 Courtesy Vandcrwoude Tananbaurn Gallery, New York �23 �t“l fJavid True 'f'1 '.kina, 1983 Chhin can>a ,, 7k x V/k e '> Edward fhorp Galil:ry, "h-w York �IS David True C\x>- CAn.’j. 1983 Oil on canvas, 78 x 108 Courtesy Edward Thorp Gallery, NW York ��I 17. Ann Taylor Boundless, 1984 Oil on canvas, 70 x 15 (diameter) Courtesy of the artist me. Mx 89 k bl 'I •1 �SordoniArt Gallery Advisory Commission,1984-85 Andrew J. Sordoni, HI, Chairman Judith H. O'Toole, Director Christopher N. Breiseth, Ph.D. Deane Berger Richard E Charles Aleta Connell Sordoni Art Gallery Wilkes College 150 South River Street Wilkes-Barre, PA 18766 (717)8244651, Ext. 388 Lou Conyngham Yvonne Eckman Charles Flack Gerald E. Hartdagen, Ph.D. Oscar Jones Charlotte Lord, Ph.D. Marilyn Maslow Arnold Rifkin Jill Evans Saporito Judith Schall Helen Farr Sloan William H. Sterling, Ph.D. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1985 April 21 The New Expressive Landscape Creator An entity primarily responsible for making the resource Gregory Amenoff Greta Campell Louisa Chase Bernece D'Vorzon Jedd Garet April Gornik Eve Ingalls Deborah Kass Vera Klement Cheryl Laemmle Sylvia Plemack Mangold Ben Frank Moss Warren Rohser Earnest Silvia Elena Sisto Pat Stein Ann Taylor David Tress William Sterling Date A point or period of time associated with an event in the lifecycle of the resource 1985 April 21 - May 19 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource New Expressive Landscapes is an homage to the new landscape painters of our time. Featured in this exhibition includes thrunderous portrayals of mountainscapes, vivacious sunsets, and other incredible depictions of the land. Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/0c36d810f6b7862fa8525414ed8a4148.pdf 4986464ca2d57237330d4d7d464174a7 PDF Text Text �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1985 June 30 Gary Erbe: Magic Realist Creator An entity primarily responsible for making the resource Gary Erbe David L. Shirey Date A point or period of time associated with an event in the lifecycle of the resource 1985 June 30 - August 4 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource Gary Erbe's paintings can be described as ethereal representations of magic realism. Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/2700f224e0230c98628cc6984f093319.pdf 721deb99540c9de4e5bec205f5f79655 PDF Text Text ��������������������������� https://omeka.wilkes.edu/omeka/files/original/6e05c0eb1e97e32326225ae8dcd4e368.pdf 9d017c887332b8bf09f7c91db57abc01 PDF Text Text s I kk # I t' - ’ ir @ J s Jfi ii I 1li Ji ■ ■ • H i IS I III i fR I - 3J z ~r i gg IW IH Sordoni Art Callery Wilkes College SORD GA NK6050 J3 1985 „ �Japanese Art: iro, Netsuke, and okimono From Collections Previously Formed by senator Andrew J. Sordoni catalog and selection by Emoretta Yang Exhibition organized by Judith O'Toole, sordoni Art Callery Wilkes College sordoni Art Gallery Wilkes College Wilkes-Barre, Pennsylvania October 20 through December 1,1985 Center Gallery Bucknell University Lewisburg, Pennsylvania January 6 through February 3,1986 E.S. FARLEY LIBRARY WILKES UNIVERSITY WILKES-BARRE, PA Cover 2. Boar Signed: Tbyomasa �Acknowledgements Judith O'Toole .... Andrew J. Sordoni: 1887-1963 Andrew). Sordoni, HI........... Japanese Art: Inro, Netsuke and Okimino from Collections Originally formed by Andrew J. Sordoni Emoretta Yang................................................ Checklist of the Exhibition Emoretta Yang................................................ half in the making and represents an important new step for the Sordoni Art Gallery. For the first time, we have the capability to show small objects and we hope that this will open possibilities for many exhibitions for which we did not have the facility before. The exhibition initially evolved through discussions with Andrew J. Sordoni, 111 about his grandfather. Senator Sordoni’s interest in European art was well known and recognized, but his interest in and knowledge of these Japanese objects was n< >t. The objects themselves, and the collecting of them, became more intriguing with each consideration. Their tiny, intimate format invites and, indeed, intices further investigation. They seem to exist in another world; a world full of myth and legend, aesthetic beauty and diligent craftsmanship. Later, the idea for an exhibition was presented to Joseph Jacobs of the Center Gallery, Bucknell University since Bucknell is caretaker of a part of the collection given to the University by Andrew Sordoni. With Bucknell’s agreement to participate in the exhibition, we proceeded to contact the other collectors who had acquired parts of the collection at the time of its dispersal. a p; Sen Cel prh this exti Yar Un ant cat re a �Acknowledgements 3 4 tions 5 7 This exhibition has been more than a year and a half in the making and represents an important new step for the Sordoni Art Gallery. For the first time, we have the capability to show small objects and we hope that this will open possibilities for many exhibitions for which we did not have the facility before. The exhibition initially evolved through discussions with Andrew J. Sordoni, III about his grandfather. Senator Sordoni’s interest in European art was well known and recognized, but his interest in and knowledge of these Japanese objects was not. The objects themselves, and the collecting of them, became more intriguing with each consideration. Their tiny, intimate format invites and, indeed, intices further investigation. They seem to exist in another world; a world full of myth and legend, aesthetic beauty and diligent craftsmanship. Later, the idea for an exhibition was presented to Joseph Jacobs of the Center Gallery, Bucknell University since Bucknell is caretaker of a part of the collection given to the University by Andrew Sordoni. With Bucknell’s agreement to participate in the exhibition, we proceeded to contact the other collectors who had acquired parts of the collection at the time of its dispersal. This exhibition, then, represents a reassembling of a part of the exceptional collection formed by Senator Sordoni. We would like to thank the Center Gallery of Bucknell University and the private collectors whose generous loans have made this exhibition possible. We would also like to extend gratitude to our guest curator, Emoretta Yang of the Herbert F. Johnson Museum of Cornell University, whose love for these objects is infectious and whose care and diligence in preparing this catalog has been deeply appreciated. We invite the reader to share in the delight of the following pages. Judith H. O’Toole Sordoni Art Gallery, Wilkes College October, 1985 3 �SB I Andrew Jo Sordoni 1887-1963 introduction 2. Boar Signed; k'A'O’n Senator Sordoni was a man of many talents, moods and accomplishments. His distinguished career in business, public service and philanthropy has been documented by his material accomplishments, leadership and vision especially at the two institutions (which he served simultaneously as a Trustee), Bucknell University and Wilkes College, which have joined in the presentation of these oriental objects. Netsuke and into were very esoteric, even obscure collectibles on the American scene in the 1920’s and 1930’s. Nevertheless, Senator Sordoni undertook to collect these items of Japanese art with all of the energy and passion for which he was noted in his other endeavors. During that period he studied all of the available material that was printed in English and conferred regularly with major dealers, collectors and curators in New York City as he began to assemble his own collection and reflect his growing knowledge and taste. Andrew Sordoni assembled important collections of 19th century academic paintings and 19th century oriental rugs; yet neither of these collections represented the depth and care that was required in assembling the Japanese collection of inro and netsuke (later augmented by okimono and other items). 4 Other than his gift to Bucknell in 1943, there has never been an acknowledgement of this collection nor the role of Senator Sordoni in preserving these fine Japanese pieces. In fact, since World War II the collection has not been shown. It is, therefore, a particular joy that the collection be shared by Bucknell and Wilkes, opening in Wilkes-Barre with special enthusiasm for the 75th anniversary of the businesses that Senator Sordoni created. Andrew J. Sordoni, III Wilkes-Barre October 19, 1985 Why should miniature arts interest us? An anthropologist might remark the number of ways t^iat t^le miniaturizing impulses in art has found expression in a diverse range of cultures. Miniature­ art possesses qualities that ally it with the exotic, so that even when it is found in our own culture — for example, in dollhouses, or in miniature Bibles — one feels it as something other, coming, strangely enough, from another world. Perhaps it is not just historical contingency, then, that has made the miniature arts of Asia as fascinating to the west. Ever since the opening of Japan to general international trade in the middle of the nineteenth century, Japanese miniature arts have engaged western audiences. For those audiences, the miniature pieces of sculpture call netsuke were like charming cultural ambassadors. Appropriately enough, some of the first large collections of netsuke were assembled by individuals sent on the first diplomatic missions. Men such as Robert H. Pruyn, who served as an American minister to Japan from 1862 to 1865, were fascinated by netsuke and were able to collect hundreds of them to send back to relatives in the States, even in spite of the unsteady fortunes of foreigners in Japan in the years before the Meiji Restoration in 1868. One of the initial interests of these collectors seems to have been as much an anthropological one, since netsuke sparked curiosity about the Japanese folk legends and customs which they illustrated. Traditional Japanese dress provided only sleeves or the natural folds of the robe in which to carry­ personal items. Netsuke are toggle ornaments, fastened by means of a cord to any of those personal objects that could be suspended from the belt, such as tobacco pouches, keys, wallets, talismans, sake cups, medicin Chinese toggl natural root, use in Japan i the eighteen! netsuke read its sculptured Inro are be or powdered a series of sta> raised lip tha above. Wher inches high, ’ to back, dimt since it was d would not be against the b lacquered im sixteenth ter young memb extended pet the Tbkugav merchant ck its power. Im personal adc commission! newly empo' Though th together in f bound also I inro-netsuke two forms st miniaturizin and proport and its desig lacquer into �mtraduction ly e d o i s IS I Other than his gift to Bucknell in 1943, there ha« never been an acknowledgement of this collection nor the role of Senator Sordoni in preserving these fine Japanese pieces. In fact, since World War II the collection has not been shown. It is, therefore, a particular joy that the collection be shared bv Bucknell and XX'ilkes, opening in XX’ilkes-Barre with special enthusiasm for the 75th anniversary of the businesses that Senator Sordoni created. Andrew J. Sordoni, III XX ilkes-Barre October 19, 1985 hy should arts interest interest us? XXTiy should miniature miniature arts us? An An anthropologist might remark the number of ways ’ the miniaturizing ----' ■in art->has found that impulses expression in a diverse range of cultures. Miniature art possesses qualities that ally it with the exotic, so that even when it is found in our own culture — for example, in dollhouses, or in miniature Bibles — one feels it as something other, coming, strangely enough, from another world. Perhaps it is not just historical contingency, then, that has made the miniature arts of Asia as fascinating to the west. Ever since the opening of Japan to general international trade in the middle of the nineteenth century, Japanese miniature arts have engaged western audiences. For those audiences, the miniature pieces of sculpture call netsuke were like charming cultural ambassadors. Appropriately enough, some of the first large collections of netsuke were assembled by individuals sent on the first diplomatic missions. Men such as Robert H. Pruyn, who served as an American minister to Japan from 1862 to 1865, were fascinated Ey netsuke and were able to collect hundreds of them to send back to relatives in the States, even in spite of rhe unsteady fortunes of foreigners in Japan in the years before rhe Meiji Restoration in 1868. One of the initial interests of these collectors seems to have been as much an anthropological one, since m-r-.uke sparked curiosity about the Japanese folk legend', and customs whit h they illustrated. Traditional Japanese dress provided only sleeves or the natural folds of the robe in which to carry P' r-onal items. Netsuke are toggle ornament'., fastened by means of a < ord to any of t hose personal objects that could be suspended from the belt, such ' . toba* co pouches, keys, wallets, talismans, sake cups, medicine boxes, or other objects. The first Chinese toggles of this type were simply pieces of natural root. Objects serving this function were in use in Japan in the fourteenth century, but it is in the eighteenth and nineteenth centuries that netsuke reaches a zenith in the variety and beauty of its sculptured forms. Into are boxes used to carry various types of pills or powdered medicine. They are usually designed as a series of stacked cases, each compartment with a raised lip that fits trimly into the compartment above. When closed, the inro is usually about four inches high, three inches wide, and one inch front to back, dimensions that suit the inro’s purpose, since it was desirable to have a form from which would not be too bulky and which would hang flat against the body. The wearing of highly decorated lacquered inro seems to have begun in the late sixteenth century, and was initially popular with young members of the samurai class. During the extended period of peace in Japan under the rule of the Tokugawa shogunate (A.D. 1613-1867), the merchant class prospered and began to consolidate its power. Inro, which were often the only objects of personal adornment worn by men, were also commissioned and purchased by members of the newly empowered commercial classes. Though the netsuke and into are, literally, bound together in function — and ideally the two would be bound also by thematic connections (see the inro-netsuke combinations in Nos. 51 and 57) — the two forms stand in slightly different relation to the miniaturizing impulse. The inro, in its typical form and proportions, offers two “faces” for decoration, and its ilesigns are largely pictorial. Decorations on lac,pier into, though it often branches off in its own �The boar i- onf** ‘ directions, almost as frequently takes its models from the traditions of pictorial art, from the history of painting and prints. The landscape on the reverse of Number 84 imitates the atmospheric effects and designs of paintings in the Mayuyama-Shijo school of painting; the depiction of the Death of Buddha on Number 51 is directly taken from the iconographical traditional of Buddhist religious painting in Japan; the actor portrayed on Number 83 is patterned after a print used to advertise and commemorate well-known kabuki theater actors. Lacquer comes from the sap of a tree found in China and Japan, and working it is a complex and time-consuming process. The Japanese developed techniques that went far beyond those developed in China. (For a brief explanation of two of these techniques, see the discussions for Nos. 51 and 58; for more elucidating discussions, see the Jahss, Pekarik, or Okada works cited in the bibliography.) Humor plays a role in lacquered inro design, but, partly because the medium demands so much more rime than miniature carving, the miniature designs on inro tend toward a more reverent treatment of its subjects. . -eruke has its lyrical expression as well, as in the ear.y ah tract design of three peapods (No. 10), or in rh,; monurnentality of the boar (No. 2), in the domexric intimacy of rhe three puppies (No. 4), or in [ 'h'^lct '/mouse or cicada (Nos. 7 a--.frnn, and perhaps more rhc1r"nch-,"rl>‘enturygoes<>n, ‘ dK,w a humor best caught by a examples of t|m ' ‘ dram an her m No. 17,<irintlie grave visit orsi n No 25 Psv I J... I • i 5SS“”» effect, as in the disgruntled penitence of the demon in No. 21. Netsuke carvers could ally themselves inches: height with the underdog: contrast Zeshin’s into design of All dimensions m inches. eig two demons fleeing from Shoki, the deity in charge preceeds lengthof getting rid of demons (No. 86) with the netsuke 1 Two Quail with Millet Signed: Okatomo shichijushichi showing a demon getting the best of the smugly sleeping demon-queller (No. 22). The irreverence of okina (“77-year old man Okatomo ) a design such as that in No. 17, where one turns the Ivory Dimensions: 1 X 1 "'itnetsuke around to fine a little demon goosing the Lent by Sordoni Family Collection exorcist was an irreverence available only to an Okatomo was a Kyoto carver whose artist working in a form already marginal to loftier first works were notice before 1781. His cultural claims. name is mentioned m the Soken Ki>ho, a late eighteenth century work It lies within the power of the miniature to astonish; we are all familiar with the dizzying effect published in Osaka, which dealt with fine sword accessories and included that the meticulous execution of detail, in miniature netsuke. Okatomo’s work, generally in produces. When one speaks of the “telling detail” in won, depicted animals, birds and a narrative, one means a single minute part that seems to reveal the whole. Susan Stewart writes, in her engaging book, On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection, o: “the hand being thercniiouvSA, miniature, _______________________ b the measure of tux. ^1 ” The fin reiminding us that the impulse to miniaturization in the subtle courT !twn oQcathers and SHail in this net7T?'nr °f tl?e two art is also connected to a dream of total comprehension: a world encompassed in one's hand, a cosmos under control. “There are no JefincTT'?c<lte ^'’’cctions*0 miniatures in nature,” she writes; “the miniature is a -fom; but there J ■ spa. e betu^n cultural product, the product of an eye performing " nd distant e4ually certain operations, manipulating, and attending m - ln-e es th tt ' |*nched, certain ways to, the physical world." Bv its scale am • ■ untm* quality in gW* ,^er>tee the craft of its execution, by................. its pious and its, ....................... irreverent representations, bv its framing of detail I w.;| lir)e<Tenter l°“Wted• l‘-'w ,n hpan. a'k'K>wn which seems to originate in a world alwavs anterior and k'ar to it, tniniature art can only remind us ot the miniature — and cultural — nature ot all art. Emoretta Yang Ithaca. New York system that governs t since each animal cCH year, a month, or a tit Symbolic association: subjects could thus lx was common, for ex# netsuke owner to cho representing the anin his birth. Stunning in its exec offers a clear testimon reputation of its make (177 3-1856) was a Shi whose work, almost a known for its vigor ar this example, the delil meticulousness of the solidity of the animal’ sweep of us movemen Produce a form that is vision. T Water Buffalo u rS‘g^Yukoku,m Wrxd 8Ular rescrve rr in �[Checklist oF the Exhibition MomosHchijushichiokina (“77-year old man Okatomo”! effect, as in the disgruntled penitence of the de~ -r in No. 21. Netsuke carvers could ally themselves *' Japanese Netsuke Birds Animals, Plants S All dimensions in inches: height two demons fleeing from Shoki, the deitv in cncmL- Ik-rezeeds length. of getting rid of demons (No. S6) with the netsuke I 1. Two Quail with Millet showing , . -.a demon getting n ,x.the best of the . smuclv -■ . [Signed: Okatomo shichijushichi sleeping demon-queller he irrev e. er.ee ot oi Kokina (“77-vear old man Okatomo”) Sleeping ucmvu-^Rvui., i.\v. ».-<v. __ — . i, nv mcv urence a design such as that in No. 17. where one turns tr. ■Ivory netsuke around to fine a little demon goosing the K Dimensions: 1 X 11 ‘/ih I Lent bv Sordoni Family Collection exorcist was an irreverence available only rc an I Okatomo was a Kyoto carver whose artist working in a form already marginal to loftier E rzrst works were notice before 1781. His v r.zme is mentioned in the Soken Kisho, cultural claims. late eighteenth century work It lies within the power of the miniature to r atbshed in Osaka, w hich dealt with astonish; we are all familiar with the dizzying effect tins sword accessories and included that the meticulous execution of detail, in mimatun netsuke. Okatomo’s work, generally in depicted animals, birds and produces. When one speaks of the “telling nets.! ... -.egetsb'es and w as greatly admired a narrative, one means- a single minute -parr that .J ____ ,___________ copied during his lifetime and to reveal the whole. Susan Stewart writes s to | ir.tt. I.-, particular, examples of his r vjr.GiL? designs on the theme of “Quail her engaging book, On Longing: 'Carratiiz: o] r| pn provided models for later Minizrure, the Gigantic, the Souvenir, the CoUectxm, II rovers. I The fine art? ulation of feathers and “the hand being the measure of the miniature, I ■ i.e j-ibde counterpoint of the two reminding us that the impulse to miniaturi-ation J _ t.* ’■ j ;: netsuke are equal to any of . ’ ’r.'. he t productions. The two art is also connected to a dream of total B\ turned in opposite directions, comprehension: a world encompassed in one ■ J".i- a trm rv.'dving space between hand, a cosmos under control. “There are no < 7. ’' ,.r. ; h;it rj hing equal 1 y miniatures in nature,” she writes; “the min7tr^njns, ; ’'j:. ’ cr.'TJi u.r?. in their hunched, v? *•• r::i r.-< r;<«- rha» ref alb the cultural product, the product of an eye per. >r * ■<'.<.* '-. 'i'■ in die bird certain operations, manipulating, and atre^jnd rv th*-vixentri’ S : • i? jfv ( .bin' < painter certain ways to, the physical world- B- !j . ; ' ; * h'. \vhv«,Tr ;> known and the craft of its execution, by its pious an' • | ■ r> J m ! ;<n. irreverent representations, by it - framingnttT1< r 2. Boar which seems to originate in a world ai •■* • n.- J; [< )•,. a to it, miniature art can only remind u - * 'r f 1, /.i’ll i-.' • of inlaid horn ■ ; rr ion-; 1 / i 7-.. miniature — and cultural — nature o I J 'lit 1 . '-/J.l- Jn | .IJDiiy ( <41e' tl’ril Emoretta Yang Ithaca, New "fork The boar is one of the emblems in the Japanese zodiac, the twelve animals of which were favorite netsuke subjects, being depicted alone or in pairs, or in the entire group. The sign system that governs them is complex, since each animal could stand for a year, a month, or a time of day. Symbolic associations for these zodiac subjects could thus be quite personal; it was common, for example, for a netsuke owner to choose netsuke representing the animal of the year of his birth. Stunning in its execution, this boar offers a clear testimonial to the reputation of its maker. Tbyamasa (1773-1856) was a Shinoyama carver whose work, almost all in wood, is known for its vigor and boldness. In this example, the deliberate meticulousness of the boar’s fur, the solidity of the animal’s body and the sweep of its movement combine to produce a form that is monumental in vision. He was born in Osaka, a pre-eminent city in netsuke carving, living there all his life, but apparently was never formally apprenticed to any teacher. He had a reputation for selecting the best materials for his work; his carving style was distinctive and influential. This group of three puppies is typical of Kaigyokusai in the care and elegance of its execution. The composition shows that he carefully worked out the design from all angles, probably making many preliminary sketches of the front, back and underside. The himotoshi are formed by the natural configurations in the subject, and the fur is carved in raised ridges instead of simple incised lines. 3. Water Buffalo with Calf Signed Yukoku, in rectangular reserve Wood Dimensions: 1 ’/s X 2 '/t Lent by Private Collection, Wilkes-Barre 6. Dog Unsigned Ivory Dimensions: 1'/>X2 Lent by the Center Art Gallery, Bucknell University The dog, too, is one of the tw elve animals of the zodiac (see no. 2); its popularity as a netsuke subject must have been amplified by the closene-.s dogs have with the human family In netsuke they ate usually shown seated, frequently with an object, >u,h as a ball, toy, or, as in No. \ with an abalone shell. One version ot this subjeit shows a more macabre side to I he i .mine alhnity w ith man, as tn No. I where the dog be,omes a j.wk.il .mJ the toy be,omes a skull mask. 4. Three Puppies Signed Kaigyokusai (incised), Masarsugu (seal form) Ivory with eyes of inlaid black coral (miimulsii) 1 )imeiisi< >ns: 1 X 1 /s Lent by Sordoni Family I'ollei tion L iO'V* *f usai (IS 1 1- 1Sn..‘) i*. ivgaided .i . me u( iIn iii.i n r > atv> rs <if net tike. 5. Dog with Abalone Shell Signed: Okatomo, in reserve (probably a follower) Ivory Dimensions: IVsXl1/; Lent by the Center Art Gallery, Bucknell University �3 Water Buffalo with Calf Signed Yukoku, in rectangular reserve 7. Speckled Mouse Unidentified Ivory with eyes of inlaid dark horn Dimensions: I'/ieX 15/16 Lent by Private Collection, Wilkes-Barre In Japanese decorative arts of the Edo period, mice were an emblem for wealth; any middle-class household with the means to keep a full pantry could afford to support a few mice. This mouse netsuke is so lovingly rendered, one feels that the emblematic meaning of the well-stocked cupboard is of less interest to the carver than the gentleness of the animal itself, in its compact, rounded form, and the sleek, soft texture of its fur. 8. Cicada Signed: Naoaki, in oval cartouche Ivory Dimensions: 1% X 11 >/i& Lent by Sordoni Family Collection The cicada is appreciated in Japan as ' ne of the group of “insect musicians”; ■' :ong evokes the stillness and heat of summer. An acoustic charm -7 i-em-mts rhe sculptural grace of this -• ier iHie brittle paperiness of the 'ko leave', underneath frames t; . artfully veined wings in all ilme dimensions. 9. Wasp Inside a Pear L Saiigetsij Wrxxj 1 Uia-|: 11 /,, / iy|( '•r IPrivar<-( Wilk...Barn- An inn ,, , lh ,|t(. U<)» r< in. I,- J .., i.. ‘ 'h' tl. s,,| ,|, The nineteenth century netsuke-maker Sangetsu followed the style of realistic wood carving of Bazan, and both are known for their renderings of rotting pears. The subject of a wasp inside rotting fruit attracted several artists. In its challenge to represent different surfaces — the nubby texture of the nashi pear, the curling edges of the skin, the gauzy veined wings of the insects — it expresses a piquancy not found in more conventional insect-and-flower subjects. 10. Three Peapods Signed: Kiyokatsu Ivory Dimensions: 1X 2 ¥16 Lent by Private Collection, Wilkes-Barre The work of Kiyokatsu (early 19th century) depicted groups of nuts or vegetables, designed so that the netsuke cord could pass through openings in the composition. It is typical of his work to take advantage, as he does here, of the color and smooth rich surfaces of unstained, natural ivory. The mute elegance of this piece seems also to derive from an underlying geometry-. The three peapods overlap in such a way as to recall the mitsu-tomoe (“triple-comma”) crest design, with its Buddhist connotations of a cosmos in complementary flux. This own c??’?''1'1 abstract MHalitv finds its r iZ’lTV1'tl'Lrl'V:1Am,uetrKal stents, bulges and Re,rack'Ji„ smi ■^li' hed tnrtois,. shell 1 'iinetisioiis; •/> x 1' t • ^tbySordom Family Collection lananese iconoOTanh°v 15. Frog on a Skull Signed: khivusai I A.uve mid- T'th *'gUre ® netsuke how "eI1 ir that considerations of imagination or }beauty ... . - <from in design. Apart miniature --------sculpture for j„:_designed j r_T religious or votive purposes, okimono were exclusively ornamental. ornamental. In In the the latter part of the nineteenth century, when Japan was eager to assert its place in the burgeoning w orld trade community, many okimono were made 12. Octopus to send to the International Signed: Chokuminsai (?), incised Expositions. Genre and not mythical subjects were favored for these de /octo Ivory with inlaid eyes ambassadors to rhe West, and it is not Dimensions: 1 ‘/16 X1 ’/ie. surprising that their manufacture Lent by Private Collection, became an arena for virtuosic displays Wilkes-Barre in the execution of detail. This snail Though this carver . is not included. was probably not intended for export; --- =--------------standard references, it is possible th." its intimate scale and the reverent he is the same as the Chokusai bom treatment of its attributes aim at a 1877, w whose ’hose work, though rare, is Japanese audience. audience, noted for its high quality. This octo; netsuke with its fully rounded an4* Jackal xy vyitn itn a Skull Nfask intricate design of curled tentacle tentacles bigned. loshimasa indicates a carver of great skill aix. >,rV Dimensions: I'l- xZ sensitivity. Lent by the Center Art Gallery, Bucknell University 13. Snail Signature unread Wchimasa was a late eighteenth centurv carver whose work is Ivory; okimono Dimensions: Sx2‘: . .. associated w ith the style of Yoshinaga in Kvoto. For the subject, see Xos. 5 Lent by Sordoni Farnilv C and 0. The extreme delicacy ot th‘ s‘ antennae and the absence el jq. Frog on a Skull cord-holes indicate that m ■ t_. Signed: Ichiyusai (Active mid-Dth not a netsuke but an centurv) ornameiW); its life-like size __________ ____ stain Ivory with dark rust-red naturalistic precisioneh^'”T.!?.< Dimensions: ‘'leXl1 ■ coloring, and shell stnatuxt - ^ . ... Lent bv Sordoni Family Collect ion that the carver here i> ures ot starting in the middle of the muk h tor the pleasures ot tbt’b" ’'ineteenth rather centurv and sontinuing to miniaturizing, but the beginning ot the twentieth, a new deceiving the eve. —............................. . ,re ornJ®31' Iw t'* 91'!x'Jred in traditional Japanese Though netsuke '"A ' taste tor ghost and demon rales; an their primary purpose interest in macabte subjects and their luncnon as toggles, an ■ • collectors still judge the'foundations of the world. This netsuke, showing a tortoise retracted its shell, is simple and compact in its design; in a punning, reflexive use of material, the unknown carver hashcarved his tortoise netsuke out of polished tortoise shell. graphic representation in net'u’ paralleled the rise in popularity subjects in prints. Some of that found expression in netsuke representing human skulls. A dramatizing touch was often ad including a creature closely assc with the earth, such as a snake ■ through the skull’s openings, or case, a toad, to make the moner message all the more potent. Mythical Creatures and 16. Demon Weeping on a Severed Arm Unsigned Ebony, ivory and lacquer Dimensions: l! -tX2 Lent by Private Collection, Wilkes-Barre There are several legends in J. history about Watanabe noTsi retainer of Minamonto no Yorir One of the best-know n recount: incident at rhe gate of Rashomo w here a large demon (uni' w as st be threatening villaget' and pas; Watanabe rook up the challenge investigate but after spending a' night waiting bv the gate tn the he began to doze. Something tin his helmet, and abruptly he si as! a dark mis, at the top or rhe gati monster escaped, but ,n the met \\ iranabe found a huge arm at t The legend is illustrated in net ■often, as here, with the added pt ot a smaller .'-ii w ho sit' on the *i .'.rm. mourning. The carver has i three different materials in this netsuke. The ivorv and rhe woo. rich compliments; lacquer br.xel nng provide the means bv w hisb cord could he attached to the ne �< Water Buffalo with Cal: C :r rectangular reserve teen— ce'turv _ _ ker Safest ed - ■ ;;c-“cr>:~1 Ct •ekr..".-.T. kt their -fr-rixpears. .he su~ert k^rc-t^iriri ~.-ez s. in its chadense to sudries — rr.e ;-epear. t.'.c s rithe the rv-v:s rirhe risects — it cv net: _r.c-.7i -r.—jisett-erJ-dc . sr : Peapods yckasu ;-. re L .iec.-.r.. :K: ■ . ■ . --- '' . -.cteig-.'-y - r..t r iesigr<tcs tr.-tthe L: Dtps-:rz.J. ■: z -■: .7 1■> -k7.t: c _i ;r.’sze. i. .. . : ■ i 'C-ii.fe.- • ar. -;.-.ri. -.. The tnute elegante if -t. :. x- tns*r».The three ■ ■ . . . t:. • ■ 'utnpit<c.—.ma~ -.-r Buddr .-t isoi a■■smos in fiux.Tr..' :d a.'c'rj - . finds ;r se Retracted in Shell -- .<•■■ . he rerteise is a popui— hgurc r.etsuke by how well it serves that ’.tpar.ese .ccr.eg’ip.'c.r ; Function, balanced against ’.engevit'., er.iu— a*.; Considerations of imagination or fcur.dcricr.s e: the world. Th.s beaurv in design. Apart from netsuke, she a ingat.'—cist retrccted :tl miniature sculpture designed for its shell, is simple and ccmpa- in n religious or votive purposes, okimono desisn; in a punning. re:.c:a- . ?.were exclusively ornamental. In the material, the unknown career ? hert Etter part of the nineteenth century, carved his tertaise netsuke c . fc her. Japan was eager to assert its place relished tortoise shell. in the burgeoning world trade temmunity, many okimono were made 12. Octopus to send to the International Signed: Chokuminsai ■ 1 . incised Expositions. Genre and not mythical F-b;ects were favored for these de facto Ivory with inlaid eves ambassadors to the West, and it is not Dimensions; J - ■_ - x 1 ■ I -—rising that their manufacture Lent bv Private CoHecricn, ■became an arena for virtuosic displays Wilkes-Barre .- the execution of detail. This snail Tncugh this carver is net in..--.- ’ i * ts probably not intended for export; its intimate scale and the reverent 1 tefe-ence-:, ;t i‘ pts; r._ . z • -; same as the Chokusai born k ttettment of its attributes aim at a Japanese audience. z . : ~ “ ■- : re. the ugr. rs re n^ted mr :t= high csriim. :77:r-: j 14. Jackal with a Skull Mask rc.. ’ ■ u: mu Signed: Yrehimasa :r.":n:e Jeiitn of curled 'er.'. :.e Jv-tr.indicates a carver of' greatt skm. and thmensions: IVaXZ tensitivriv. L'.-r;t by the Center Art Gallery, fe u t k ne! 1 University 13. Snail I a was a late eighteenth Signature unread 'lar/er ..hnse work is JypD’; okimono -.-'. j irh rhe tyle of Yoshinaga Dimensions: "--xZ _ Lent by Si^rdoni Farruiy Colle '• -r- ■ ■ !’. ■ "j. For the ubject, ee Nos. 5 The extreme delicacv ■ -f the vr.JiF' ■:rit'.r..nav ..'nd the absence >r 1 -td-holcs .- J,-are that this pu.-.c ' t'fx : •jke hur an n-..: .'.t.r ‘n;<he rr. inters ; .•■ ,nJ naruralisTR ;i- heli co. Ting, .• r.h'jt rhr arver here .ii'ni: v rx* v .n- -JlKe'' much for rhe pleri-uf' 14 miniaturizing, I r''i-.er r deceiving the eye1 i' .ugfi netsuke were their primary purpose lav m a**" rtw* ihdl J 15. Frog on a Skull Signed: Ichiyusai (Active mid-19th century) Colic. rjrir, fun< t oi, a- t.iggles, utid marry ‘ ollectors t:ll ju J.-: rti'.-'. "r-' ‘ 4 '' 15. Frog on a Skull feigned: 1> hivu'ai (At tive mid-19rh Century) I’-orv nth dark rer r red tain 'ion : • / 1 ■' L'l.t |.y ‘ j r<lotii 1:11 oily Coll''tioli '■ rt ■ :n th- |i id il>- "f ’I■' • .......i.rh ■ et>t.;ry at 1 ■ ontmuing to <■ ' Ji.i • .(the ■ •.»■< HO' di, 'I ie ' ■ ' .; t ■ J in 'r.idiiKHiul).•|..tri« •• for gh ■ • ind Ji mon i .ib , m re ' in n.: . I.|, sulji < t and llii-ll graphic representation in netsuke paralleled the rise in popularity of these subjects in prints. Some of that interest found expression in netsuke representing human skulls. A dramatizing touch was often added by including a creature closely associated with the earth, such as a snake curling through the skull’s openings, or in this case, a toad, to make the memento mori message all the more potent. Mythical Creatures and Tales 16. Demon Weeping on a Severed Arm Unsigned Ebony, ivory and lacquer Dimensions: I’AxZYs Lent by Private Collection, Wilkes-Barre There are several legends in Japanese history about Watanabe no Tsuna, a retainer of Minamonto no Yorimitsu. One of the best-known recounts an incident at the gate of Rashomon, where a large demon (oni) was said to be threatening villagers and passers-by. Watanabe took up the challenge to investigate but after spending a weary night waiting by the gate in the rain, he began to doze. Something tugged at his helmet, and abruptly he slashed at a dark mass at the top of the gate. The monster escaped, hut in the morning Watanabe found a huge arm at his leet. I hi- legend is illustrated in netsuke, iiften, as here, with the added presence i i( ,1 ■ mailer uni who sits on the severed .mu, mourning. Ute i aiver has mill ed thrts dilfi'ient ni.itoii.il in this hi i ul , I he iviny and the wood make rn li i utiiphinents; lai qut i ht.Hcli t and ting pri wide du mean-, by wlih h a 11 ad I Olli' I be all.u lii'd Io tin lu lsuki. The sheen of dark wood highlights the skillful carving of the arm, with its muscles and veins still bulging as the three fingers clench. A severed arm in itself would be a macabre object; the weeping oni turns the old legend around by adding a sympathetic and humorously poignant touch. 17. Exorcising Demons Signed: Ikkosai (probably Toun, active 1830-43) Ivory Dimensions: I'/zXlVs Lent by the Center Art Gallery, Bucknell University The first day of the New fear in Japan is traditionally the time when demon (oni) are cast out of the house in a ceremony called the Oni Yurai, or Oni Tsuina. In this ritual, the chanting householder throws handfuls of dried, roasted beans around the room. Netsuke carvers seem to have been particularly engaged by the idea of the oni fleeing those potent legumes, for they found an infinite number of ways to represent the exorcism, many of them with humorous twists. In this piece, a man of authoritative bearing dressed in dignified ceremonial robes performs the exorcism. Holding a tray of beans on a lacquer table, he gets ready to throw more from his upheld right fist, and his success can be seen in the poses and scared faces of the two demotes running trom him. Not to be outdone, how ever, a third demon crawls behind and ghvs the man a t lear poke in the rear. 18. Demon Hiding in a Box Signed: Mas.itoshi Wood I ■'intensions: 11 i X 11't.. 1 ent by 1't it ate l 'olleetion, \\ ilkes Barn �The design seen here became a standard representation of the Oni Ymii (“demon-exorcising ”) ritual (see No. 17): a terrified oni trying to cram himself into a box too small to hide him, nearly bursting the joints, several of the exorcism beans scattered around. 18a. An identical piece in the Sordoni Family collection, with inlaid ivory eve, bears the signature Isshin, and it is possible that both are the work of a nineteenth century carver, Isshinsai Masatoshi of the Nagoya school, about whom little is known (see Davey, p. 200; Meinertzhagen, p. 46). 19. Demon with Injured Knee Signed: Kincho (?) Wood Dimensions: 1 */s X1 Lent by Sordoni Family Collection More roughly carved, but no less expressive, this netsuke shows a demon grimacing in disgust at an exorcism bean stuck to his knee. 20. Sleeping Shoki and Demon-Thief Signature unread Ivory Dimensions: Lent by the Center Art Gallery, ■ knell University 21. Demon Grinding with Mortar and Pestle ■ >te !;’i:>-d Wood Dimer,Tm : D/txl1/, • <1 ih I !>(♦ >Aor| of master netsuke carvers. A second examination, which ought to include holding it in one’s hand, would convince one otherwise; it possesses all of the qualities that go into making a delightful piece of miniature sculpture and a perfect netsuke. The olive-color wood is light in weight, with more than enough volume for the netsuke to be tucked securely and comfortably into a sash. The design is compact and carved fully in the round, and there is a pleasing way the figure cradles the mortar bowl between his feet. The rough, stylized musculature of rhe demon is articulated through sharp cuts, but the extreme contours show a rounded softness and patina that are the unreplicable marks of ordinary handling. Last but not least is simply the humorous expressiveness of the figure. One does not have to know that a traditional way to dispose of oni was to grind them with mortar and pestle (this oni’s assigned punishment is milder than that) — the disgruntled and disobliging look on the demon’s race in accomplishing his penance would be familiar to anyone. 22. Sumo Wrestler and Demon Signed: Zemin Ivory Dimensions: %X l>/2 Lent by Sordoni Family Collection The work of Zemin (19th century) is rare; he is believed to have been a pupil of Suwa keimin. p 23. Kappa on a Clam Signed: Suketada Cherrywood with eyes of inlaid dark horn Dime nsions: I'/.-xlvn, In Japanese lore, a kappa is a near mythical amphibian whoTiveZ I »Cthe 'Tfeh.* hich 'hLJIV though, and even civil in their Jongarms. In c■J L.t the ferociousness. The eighteenth centun i the Tenaga riJes on carver a .Liman. K - .*1 carver Sukerada Suketada hnq has represented „a kappa here with all its standard attributes: the scaly body of a tortoise, frog-like limbs, and the head of a monkey. At the top of its head, the importance of social cooperation. surrounded by long lanky hair, is a concavity, which, according to myths, For netsuke designers, they were a source of great amusement, by the contains the fluid that gives the variety ofentanglements of limbs and creature its strength. To deflect the attack of a kappa, children are told to torsos that could be envisioned. Here, bow deeply in front of it; its reciprocal a Tenaga. perched on the shoulders of bows will cause its vital fluid to spill an Ashinaga. leans backward to grasp out. the ankles er his carrier, who open* his In netsuke, kappa are sometimes mouth m dismay? or delight? at the shown, as here, with a foot caught in a head now thrust up between his legs. clamshell, rendered harmless and the comical butt of a joke. In this piece both kappa and clam are carved from one piece of wood; Suketada has given Dimensions: 2 X ': us a nicely rendered contrast between Lent by the Cent * A C' the smooth surface of the clamshell D- ’ ••Art (,-,11. and the rough, scaly body of the kappa. /'-ex 26. No Unsigned of inlaid Ivory ■ abalone sh<,! 71/4X17/!; Dimensions: < Lent by Sordonii Family -27. Noh Theater Mok Signed: Gyokuzan(-) Ivory v Dimensions: 1 74 X 1 .8 Lent by Sordoni Family C 28. Noh Theater Mask Signed: Issan Ivory Dimensions: 1 '/<* X 1 ’/j Lent by Sordoni Family ( WuSS***» 24. Ashinaga and Tenaga Signed: Tbmochika Ivory Dimensions: 3 X 7s Lent by Private Collection, Wilkes-Barre s-Siaaa**.* ! r^’-nthe h« « haJ Tbmochika is the name signed h J family of Tokyo netsuke carver*", work appeared from the mida"- ■ ; nineteenth venture to the later: ■ the century. One of the pup*',"1' • F^tur, know n in particular ter he' f*Xt. okimono which wereex|xirrt lXrwj Europe and America • Ashinaga (“Long leus 'a1' L (“Long Arms”) are two mvthi.a • . . i ..,,-v ttw. .^hind 14 er "“Ma �M3SK5 1 he design six'll here became a standard repieseiitation ol the Dili L.'.a ("demon exorcising"' ritual (see ,\o. 1 a terrified oni trying to cram himself into a box too small to hide him, nearh bursting the joints, several ot the exorcism beans scattered around. ISa. An identical piece in the Sordoni Family collection, with inlaid ivory eve. bears the signature Isshin, and it is possible that Ix'th are the work ot a nineteenth century carver, Isshinsai XLisatoshi ot the Nagova school, about « horn little is known (see Davey, p. 200; Meinertzhagen, p. 4o). 19. Demon with Injured Knee Signed: Kincho (?) Wood Dimensions: I’. sXl Lent bv Sordoni Family Collection More roughly carved, but no less expressive, this netsuke shows a demon -:T.?cing in disgust at an exorcism bean stuck to his knee. 20. Sleeping Shoki and Demon-Thief ' .mature unread lv< tv D:n n-i.ins; L rr: v ri.v Center Art Gallery, fj'ti , r>. i, I Diversity 21. Demon Grinding with Mortar and Pestle ' .'nsigned !):'• i l, ’ <• y p,-( B ' A’:"' ......... ■ "L i. i,..; s 11< it "•■-'•nx-orda.-.lm, ....... ig '■••wii.s l,nth< w,,r( 10 of master netsuke earvers. A second examination, which ought to include holding it in one’s hand, would convince one otherwise; it possesses all of the qualities that go into making a delightful piece of miniature sculpture and a perfect netsuke. The olive-color wood is light in weight, with more than enough volume for the netsuke to be tucked securely and comfortably into a sash. The design is compact and carved fully in the round, and there is a pleasing way the figure cradles the mortar bowl between his feet. The rough, stylized musculature of the demon is articulated through sharp cuts, but the extreme contours show a rounded softness and patina that are the unreplicable marks of ordinary handling. Last but not least is simply the humorous expressiveness of the figure. One does not have to know that a traditional wav to dispose of oni was to grind them with mortar and pestle (this oni’s assigned punishment is milder than that) — the disgruntled and disobliging look on the demon’s face in accomplishing his penance would be familiar to anyone. 22. Sumo Wrestler and Demon Signed: Zemin Ivory Dimensions: 7s X P/c Lent by Sordoni Family Collection The work of Zemin (19th century) is rare; he is believed to have been a pupil ofSuwaKeimin. p 23. Kappa on a Clam Signed: Suketada Cherry wood with eyes of inlaid dark horn l dimensions: 11 •>- j.,h though, and even civil in their fo^*eh»:k of the ferociousness. The eighteenth center, carver Suketada has represented a kappa here with all its standard 'CL^'CjTenagahadaJhtinct attributes: the scalv body ofatone.se frog-like limbs, and the head of a LLfe^mdiustrating to children monkey. At the top of its head, ihi^^eotstKuCoopera^n. surrounded bv long lanky hair, is a concavity, which, according to mnb Fcrr-^ie designers, thev were a cot great arnuicment, oy t he contains the fluid that gives the vdr.cr. cf entanglements of limbs and creature its strength. To deflect the attack of a kappa, children are told t. tcrscs that could be envisioned. Here, bow deeply in front of it; its redpitxi •i Lr.t;:. retched on the shoulders of bows will cause its \ ita! fluid to sr:'.. ar. A-r..r.c; •...• r.; backward to grasp Jhe ankles of his tamer. who ..pens hiIn netsuke, kappa are sometimes ■rr.xifr. ir, dum n; cr delight? at the shown, as!here, ----- -u.c .-..a..with-ar— foot caught miftacrx e_ up between his less. clamshell, rendered harmless and th; comical butt of a joke. In this piece _.25. Ghost —- Over a Tombstone both kappa and clam are carvedfet” | Unsigned one piece of wood; Suketada ha.- pw p-’ir.s;cr.s: 2 X F; us a nicely rendered contrast her* e-' the smooth surface ot the datnshc and the rough, scaly body of the kappa. ' ' ’ 7- 2 * c;t abalone 17/te 27. Noh Theaier Kiwi Signed: Gyokuzan (.) Iwrv ,.. Dimensions: 11'4 X I Lent by Sordoni Family 28. Noh Theater Masi Signed; ksan Ivory Dimensions: 1 *4 x 1 Vi Lent by Sordoni Family There are many netsuke theater masks; m fact the e . ~ c^XAnGalIerv> 24. Ashinaga and Tenaga Signed: Tomochika Ivory Dimensions: 3 X ■ s Lent bv Private Collection, Wilkes-Barre Tbmochika is the name' g family of Tokyo netsuke ' work appeared from the’ nineteenth century to the late rhe century. Oneot the IJP-1' * known in particular tor h:> ukunono whic h were export " Europe and \merx i .VhmacaCT ong (“Long Arms") are two• ot men whose names ...it "fc’,Sk f ■ cc> . > lr> '^:ntktrsh-s u.. "'•■'■^Utkl tCtr- v dra?CtI’ *ith SdfulcJ’ l ds';tal *•1^ �2* 22. Sumo Wrestler and Demon Signed: Zemin ■ ______ The design seen here became a standard representation of the Oni Yarai (“demon-exorcising”) ritual (see No. 17): a terrified oni trying to cram himself into a box too small to hide him, nearly bursting the joints, several of the exorcism beans scattered around. 18a. An identical piece in the Sordoni Family collection, with inlaid ivory eye, bears the signature Isshin, and it is possible that both are the work of a nineteenth century carver, Isshinsai Masatoshi of the Nagoya school, about whom little is known (see Davey, p. 200; Meinertzhagen, p. 46). 19. Demon with Injured Knee Signed: Kincho (?) Wood Dimensions: 1 ’/a X 1 Lent by Sordoni Family Collection More roughly carved, but no less expressive, this netsuke shows a demon grimacing in disgust at an exorcism bean stuck to his knee. 20. Sleeping Shoki and Demon-Thief Signature unread Ivory Dimensions: 1 'Zt X17/s Lent by the Center Art Gallery, Bucknell University 21. Demon Grinding with Mortar and Pestle Unsigned Wood Dimensions; I'/iXl'Zi Center Art Gallery, nil’ knell I Jnivcrsiry A> Imt gkm. <• thr, lltM,.,||l)r ‘ ogtiurd m fl,, work of master netsuke carvers. A second examination, which ought to include holding it in one’s hand, would convince one otherwise; it possesses all of the qualities that go into making a delightful piece of miniature sculpture and a perfect netsuke. The olive-color wood is light in weight, with more than enough volume for the netsuke to be tucked securely and comfortably into a sash. The design is compact and carved fully in the round, and there is a pleasing way the figure cradles the mortar bowl between his feet. The rough, stylized musculature of the demon is articulated through sharp cuts, but the extreme contours show a rounded softness and patina that are the unreplicable marks of ordinary handling. Last but not least is simply the humorous expressiveness of the figure. One does not have to know that a traditional way to dispose of oni was to grind them with mortar and pestle (this oni s assigned punishment is milder than that) — the disgruntled and disobliging look on the demon’s face in accomplishing his penance would be familiar to anyone. In Japanese lore, a cuppu is a mythical amphibian who Ines rivers, attacking and devouring him,, beings. Kappa were thought to be though, and even civil in their ferociousness. The eighteenth . - carver Suketada has represented a kappa here with all its standard attributes: the scalv bodv of a tottote frog-like limbs, and the head of a monkey. At the top of its head, surrounded by long lanky hair, is a concavity, which, according to m ,tn.. contains the fluid that gives the creature its strength. To deflect the attack of a kappa, children are toH •: bow deeply in front of it; its reciprccd bows will cause its vital fluid to spdi out. In netsuke, kappa are sometimes shown, as here, with a foot caught m. clamshell, rendered harmless and the comical butt of a joke. In this piece both kappa and clam are caned trer one piece of wood; Suketada ha-;'■..' us a nicelv rendered contrast bet- .v the smooth surface of the damsheB and the rough, scaly bodv of the kappa. 22. Sumo Wrestler and Demon Signed: Zemin Ivory Dimensions: % X 11/2 Lent by Sordoni Family Collection The work of Zemin (19th century) is 24. Ashinaga and Tenaga Signed; Tbmochika Ivory Dimensions: ,3x Lent by Private Collection, Wilkes-Barre Tom.K'hika i- tlie name--er*- ~t.imih ot Tokvo netsuke cans’ work appeared from the m.-ddJr o* nineteenth centurv to the '.iter ran the centun. One ot the puptb •* known in particular tor hi- i”'n okano'io which were exported'"' Eun >pe and America. , • •Vh 11 ’L<(“Long Arm-"I ate two of men whose name- iJenl’.n t Ts±,S„v'd“l’“«b'““p"p» 23. Kappa on a Clam Signed: Suketada Cherry wood with eyes of inlaid dark horn Dimensions: P'-xj. ttfr*. . . 'X *;thouX^ Adunap- • .Jerable distance. Fornetsukedesigners they wen ’ ... une ■?! great amusement, bs the .. jricw ofentanglements of limbs and tone* that could be envisioned. Here, i Tenagc. ter .hed on rhe shoulders of an Ashinaga, leans backward to grasp the ankles of his earner, who opens his m- jtr. m dbmav I or delight’ at the head now thrust up between his legs. Pimcn-ions: 2 X1A PHxe i$ 'hat ; •■- -Talrr‘1t’nl5ha ^ehtened 2^’1- 26. Unsigned Ivory *'« abalone; pjmensH Lent by> 27- Noli Signed; < Ivon’ DimenSH Lent by I 28. Not Signed: I Ivory Dimensit Lent by There i theater rr netvuke c Ptofessio, whittled i *henthe *<«nrifv,r s'ncethe theater a FunhenT tk?crs<i T,r«>rr 4.1“T“*rr“r»tf Sr . �10 Wrestler and Demon Zemin 29. Eleven Masks of the Noh Theater Signed: Tomochika ■ ______ ,-ers. A second ught to include id, would se; it possesses all i into making a iature sculpture The olive-color :, with more or the netsuke to 1 comfortably i is compact and nd, and there is re cradles the vis feet. The ature of the irough sharp ontours show a latina that are i of ordinary least is simply veness of the ave to know :o dispose of oni t mortar and •d punishment is e disgruntled t the demon's tis penance ivone. In Japanese lore. aU-- -, mythical amphibian who hx-J rivers, attaching and devo beings. KGppu were thcuzH-c though, and even civil intheir rerecicusness. . ne eigb.tee-A -__ carver Suketada has represented “ = '-t Utpiw here with all its standard"' mth-utes: the y . ■ -. frog-like limbs, and the head .- f i ' monkey. At the top of its head, surrounded bv long lankv ham c concavity. which, according t: -. contains the fluid that git es rhe creature its strength. T; det’.e:attack of a children are bew deeply in front of it, t -. hews will cause its vital fim-d :c <. cut. In netsuke, kappa are sonx.uu>u shown, as here, with a n t —x . clarr.sr.eu, rendered harm.rv- - mmitsl butt .: b-In tr. ' ■■■■ both kappa and clam are ~ one piece of wood; Suketada a nicer.' mr.zmet r -r.-r-,_ the smooth surface ot me Ji.;-■■ ■■ and the rough, scaly • kappa. 24- Ashinaga and Tenaga and Demon lily Collection Signed: Tomochka Ivory Dimensions: J x,, inn. Lent by Private Collet 19th century) is ave been a pupil VC'ilkes-Barre Tomochika »the na Mm.lv im nineteenth 1A? rhe century-Gint Bfcurlous characteristics. They were said £ r? live on the coast in northern China 14 nd subsisting on fish, which the Tcr.’ga catches with his exaggeratedly a ky arms. In order to get out to sea, • Tncga rides on the back of the . xsmr.aca, whose long legs allow him ■ v r ede cut a considerable distance. iMhinaga and Tenaga had a distinct R d.ccrnc ro'.e to play in Japanese trythdogv in illustrating to children K$he importance of social cooperation. Mfor netsuke designers, they were a I jjextree c: great amusement, by the ■ i.-.c ci entanglements of limbs and Hfcrsos that could be envisioned. Here, t Tenaga. perched on the shoulders of ■b Asninaga, leans backward to grasp tr e ankles ot his carrier, who opens his r.:n dismay? or delight? at the h-G now thrust up between his legs. 25. Ghost Over a Tombstone jLr.dgned Dtmir.s::'.': 2X1% Lent bv the Center Art Gallery, I put knell University C. Tr-'he ...rvingof this piece is Mbot at oustandmg m. • then in the e>: At 'he im-jg.narion that w: rnr :• i-'-.-r.':-. being a «.'.'de* J '.. '• men by a ■ . .. -r J .u.d frightened -I > it '.a; ■ .r behind '■ 1 a i and and ft*>t in ’ . 'i .'-r t1.1 » . < r In . j a'.d ’ * 1 'is ;'<• ind. < r.i !■" i ' thr< •: ..." 1:1 . . rip tl,' i -.if-.,'i. biriiinp ii- I ’‘ es of inlaid Ktion, d ' known okimom-'vhK h* Europe and A Ashmagal CLongArms of men whose nan the h)5 ,.v . ' * .1 :< < .f 11. i i 11' :d i '. * I j i-i . 1. ■ ,1ti'i ■ f.-11. .1:1 1 ■ ; . . ■ .nd 111:111, '■ Masks 26. Noh Theater Mask Unsigned Ivory with eyes of inlaid abalone shell Dimensions: 2%X 17/16 Lent by Sordoni Family Collection 27. Noh Theater Mask Signed: Gyokuzan (?) Ivory Dimensions: 13Zt X 13/g Lent by Sordoni Family Collection 28. Noh Theater Mask Signed: Issan Ivory Dimensions: 1% X 1>/2 Lent by Sordoni Family Collection There are many netsuke based on theater masks; in fact the earliest netsuke carvers were probably professional theater mask carvers, who whittled netsuke from scrap material when theater work slackened. Identifying a mask is usually difficult, since the number of roles in Noh theater, and in the older drama forms of Gigaku and Bugaku, is enormous. Furthermore, many netsuke mask carvers designed new masks simply for their comic effect, with no allusions to classical drama, so, except for a handful of very well-known types, it becomes nearly impossible to identify most netsuke masks. The .m owling mask here, and the ma k with tongue stuck out may he I11 'in 1 la- lie ire light hearted (iigaku lie in 1, lie di vile,h mask 1 mild be fiulii the Null. Null- lhai tin' eyes of 11,1- Jaliri .in - 111 11 d with an iride-1 ent m.in rial, pn il i.ibly al sib me. 29. Eleven Masks of the Noh Theater Signed: Tomochika Ivory; ryusa netsuke Dimensions: 3/i X 1 ’/z Lent by the Center Art Gallery, Bucknell University Objects from Daily Life 30. Knotted String of Cash Signed: Mitsuhiro, incised and ink-filled in oval reserve Ivory Dimensions: 1x21/6 Lent by Private Collection, Wilkes-Barre Metal currency in Japan, minted after the pattern of Chinese coins, was strung together and knotted to facilitate carrying and counting. As toggles for inro and sash pouches, netsuke were closely associated with coins. The netsuke, too, had other connections with money: the use of netsuke reached the height of its popularity during the peaceful Tokugawa era, when most netsuke patrons belonged to the rising middle-class. It's not surprising that netsuke representing strings of coins should have become popular during this period; the wish for continuing wealth expressed itself in rhe personal adornments of a class consolidating its newly acquired economical and commercial power. Ohara Mitsuhiro (1810 1875) was one of the mastei atrists of netsuke carving; his wot k is often copied. I he suppleness of the lope in this piece and the care tn the texturing of each strand suggest a master of keen t'bscn ation and culptural si ill. , 11 �Figure 31. Bov and Mouse Spe± Home: .'.ate Prh-eJih'entuTV vzrtcus :r.._:a ab Tone shed and - —’A: .inea DirsAns: I'-tX 1U 2-j.vte CAectLn. Ties-Barre ” 32. The Story of Urashima Taro —. in aireserve; taseCar . - iraaid -•es D;ve-r.:r.-: T _• .» 2 t..- - ~e Cer.ter Art Gader.; r- r-, t •' cent-r, ■ - • - - ~~ rtcec. '■ ch. .r.:r;r. tnaaxr.il. * :-..e aoan. Urashima returns home, but is imab'lete find any trace of his friends cr familv- In his confusion, he opens the box, and immediately realizes that he has been away not for three but for three hundred years. A puff of smoke rises fcm the box, and in that instant Urashima ages and dies as the last strands of smoke disappear. In Rantei’s depiction, Urashima has not quite opened the box, and his features, expressing consternation, are still those of a younger man. 33. Girl with Rabbit-Shaped Cake Signed: Seiga, late 19th century Ivory with red highlight Dimensions: 1 '/z X1 % Lent by rhe Center Art Gallery, Bucknell University 34. The Immortal Tekkai with a karashishi Lion Unsigned Wood Dimentions: Z’AxPA Lent by the Center Art Gallery, E -icknell University A A. Li T’ich-kuai) is one . tlb')' -r Immortals; he is ■ ■ " ■?. ?r' ' nred as a crippled —■ ho.vf h<-Tlujst iron < run h, ‘ ‘(meaning “iron krun.h J derive-. 35. Kadori Myojin and the Aamazu 1 ii'igni.-d »'.<>•, j trk.im, ' ' ’...... I- . The Namazu, accvtumg t apanfi( a«°jdingtoj lore, is the mythical catfish on whT —a on whose ack lie the islands that make makeup up Japan; ’s ^iwvements movements - . . the creature — explained the phenomenon of earthquakes. Kadori Myojin is the deity rharoArl IC tcatfish A‘ charged with keepingdthe calm, a task he accomplishes by it with a o gourd. This netsuke rstroking — __J. T„„.. tuu, alludes to that grand task, but once again, the carver treats his subject wit an amusing, < domesticating ■humor. -Th parody cl catfish’s barbels are a gentle u the man’s extended “handlebar" moustache, which he sports with a bemused, slightly smug expression. The carver has borrow'ed from an old Japanese legend to make his own bemused comment on the new European styles and fashions so intently cultivated in Japan in the 1860’s and 70’s. 36. Man Seated in a Hat Signed: Mitsutoshi (19thcentun Ivory ,., Dimensions: P/aX 1/Lent by the Center Art Gallen. Bucknell University 37. Rat-Catcher Unsigned Ivory Dimensions: If/2x2l5/i<’ Lent by trivare Col|elI'on' Wilkes-Barre 38. Pot-Mender with Box-Bellows Signature unreal W"‘hI I-'-'nend,,!,.. 1'/-,/[ 14 P,';AAr'‘'.. . I1AX1U ..ui. Dimensions:J 1 .rAi(l,J" I ent by rli«-( c" ' Bucknell I hnversitv Another theme found in netsuke Ls labor and the occupations. In this netsuke, a tinker holds a piece of heated metal in his brazier as he prepares to fix a cooking pot. 39. Wrestlers in the Kawazu Hold Signed: Masatoshi (?) Wood Dimensions: 1 % X 1 % Lent by the Center Art Gallery, Bucknell University' The wrestler Matanogoro Kuni Hisa threw his opponent, the celebrated Kawazu no Saburo Sukeyasu, by lifting him up by the loincloth. The hold became famous and was named the Kawazu throw. It became a popular subject for netsuke. 40. Manzai Dancer Unsigned Wood with polychrome; ittabori style carving Dimensions: 1 Yt X1 ’/a Lent by the Center Art Gallery, Bucknell University Ittobori, or “single-knife carving”, designates a style of wood netsuke carved in angular planes. The sharp contrasts and deep shadows thus achieved make the pieces appear rough and simple; the style manifests a cubist impulse. The subjects of ittub.'n were usually dancers, and this sty le of < irving is particularly good at i onveying the stilt, angular folds ot the hi'.ivy broc ades used in dancers ' •'stnines. 1 he makers alw avs animated the surt.ues by paint mg or I i. qriviuig them 111 colors. vXel time, the poly, luomed suil.K. ' .uquircd .1 1 •■minitable patina « hi. h, joined to the rein ent vigor of ihe. .111 mg, gives 11" . pie, , s a , harm belying their ■' J ‘hi .ti, at ion. Manzai (literally, “lO.OOC-years”, an abbreviation for a congratulatory phrase) dancers were street entertainers who often went around in groups of two or three, dancing and entertaining for patrons. 41. Figure in a Mask with Basket Unsigned Ivory Dimensions: 2 X ’/a Lent by the Center Art Gallery, Bucknell University 42. Man, Woman and Child with Three Blind Men Signed: Masatami, in oval reserve Ivory, with etched and stained textile decoration Dimensions: Paxl'b Lent by the Center Art Galierv, Bucknell University The carver who made this and No. 43 is probablv the Masatami (1853-1928', who livedin Nagova. His lifetime spanned a period which encompassed the opening of Japan to the West, the restoration to Imperial rule, and the earn stages or industrialization. The market tor netsuke declined, as Japanese began to adopt western dress, and some netsuke makers turned to the making ot osiaii'ue (alcov e ornaments) instead. These two pieces bv Masatami reflect some ot the changes in form and siibiect that came about; thev arc still netsuke, since thev possess the requisite cord-hole'. bur the conception underh ing them is closer to that ot ositn.i'm. Both pieces are studies in how groups of figures mav intertwine and desert e to be examined in rhe round - no. 41 ot Hotel and the children. however, is oriented toward one plane, v hile no. 42 of blind and seeing figures. is more like a a hirl, sometime, moving outward. sometimes moving in. 43. Hotei and Children Signed: Masatami. in red kakihan Ivorv with red lacquer accents and textile decoration in gold Dimensions: 1:4X1% Lent bv the Center Art Galierv, Bucknell University Hotel, one of the Sev en Household Gods in Japan, and the god of good fortune in China, is placed here among a group of Chinese children, all dressed tn elaborate robes with gold and red lacquer patterns simulating brocade. One ot the children bends over a low table writing with a brash. See No. 42. for another piece by Masatami. 44. Aboriginal Man with Two Toads Signed: Chikusai, tn inlaid rectangular cartouche Wood Dimensions: 1 : X 1' > Lent bv Sordoni Family Collection 45. Smiling Aboriginal Bov L'nsigned Wood Dimensions: 1:: X 1; 4 Lent bv the Center Art Galierv, Bucknoil University 46. Japanese Child Dressed in Dutch Clothing Signed: Tomomitsu (?) It orv Dimensions: 3 a x 2 ■ Lent b\ the Center Art Galierv, Bucknell University �^1'H^ei&th - early 20th centurvl Signed: Masatoshi (?) L’rashima returns home, but is to find any trace of his mends Jv. In his confusion, he opens t, and immediately realizes that been away not tor three but for undred years. A puff of smoke m the box, and in that instant ma ages and dies as the last ; ofsmoke disappear. ir.teis depiction. L’rashima has ite opened the box. and his s, expressing consternation, are •sc of a vounger man. irl with Rabbit-Shaped I: Seiga, late 19th century >,ith. red highlight Cons: 1‘cXlU iv the Center Art Gaiter;, ell University he Immortal Tekkai with a hishi Lion jcd isions: 2;.-X1;4 v the Center Art Gallery. ell University ai (Chir.Loe. Li Tieh-z jcronciicrr Lorr Imm-nah; he; represented as a ent pied legend re,stc how the Th": •. F!'e “n -r' crun h. r. hi, r.arr.i- imeaning “,rm .’ dcriv v«. l' adori Myojin and the izu ned i he Namazu, according .ore. is the mythical catfish er. rack lie the islands that make —" ' japan; the creature’s movements explained the phenomenon of earthquakes. Kadori Mvojin :s the 2 ' *39- Wrestlers in the Kawazu Hold stroking it with, a gourd. This 1Signed: Masatoshi (?) alludes to that grand task, but cr.tc Wood again, the carver treats his subject Dimensions: 1 % X 1 Vs amusing, k_s.mestu.aL.nx..—nor. p. jLent by the Center Art Gallery, catiish’s barbels are a gentle p;.--c Bucknell University the man’s extended “handlebar­ moustache, which he sports with s The wrestler Matanogoro Kuni Hisa bemused, slight?; smug expressrc n. S' threw his opponent, the celebrated Kawazu no Saburo Sukeyasu, by lifting The carver has borrow ed rrt i?. : 2 S him up by the loincloth. The hold Japanese legend to make his ; wn f became famous and was named the bemused comment on the new Kawazu throw. It became a popular K subject for netsuke. intently culm ated in Japan :r. tr.e 186t?’s and 70’s. 36. Man Seated in a Hat Signed: Mitsutoshi (19th c-.rm.r ■ Ivory Dimensions: 1 - X T '_ Lent by the Center Art Ga.'.er'. Bucknell University 37. Rat-Catcher Unsigned Ivory Dimensions: 1'-cx2‘ Lent by Private Collection, Vi’iikc—Barre 38. Pot-Mender Box-Bellows Signature unread Wood ■‘loth: 1 X 11 . -■ Jhe Center Art Gallery, L nivtrsitv Another theme found in netsuke is I Uber and the occupations. In this (netsuke, a tinker holds a piece of K heated metal in his brazier as he Eprepares to fix a cooking pot. with Dimensions: J - X i ■Lent by the Center Art Bui knell L Diversity ■ | I I i i £ t | g i B 40. Manzai Dancer Unsigned Xood with polychrome; ittabori style carving Dimensions: 1 'A X 1 Ya Lent by the Center Art Gallery, Be knell University I'toburi, or “single-knife carving", i ijuirm , a style of wood netsuke '-r ■' r :n angular planes. The sharp c:’r; o ;r,d deep shadows thus 1 make the piece, appear rough v:. J rhe •■wk: manifests a cubist -l-'ji The subjei of ittobori were c. r-, ruel this'.ryle i >f car’, it.;', ; antcularly g< >< i<l ar ......' rj ■ tiff, angular folds of the I ■ c.' r<x . -ft • h ■ ’ 1' 11 i d in dai.i < i ’ . If- ■: a <-l' al'A'ay ■ da - .also , by pi.timuip or I'a ' i.j if < ii. i. i ofoi- 1 Jo t time, •he ; - I, f.i.,1||...| ■ urf;.' i aiquired.i ft;1 iiifort-n '• [..iritia which, Joined Io I n,. t.-t:i.m iu. ,r of tie ' art ing, gi'/' ■ r *•' ' ; ' ■ • a ' harm I ■ 1, mg their Manzai (literally, “10,000-years”, abbreviation for a congratulatory phrase) dancers were street entertainers who often went around in groups of two or three, dancing and entertaining for patrons. 41. Figure in a Mask with Basket Unsigned Ivory Dimensions: 2 X Jft Lent by the Center Art Gallery, Bucknell University 42. Man, Woman and Child with Three Blind Men Signed: Masatami, in oval reserve Ivory, with etched and stained textile decoration Dimensions: 1 ‘A X 15/s Lent by the Center Art Gallery, Bucknell University The carver who made this and No. 43 is probably the Masatami (1853-1928), who lived in Nagoya. His lifetime spanned a period which encompassed the opening of Japan to the West, the restoration to Imperial rule, and the early stages of industrialization. The market for netsuke declined, as Japanese began to adopt western dress, and some netsuke makers turned to the making of okimono (alcove ornaments) instead. These two pieces by Masatami reflect some of the changes in form and subject that came about; they are still netsuke, since they possess the tequisiteiord holes, but the . .iiu eption underlying them is closer 1.11hut of <i/.iiiiriin> Both pie< v. are ' indie tn how groups of figure , may inti rtwiliv and deserve to be examined tn the round no. 4 ' of Hotel and the i hlhheii, howevr r, is m tented toward seeing figures, is more like a whirl, sometimes moving outward, sometimes moving in. 43. Hotel and Children Signed: Masatami, in red kakihan Ivory with red lacquer accents and textile decoration in gold Dimensions: P/sXlYs Lent by the Center Art Gallery, Bucknell University Hotei, one of the Seven Household Gods in Japan, and the god of good fortune in China, is placed here among a group of Chinese children, all dressed in elaborate robes with gold and red lacquer patterns simulating brocade. One of the children bends over a low table writing with a brush. See No. 42, for another piece by Masatami. 44. Aboriginal Man with Two Toads Signed: Chikusai, in inlaid rectangular cartouche Wood Dimensions: 1 V'z X15/s Lent by Sordoni Family Collection 45. Smiling Aboriginal Boy Unsigned Wood Dimensions: 11■ X 11 t Lent by the Center Art Gallery, Bucknell University 46. Japanese Child Dressed in Dutch Clothing Signed: Ibmomitsu (?) Ivory Dimensions: <' i X2 ■ Lent by the (.'enter Art Gallery, Bn. knell I 'diversity I -;lot,< B �ttiv.. ■. 47. Momotaro Emerging from a Basket Unsigned Wood; ryusa-type Dimensions: % X1 ’/z Lent by the Center Art Gallery, Bucknell University pastoral feeling but sometimes becoming more mechanical in execution. In this finely carved example, fishermen stand in a boat, drawing their nets and gathering their catch, while swans swim nearby. The | lines of the nets, and the limbs of the i trees are carved with a fine delicacy. 48. Dragon Unsigned Ivory; ryusa-type Dimensions: I%x2'/s Lent by the Center Art Gallery, Bucknell University 49. Swarm of Mice with Drum, Tengu Masks and Daruma Iby Signed: Masamitsu (late 19th century) Ivory Dimensions: 13/16X2’/s Lent by Private Collection, Wilkes-Barre 4. Three Puppies S:needKa<gvoku>aiimcised), Masatsugu (Seal form I 50. Miniature Landscape in a Shell Signed: Masayama (?) Ivory Dimensions: I’/sXlVie Lent by Sordoni Family Collection Miniature landscapes, carved as if contained in clamshells, allude to the beautiful sea kingdom of the Dragon King Hytljin. According to Chinese b gend, the < astle of the Dragon King would appear in a vapor issuing from an open < lam, ami many netsuke < arvi-r. took this ■ ubjei i as a natural <.pi>orrunity to display their miniaturizing'kill By the middle and Inn r ntm n i ndn ctilury, • pi t ifit ref'.reuo to th. Dragon King’s Palace mdi' - ‘■l.mr‘.ip< ” had ■■'oltened, and rhe land ■ a; . . drpit li d I n’t aim moreg. tieralizt d, till n t.lining tin ir 10. Phree Peapods '’Uimd: Kiyokatsu �Signed: Masayama (?) 5. Dog with Abalone Shell Signed: Okatomo, in reserve (probably a follower) ding but sometimes note mechanical in in this finely carved shermen s:and in a bent. □rawing their nets and 6. Dog Unsigned - trees are carved with a 4. Three Puppies Singed Kaigyokusai (incised), Masatsugu (seal form) Cicada 7. Speckled Mouse Unidentified 9, Wasp inside a Pear Signed: Sangetsu 14. Jackal with a Skull Mask Signed: Yoshimasa �55. Rescue < Fa Japanese inro All dimensions in inches: height p-eceeds length. If only one dimension is given, it represents height. Hasegawa Shigeyoshi 51. Amida Raigo *Five-case saya-into (sheath inro), with design on exterior case of Amida Buddha descending on a cloud, the design continuing on the reverse with two attendants accompanying him. The inside cases bear a design of lotus flowers. Signed: Hasegawa Shigeyoshi, in gold, with red pot-form seal. Lacquer; gold hiramakie, takamakie and polychrome togidashi on a deep black ground. Dimensions: 27s X 2 ‘A Oj-rr.e: Round bead. Gold lacquer. *.\enuke: Figure of a flying tennin 'Buddhist angeljcarrying a mendicant’s bowl. Unsigned. Carved ivory' with painted gold text.le design. L'-t.th . ^ rddn; Family Collection p “Bute land”, wet of ouddhum became one of the most f"! :;.k .-..hr.i. ■ I'. i.r ; '.’i ’ .m lm,!;, '"mg ■vCLL-t'l... the Western Paradise to welcome the soul of the believer, and it is this event, called Amida Raigo, that is depicted here. The figure of Amida is shown on one side, a ray of light emating from the sacred mark on his forehead. On the other side, two bodhisattvas preceed Amida: Fugen with palms pressed in reverence, and Kannon, bearing the lotus that will receive the new soul. All three deities stand on lotus pedestals borne on clouds, while lotus petals drift about, an allusion to the important Buddhist scripture known as the Lotus Sutra. In a particularly felicitous combination, the netsuke attached to this into shows a rennin, the Buddhist equivalent of an angel, carved in ivory and decorated with gold with a delicacy that matches the delicacy of the inro. Hasegawa Shigeyoshi was a well-known lacquer artist of the late eighteenth and early nineteenth century; he came from the famous Kajikawa line of lacquer workers, setting up his own workshop. He was particularly skilled in all the techniquiles illustrated here, including gold takamakie (raised relief) and polychrome togidashi work, Togidashi (“to bring out by rubbing”) involves a process of filling in the design with pulverized metal or colored lacquer, building up layers of black lacquer over the design and polishing down to brine out the design before covering the entire surface with a clear lacquer. This repeated process of layering and pohshim. down is what makes togidashi hr'“ [l'e radiant and subtle ^■’rmgolth!. piece .onus from the •'non. ''ngles and depths from which ^'/'"'''-"’VthemmutegoU ‘ Amida k' .nJm8(1„tll 1 *• •M"l'ulationsmI|u hj,, depend on the size of the panicles and on how they are applied, whether sprinkled as in the halo or in the bear: of light coming from the Buddha's forehead, or graded from dense to sparse as in the cloud-texture (a technique called mura-nashiji), or layered thickly as in the denser gold powdering of the bodies. .Jokasai 52. Duck in Flight *Three-case saya-inrO (sheath inn? with exterior sheath design of duck taking flight from a shore with grasses and various colorfr stones. Inside design of a red-leaved poinsettia plant. Signed: Jokasai Lacquer; sheath design with inlaid ivory, coral, abalone^ other stones, and cloisonn&lik treatment of duck; inside desff in polychrome togidashi on a deep brownish-red ground. Dimensions: 3 VJX 3 *Ojime: Oblong bead with carp- relief. Silver. Lent by Shep Brocman ; Yamada Jokasai was an out>ta.*lacquer artist of the late : century training under the - ** ,. family. He established the of lacquerworkers; m;>stott^ j.J ; coned ••lokasai”. worked, a-'heJ signed ‘’Jokasai . the shogunate. Duck in Flight Jokasai �3 55. Rescue of an Avvabi Diver Kajikawa Family n Paradise to welcome the believer, and it is this event, Lr Raigo, that is depicted igure of Amida is shown on ray of light emating from nark on his forehead. On de, two bodhisattvas nida: Fugen with palms everence, and Kannon, lotus that will receive the dl three deities stand on tals bome on clouds, while drift about, an allusion to int Buddhist scripture re Lotus Sutra. In a felicitous combination, the iched to this inro shows a Buddhist equivalent of an d in ivory and decorated ith a delicacy that matches of the inro. •higeyoshi was a lacquer artist of the late and early nineteenth came from the famous re of lacquer workers, is own workshop. He was skilled in all the techniques ere, including gold ■aised relief) and ’ tqpdaslii work. Togidashi ut by rubbing") involves a lling in the design with netal or colored lacquer, lasers of black lacquer over nd polishing down to bring ?n before covering the e A;f-h_a clear lacquer. This Kess ,Jf layering and ■■’nisiihatmakes togidashi « deeper than the surface radiant and ^btle Piece c?mes from the depths from which thc minute gold -^'d at different ievels - ■’•‘"■d'Jiations in the light TT ?ey are whether spnnkled as in the halo or in the be of light coming from the Buddha’< -am ' forehead, or graded from dense to sparse as in the cloud-texture (a technique called mura-nashiji), or layered thickly as in the denser gold powdering of the bodies. Jokasai 52. Duck in Flight *Three-case saya-inrO (sheath inro), with exterior sheath design of duck taking flight from a shore with grasses and various colorful stones. Inside design of a red-leaved poinsettia plant. Signed: Jokasai Lacquer; sheath design with inlaid ivory, coral, abalone, and other stones, and cloisonne-like treatment of duck; inside esign in polychrome togidashi on a deep brownish-red ground. relief. Silver. Lent by Shep Brozman 52. Duck in Flight Jokasai Yamada Jokasai was an ^nth lacquer artist of the late £'£ajikaw3 cen tury training ’Jnder the da linfamily. He established the „ho of lacquerworkers; mo kejjd, ft signed "Jokasai”, worked, as the shogunate. 17 �51. Amida Raigo Hasegawa Shigeyoshi �I ■’S I i ’«» :• vi ip - 61. Chinese Woman at Loom Koma Kansai 1*4. I In. R<4 t ; F' ana K'< t ,i, V 63. Raiden, the Thunder God Koma KoryTT. ’ uRHh; ; Pr«vrJr) �I *'•< sJhoui. Kajikawa Family 53. Sporting Falcons ♦Four-case inr5, showing a falcon tied to a perch with lion-mask base; on the reverse, there is another falcon tied toadrum perch with lion’s-head finial. Unsigned. Lacquer; gold and silver takamakie, with polychrome and mother-of-pearl inlay on a deep black ground. Dimensions: 3% ♦Ojime: Oval base with flying cranes in red on a white ground. Porcelain with overglaze red enamel. *Netsuke: Pierced manjit-form, with design of lion among clouds, with whisk. Unsigned. Ivory. Lent by the Center Art Gallery, Bucknell University Xlembers of the samurai class hunted birds, and rhe subject of a tethered hawk or falcon is found in traditional Japanese painting, going back to Chinese models. It was a persuasive emblem for the values samurai placed on physical strength, military savvy and baity of service. The motif seems in inro. They were patronized by the shogunate from rhe seventeenth to the nineteenth century and were, along with their contemporaries, the Koma family, the best-known lacquerers of their day. [See Wrangham collection catalogue (1972), no. 18 for a Kajikawa school inro dated to the 18th century, with identical design.] 54. General Kuan-yu and his attendant Chou-ts’ang *Five-case inro, showing the Chinese general Kuan-yu and his horse, the landscape continuing on the reverse, showing his scowling attendant Chou-ts'ang bearing his halberd. Signed: Kajikawa tsuku, in gold on nashiji ground, with red pot seal. Lacquer; figures in gold and polychrome takamakie, on a gold ground. Dimensions: 3’Zi *Ojime: Bead with butterfly motifs, metal. ' Netsuke: Cowherd playing flute on back of water buffalo. Signed: Tomotada Wood. Lent by the Center Art Gallery, Bucknell University General Kuan-yu (Japanese, grapple with its own image in the ™i'maltmdefOiteXft 2^ntCl’7hhishorsGina d T'<S llnJrar'e-°n the other ho khKSVa et,thcgruffChou-t/ana of the fine-t ZcmZ'' .produced »me , q artl-E'specializing OSSS: J <t - >H as thL. prominent, tableau, niuj» . ‘ ^• Rescueof anA(,^ , ’^r I^^it 1r...,h «nc mtmuT"8' ■•■■■ r ' ■■ -i. 70. J hum linginar .... ! ‘ Lacquer; dv.-r, ,U ' | ’.with mura-nos/ii;i ;• tonadeet black ground with streaked undertones. Duneiision-: *Ojime: Be.id with floral *’lcr<ed tm r.il. Netsuke: Murqn-form with butterfly designs. GolJp.^i on a darl to light brown<- gr< iund. Lent by the Center Arr Gallen, Bucknell 1 diversity Awahi, or ,,j ,tl.- Jj.-Et; considered a de!:, .u . in Chimx Japanese cuisine. The abaloriff ■ along with mother-of-pearl. 1* til“ in decorative art a« inlay mate': i shells were gathered 1”. women J and one of the most famousprm: designs bv the eighteenth century Utamaro depicts the abalone J- y , Ise. The design of this inrm esecaa fine togidashi (see No. '1 ffr explanation of the technique have been based on an treating uuubt-divers. It V. j men in a boat pulling an ■ from rough waters. Onee-1 dressed in a noble’s cictly^' • .. . illustrated event is probjO. from a folktale. fy. Shoju Drinking Sake Koma Yasuhide uu a 1 >r.n?»n t:»ud �I I J. I l.iil.ot u Watchc .Mi 72. Insects Ryushin Shll'.iy.nn i' 1. 76. Daruma Stretching Shinmin I Lutin.;j IS Ji .h �■■■> 1 * * ■ : ._•« -p 4 _____ 74. Raiden the Thunder God and Shoki the Demon-Quell Shibayama School <H. 1 In-1 itner,il K ,,r-. ,,,, Imii li'p V �88. Archer and Young Woman Zeshin �I 81. Crows in A Night Land Toys [Kanshosai] 56. Blackbirds in Winter *Four-case inro, showing blackbirds perched on a wintry branch silhouetted against a silver moot >n among vines, the design continuing on the reverse, showing a barren branch with red leaves and tendrils. Signed: Kajikawa Lacquer; red, black, gold takamakie on smooth gold ground. Dimensions: 3]Zt *Ojime: Red bead *Netsuke: Kagamnibuta with design of moon and bamboo. Signature illegible. Carved ivory. Lent by the Center Art Gallery, Bucknell University Koami Choko 57. Illustration to the Tongue-cut Sparrow *Five-case inro, showing on one side a man with an open basket of treasures; on the reverse, a person confronting an opened basket full of demons. Signed: (“the standing branch of the name, 15th generation”) Koami Gen Choko, with kakihan Lacquer; takamakie and polychrome togidashi, and with mother-of-pearl inlay, against a matte hlac k and gray i hcckerhr >ard ground. Dimensions: PZt *Ojtme: Small head. Gold lac<l“er' *Netsuke: Figure of a peasant Jigging up a. sack while a dog looks on (illustrated to the folktale, “The Old Man Who Made Withering Trees Flowre”) Unsigned. Polychrome lacquer. Lent by the Center Art Gallery, Bucknell University The story of the tongue-cut sparrow (Shitakiri Suzume) is a popular Japanese fable illustrating the themes of humility’ rewarded because of the actions of his neighbor, an ill-humored old woman; after a long search in the forest, he finds the sparrow, who now receives his former owner with great hospitality. When the old man is getting ready to leave, the sparrow offers him the choice of two baskets, one large and heavy, the other small, as a gift to take home. The old man chooses the smaller, saying that he will find it easier to carry because of his age. He opens the box at home and finds it full of an inexhaustible supply of precious things. Hearing of the old man s fortune, his bad-tempered neighbor goes to the forest. She finds the sparrow, who receives her politely, and who offers her the choice of two baskets at the end of her visit; the woman chooses the larger, which she «n bearly lift. Unable to wait, she ? on the way home, and a host emons and goblins fly out to ftptent and torture her. In 1° °ne S.’^e t^e inro, the old man ] ' s °n w'th surprised pleasure at his tri' i’ Of,en5’l-Ito reveal the various Th' Trers *n°wn as the Etkurumont’. |v1i„.lkr|Ucr.’lr'ist llils clearly and u>nv' represented these |e',t"’,”a|D'd emblematu objects, if,a' 'ln' '"de the hat ol tn\ isibilitv l.r,;« rolls (mukinu.no) the hr. ■md ''Ur'e "I gold (kunc/'itkim'), """ around, horn cups, the sacred tama-jewels, cowrie-shells (used as cash), and Daikoku’s mallet (tsuchi). On the reverse, the neighbor’s box is opened, from which issues a variety of demons and goblins. The Koami family of lacquer makers was founded in the fifteenth century and continued successfully through the Momoyama period (1573-1615) and Edo period (1615-1868) into the twentieth, receiving commissions from both the shogunate and from the imperial court. Choko, who worked in the nineteenth century, is designated as the fifteenth generational head of the family. This inro is exquisitely rendered in a low raised gold relief, making it as golden as the riches in its theme. The theme of virtue rewarded is aptly extended in the accompanying netsuke which illustrates the folktale known as Hanasaka Jij~f‘The Old Man who makes withering trees blossom"). It too tells of an old couple rewarded through the interventions of an animal, in this case, a dog, who leads them to a sack of money butted in the ground; and also of envious neighbors whose greed leads them to a more disastrous end. Lacquer netsuke are rarer than ivory or wood pieces, and figural lacquer work as mastertu as that in this example even rarer. Roma Kansai 58. Fishes of the Sea *Four-case inro, showing varieties of ocean life, including a lobster, living fish, sea bream, blowfish, flounder, and sea robin, among waving underwater plants, barnacles, rocks. Signed: Koma Kansai Lacquer;.gold and silver takamakie Dimensions: 3 Vs ’Ojime: Bead in form of shell cluster, Carved ivory. *Netsuke: boat with removable thatched roof. Gold lacquer. Lent by the Center Art Gallery, Bucknell University The technique called takamakie (literally, "high, sprinkled picture”) involves building up selected figures tn the ground design through a repeated process of lacquering, sprinkling of gold-powder, drying and polishing. Since the ground is executed in the same way, tuLtma.kie is really a wav of extending the same process in chosen areas, to make a three-dimensional, sculptured effect against the surrounding flat surface. Each fish and specimen of sea life illustrated here is executed in a sharply articulated takamakie that projects the figure forward in its space, isolating it, giving it the feel of a precious gem in a golden setting. The Koma family of lacquer artists was, with the Kajikawa familv, one of the most skilled and best-known families of lacquermakers. They were founded in the seventeenth centurv and worked from then until the nineteenth under the patronage ot the shoguns- The first Koma Kansai 1U2)" as not born into the tamilv, but was allowed to use rhe familv name bv his teacher, Koma Korea (see Kos. o2-o5': his ow n son and grandson continued to use the name Kansai. 59. Ferryboat 'Four-ease inro, showing a ferryboat bearing a monk, a courtesan,.'. samurai, a monkey showman, and an old man. Signed; Koma Kansai Lacquer; polychrome tegi.Uh: -1 �"Li cn a deep -Li Dimeri-ms ■•Has cord but no crime or netsuke. , ~ „ LcDI ~V ihc <.73.777 Art kJHiiC. •■• f BudsxZUivsstv Theisne ;:".e:"it;? .'T.e 7J7- _ Z’_7S 27 27 27. 257 7 217.37.2’- - z "L “372-3.’..277 371 OCC3S--27: ZO -"■". - ■ mrssar.ts ” ri .-. - :::s: ir; -- :s s-Z ■.. .- ■—; -• -. ri-.n-acKrs - sr.per:p'r_.3r .-. .-..q-. one actor xcHcn, the roles of dsaaesns =s : l._ .. r.-pe :: enter: ’- -. ■ ' ' ■ - . ’ ■ ' T -”--d : ^■•F.r>ei’s Dream j r-’ “ •' L' a .. . ' .J " " '.r-.-n zz ♦Netsuke: Kapmibatu with metal relief plaque show ing woman, probably the Immortal Benten, holding a peach and minus blossom. Ivory with metal. Signed. Lent bv Shep Brozman A Chinese myth recounts the story ot'Rsei Chao Lu-sheng), a m e—--stricken scholar, who, hearing 3 the emperor’s call for councillors, sets tor the capital. Stopping at an inn on the wav. Rosei falls asleep at the table and dreams. Accounts of the dream . —but Rosei understands it be a cautionary dream, warning of trie transitoriness of earthly possessions and accomplishments. This elegantly designed inro is made n the shape of a suzuribako, a box that .: :.ted stere letters and carry writing it-.p>.-r.er.t-. and its thematic subject, "r at of the s.tzqting Rosei, was —*r"-:d man-, rimes in inro and netsuke. ol. Chinese Woman at Loom * o-e inrt showing a Chinese ■■■ oman dressed in black robe and green trousers, seated in a •e <.yrd -.kin ar a loom, cutting ’tv- ..rap with a knife. A young ’t:r' r‘ dr< be attends beside i'.om. '2 Kan ai and Jugyoku w ith kakihan T*r; inlaid polychrome ironic ::'1Y..:‘r!'!.'-!'!'^-3ron1..on ia 1 ^'-d-hut" textured ground. . Lhmer, '|J,"nAd. '.vhih-y.nl, Lueqik-ryctR - d'j ; . J 7-: , P:’;A 2‘.^ : ”‘u ear-. :.,.f , 7 1 ";J- Pop el„in 62. The Death of Buddha ♦Four-case inro depicting the mourners attending the death of Buddha: sages, monks, pilgrims samurai, and animals including’ deer, elephant, dog, cat, white fox, birds, and on the reverse: rat, peacock, ram, snake, rooster, rabbit, boar, tortoise, crane, tiger, horse. Signed: Koma Koryu Lacquer; gold and polychrome togidashi on a smooth black ground. Dimensions: 3%x21/-t *Ojime: Bead, gold lacquer Lent by Shep Brozman Paintings representing the death of the historical Buddha, called Nehanno Buddha, or Buddha entering Nirvana, have existed in Japan for centuries. The delicately executed design on tni. inro follows the iconography established by the painting tra Stretched on his right side on a platform under a moonlit7^ figure of Shakyamum, the h. • a Buddha, is attended and mou host of figures: sages, monks, rennin (Buddhist ange )> , c]uding Animals have come as tvell. onC rhe animals of the zo 13 \-viduattd is rendered in specific, ■nd,vl 63. Raiden, *F3t1r-< ast-inrodepi,-t S sJrii1'’ IliimderGod1^'1 and hciidiii!!1’11' ‘(llllhi'|f'1,1,1’ hghteningwhu >. muniie pat daily reveal H|T' storm- Signed: Koma Koryu. Lacquer; gold hirame nashiji and polychrome togidashi against a deep red-brown ground. Dimensions: 2% X 2 Vs ♦Ojime: Round bead. Coral (?) Lent by Shep Brozman The Thunder God takes on the features of a demon, with a red body and clawed hands. When the Mongols attempted to invade Japan, they were repelled in the midst of a fierce storm, from which only three men escaped. The Japanese victory is often celebrated in inro and nersuke designs by representations showing Raiden in the clouds throwing lightening bolts at the invaders. 64. The Rokkasen (“The Six Poets”) ’Three-case inro depicting half-length portraits of the six famous poets of Japanese literature, three on each side, with raised chrysanthemum crest and pawlonia crest in the background. Signed: Koma Koryu. Lacquer; gold and silver iramakie on a black ground; crests in raised black lacquer jvhef, as if embossed, on smooth black ground. dimensions: 3%x2'A -1’me: Carved ivory. L^^y Shep Brozman fanuL, ka^‘n ilre the six most I hev .,J"’o Sk'panese literature, ^atih'i l'n"i1'denjo, Ariw. ra no Hlls| lr'\BunVn no Yasuhide, Risen "'"man i IU| "O Komaehi (the only Liii,,|U, j'.f 'L'Kr,,up), and Otomo no ' he six are frequently encountered as a group subject in many of the decorative arts. The Koma family of lacquer artists were court lacquerers for many generations, and the first Koma Koryu is known as a highly skilled lacquerer working from about 1764 to 1786. The sixteen-petalled chrysanthemum is the crest of the Emperor and the pawlonia crest is associated with the Empress; given the high quality of this inrS, it would not be surprising if it had been made for the imperial family. 65. Silhouetted Strollers ♦Four-case inro, showing a samurai and woman silhouetted in a night scene, looking up at a bat; the design continuing on the reverse, showing a woman with a baby on her back and holding a red lantern. A man smoking and three children in procession accompanying her. The moon is shown on top of the lid. Signed: Koma Koryu, with kakihan . Lacquer; black and red togictohi on a mura-nashiji ground. Dimensions: T s ♦Ojime: Bead of red stone ♦Netsuke: Noh theater mask. Negoro-lacquer. Cinnabar ten lacquer burnished to a black Lent bv the Center Art Gallerv, Bucknell University This is a delicate example of the effects of light possible in lacquenu rk. A night scene, it shows people of different ages silhouetted as thev about m the night am a woman holding a lantern partialis lights tm wawalouplepausetog^-'--- bat. The black figures gradually become visible against the dark background in much the same wav that figures at night gradually take shape as the pupils of the eve adjust to the surrounding dimness. The varying depths at which light is reflected in lacquer make subtle light effects such as these much more successful in lacquer than in painting or prints. It is clear that the artisans from a family as accomplished and established as the Koma lineage knew this and deliberately exploited these effects in their work. [Seejahss (1971), no. 228 for a three-case into of nearly identical design, signed by Koma Koryu.] Koma Yasuaki 66. Cats ♦Four-case inro, showing a cat scampering under a floral festoon; on the reverse, the design shows a cat crouching before a bamboo screen with another cat silhouetted on the screen. Signed: Koma Aasuaki Lacquer; cats in a high silver mkonwkie, other elements in gold and polychrome tukumukte. against a flat gold ground. Dimensions; 4 *Ojime: Bead with floral motifs. Tsuishu (carved red cinnabar' ♦Netsuke: Crouching cat holding mouse in mouth. L nsigned. Lent bv the Center Art Gallerv. Bucknell University �W. The Carrial'ge of Prince Genji ~ eSKts-iU T-Ga wAi-GALTT6 -CA-A rt-S. shewn throudi rx f-s x a xrsrr.. vr.Ke . ■ pseace ~rkes the scene into crrr.2. Ver :r.: the ricr..- . ::'-7-2-c---..— ,c.r. LA: sri Ariew :r. ceatrig r.:: sometimes shown with faces like mcmkevs or, as here, are made to look like wild human beings, with their long, straight hair. Here a Shojo is seen dressed in a richly decorated robe, leaning over a large wine jar and ~i~kin£ from a red lacquer cup. His patterned kimono shows patterns of reaves, of overlapping lappets, flowers and fence design. The additional inscription indicates that the design was copied from a ri—ere bv the well-known seventeenth centurv painter Kano lan'yu. ~£i:i.cftr.jrx^e □tf-yricstsm is Korin School 7--~ . .■ _r.d ... ...ira-’-.T :i..- .33 Koma umuhide 67. bhoju Drinking Sake ' •’";-ar-.--J . G'j-J c . ■ JN. I-;..., At: B -.j.,.. 68. Irises *Four<ase inro, showing iris plants in bloom Unsigned: Korin style. Meiji period. Lacquer; gold takamakie, with miaid abalone shell on a deep black ground. Dimensions: 37-.■•me: Round head. Coral-colored is or,’. . u.T uke: .Munju-shaped with ' r- thatching. Ivory with gold (inc j$C(j filled with gold.) j-' -enter Art Gallery, L’i! Ftlell University . J7' ir’r~: ',;'--<inb,.7;<n1pJ1inthe ’’'"••h.hilhrtmt, ^W’swria.;^ vy ■ R’v '.o’ 7':’,b.... r.-w, . , ’<■ own pupil RitXUOtfollow1edh^ndfe subject as well as technique. Characteristic of Ksrin-style design is the boldness of this pattern, the hioh contrast in level of the inlaid encrustation, and the use of relatively large pieces of abalone shell for the inlay material. The pattern of the relatively flat gold in the repeated clumps of iris leaves, and the sparkling, raised mosaic effects of the iris blossoms create a surface rhythm that is almost musical in its abstraction. The effect has been called impressionistic, and such designs indeed were to go on to influence European art of the late nineteenth century. Kozan 69. Painted Folding Fans ♦Four-case inro with curved corners, bearing on each M three folding fans op show a landscape p | Signed: Kozan, with pot - . , ' ' .... ' ■ • nuedand ' ^hi-n. hr|,v 70. Drum-gong on a Dragon-stand ♦Three-case inro showing two red cinnabar dragons encircling a drum set on a stand, the face of the drum bearing the mitsu-tomoe (triple comma) crest, and the dragons grasping the finial in the form of a green tama (sacred jewel) with flame aura. On the reverse: a white phoenix. Signed: Masanaga Lacquer; gold and cinnabar lacquer, with inlaid ivory and stones; different oki-hirame ground on each case, of gold, silver, copper, or mother-of-pearl. Dimensions: 3’A X 2‘A Ojime: Bead with Hannya mask (character of the evil hag in Noh theater), gold lacquer in takamakie. Netsuke: In the shape of a round-cornered box, showing a father, a cosmetic box and a rocade bag. Gold and polychrome L"Sti8»id.*-to'i'h nashiji groundDimensions: 3 A npillIo;' ♦Ojime: O1 topus nub" (p1’1 l,aP '~ |d,bO'' metal alloys: 1‘ > shakudo, asli'1’"11 ■ mu-ldl'1-' ..... i, 7'1'' ' 'L 1’nyinal ..we‘M-innngandlmquer • Masanaga Irises were a favorite subject of ..... Ryusai Zodhic e ^We*ve Animals of the *Si ■ of ti'Se inI°’ !>ho\ving the animals a|t ?^‘»G placed on siurt ' "’^Wartmenrs, hate 77tOp with ra,i snake’ anu ram: tk.-r Jr.,___ ...... and dog?; rooster and boar. On reverse, on alternating compartments, starting with second from top: monkey; spotted horse; ox. Top and bottom in gold swastikas. Signed: RyQsai, on bottom. Lacquer; gold hiramakie diaper patterns, animals in gold, silver and polychrome takamakie (imitating menuki, or hilt ornaments) Dimensions: 3'/s *Ojime: Four-cornered flat bead. Metal. *Netsuke: Box and lid cherry blossom motif. Lacquer on wood. Worn. Lent by the Center Art Gallery, Bucknell University Ryushin 72. Insects ♦Four-case inro depicting various insects, including a stag beetie, dragonfly, lightning bugs, grasshoppers, lady bug and, on the verso, a praying mantis. Signed: Ryushin Lacquer; gold and silv er takamakie with polychrome lacquer on a bright gold nashiji ground. Dimensions: 3’/4X '4 ♦Ojime: Oblong bead with plum blossom design. Silver. ♦Netsuke: Muniu-form with design of grasshopper and fly Gold lacquer takamakie on a smooth gold ground. Shibayama School 73. Daikoku Watches Mice Hauling a Radish ♦Soya-inro (sheath into) with scene depicting Daikoku, seated with his mallet and bag, looking on while four mice dressed in coats pull on a rope, the design continuing on the reverse to show the rope tied around a white root vegetable, as three mice celebrate the proceedings. Signed: Shibavama Lacquer; inlaid ivory, abalone shell and other substances on a smooth kin-fundume (gold-powder) ground. Dimensions: 3x2’4 ♦No ojime or netsuke. Lent bv Shep Brorman One of the most popular ofthe Seven Household Gods of Japanese lore, Daikoku is the god of wealth and prosperity. His domain is the kitchen, where he guarantees a well-steciced pantn7. He is often shown wath his messengers, rats and mice. Since these household rodents eat toodstores, m particular, the staple rice, their representation in art senes as a constant reminder to watch or er one s storehouses and to husband onewealth. The jovial Daikoku is ofen shown with bales ofnce and a treasure baa. which contains the tucurumono. His other important attribute is he. mallet, whose strike is beaeved to bang b-f. and mallet, watching with The figures are all inlaid with stna.l �94. Gentoku, Kwanyu andChohi Zesnin mxmmxrUstmrs cr.c tits c: s.tm. seme c: r—' inched uimgecmemmrcttem?. > . TmeUnym - cs mrncpopmer rv ■- . <---- — m_m_’. memter . ;?mm rm.■azisxmSL-rczs erk r-mr.e r re mi m me eiezmate m its ae; mmm the enmustations mere - .r.-te.. im the cm. mg ~ me mmmmm- mem-c .res mmmg at an m .me maaaruried realism. 74. Raiden the Thunder God and Shcki rhe Demon-Queller *r m-7 mg. on one :.t;. me . .-.mrner God, Raiden, mm m m mm imm long in 3 —■ rm r.g his beeves up in ~;-=rr.-r. -anarm-wrestins n-n;.- :m a samurai. On the ’ i-U. th Time “‘ ■ ■ : ’. cl ir. 2 -2-“ cat. and a -rd- mUr). lir.g towar^ die hibiscus, prunus. etc.). Unsigned: Late Shibayama school style. Lacquer, inlaid bits of colorful shell and stone on a black and gold tcgiicsii: ground. Dimensions: 4: s X 3-/s ’Qjime: Round bead. White translucent stone. Lent bv Shep Brorman Constructed in the shape of an mem the oblong, lobed fan which was ccnsidaed an emblem of axhorr.; this inro is decorated in the nineteenth century style typical of the •tie ghftt- =ma school. In contrast to ir.i=v cf the Korin school (see No. - t . the encrustations used in this style are themselves incised or carved in mder te match as closely as possible me textures and shapes of the subjects resented. It. this piece, for example, earn leaf:s separately carved and is tntre the veining; feathers -n tne bodies of the birds are etched. Sira,ama Shinmin ’--h -mces x. a tttxxzr. b-g''-urd. ♦Ojsme.R'JU Let.tb'. -:.-r'r r-' - --“• ma! 75. Birds and Flow tn Among Hills and Streams ♦Three-.aseir---. 4aped iike an u-m-cfj-. - A.<•.t.s.-JW-edUhi, dec?-atedwitti > er.e ofbirds 'fi;.'tgi*Be,p -m, "*-< 7--'tdctl. am■mdpianr>tdar\.carrarlk.a. ■ 76. Daruma Stretching ’Four-case inrb, showing the monk Daruma stretching, inside a partial cin ular reserve; on rhe reverse, a fly whisk lying on the open pages of a Buddhist book • Signed: Shinmin, carved on un inlaid abalone reserve. La quer; inlaid bits of abalone •hell, i oral, and [xrlyi hrurne i .or; on a ■ mooth gold ground. Dimension ; Fl’Ojime Kuund b< ad with black q-irahng line on a brown ground, qutrr. ♦Netsuke: Manju-form with nine theater masks Unsigned. Carved gold, black, red lacquer. Lent by Sordoni Family Collection Daruma (or Bodhidharma) was a sixth century Buddhist adept, the twentieth-eighth patriarch of Buddhism, who was said to have introduced the Zen sect of Buddhism into China. The most famous legend about Daruma is of his nine years spent meditating in a cave, and both netsuke and inro artists found amusing ways to treat the subject. In the design of this inro, the sage is seen through a curved aperture, yawning and stretching, a particularly humanized and funny figure when contrasted with the austere portraits of the scowling Bodhidharma known from Zen painting. Shiomi Masanari 77. Fishing Boat and Mount Fuji *Four-case inro, showing a fishing boat with set net; on the reverse, Mount Fuji. Signature in seal-characters: Shiomi Masanari, on back among rushes. Lacquer; Boat in sumi-e (ink .. painting) togidashi, Mount Fuji in silver togidashi on a brilliant gold surface; nashiji interiors- Dimensions: FA *C Ijime: Pewtei colored l:W‘ll“r head ♦Netsuke: Manjti form 'vith. 1 1 birds in clouds; ivory with chikin l>oii (incised lines) filled with gold). z-,|i..rv, Lent by ihe ( enter Ar< '■ Buckn< .11 University Shiomi Masanari was a famous lacquer artist born in Kyoto in 1647. He learned lacquermaking under the Koma family, specializing in togidashi (see No. 51 for an explanation of the technique), and worked there until the early 1720’s. His followers maintained a level of high quality in their work throughout the eighteenth and into the nineteenth century, so it is difficult to assign any pieces with certainty to any individual in the lineage. This inro possesses the qualities associated with Masanari’s work: refinement of design, delicacy in execution and a brilliant transparency of color. The fishing boats and nets are rendered in an ink-black togidashi which imitates painting in the monochromatic painting tradition (sumi-e) and their asymmetrical placement on the inro is extremely well conceived. The subtlety Of the silver, hazy Mount Fuji accentuates all the more the lucidity of the gold ground. Shunshui 78. The General Kato Kiyomasa ’Five-case inro dipicting a samurai wrestler warrior with raised halberd leading a charge through a building in ruins with fallen beams, rubble and smoke, the design continuing on the reverse. Signed; Shunsui, inside top case Lacquer; gold and black I’i’umukie and tukanuikie with Polychrome highlights. .'^’’tensions: 4x2 I l"Vl"Ki>und bead. Corah '111 by Shep Brotman Military events from Japanese history are more commonly encountered on sword furnishings than on inro, so the subject of this inr~ along with its stunning condition make it doubly' unusual. The hero shown leading his warriors into a building in ruins is Kato Kiyomasa, a celebrated sixteenth century general, who gained fame for his role in directing under Hideyoshi the conquest of Korea in the 1590’s. He later served the Tokugawa shogun leyasu, but his impetuous, wild courage and ambition made him suspect to some, and he was later poisoned in a teahouse. In this scene, Kiyomasa is depicted probably in an episode during the Korean campaign. He is said to have possessed a helmet three feet high, and the ring-like crest on his breastplate identifies him easily. The design of this inro is also unusual in that it represents a continuous “wrap-around’ scene of an interior space: the fallen beams and posts, the smoke and dust of debris, hide and reveal the entering warriors, heightening the drama by the density of the space. Shunsui was known as a talented lacquer artist of the carlv nineteenth centurv. Somada School 79. Landscape ’Four-case narrow inro, showing a landscape with islands and distant mountains, continuing on the reverse. Geometric designs on the top and bottom. I 'nsigned: Somada school stvle. Lacquer; gold and mother-of-pearl inlav on a black ground. Dimensions: 4 4 *Ojime: Scored and lobed bead. Olive-colored lacquer. ♦Netsuke: Eggplants on a leaf. Unsigned. Wood. Lent by the Center Art Gallerv, Bucknell L niversitv The Somada family of lacquennakers continued a tradinor. which originated in China and which consisted of inh. ing thin fasts of indescent mother-of-pearl in designs on a dark, usually black, lacquer ground. Abalone shell, as well as other kinds of shell, was also used. The French term for this type of lacquerware is laqae bargutfe. Its popularity increased throughout the nineteenth century. Most pieces are unsigned, and the term Somada is non used as much to teler to the technique as the family or specific individuals who practiced it. Tbyo [Kanshosai] 80. Sparrows ’Four-case into, showing a pair of spotted sparrows among flowers; on the reverse, a large spider spinning its web. Signed: Toto Lacquer; polychrome n;U;-r...<c with inlaid abalone shell; copper and gold hiramakie, on a fine nashiji ground. Dimensions: V: *Ojime: Bead with design of pomegranate and leaves. Carved ivorv. ♦Netsuke: Sparrow.•_ Polychrome lacquer. Lent bv the Center Art Gallerv, Bucknell University >7 �r 99. River [_and «5hin ■ •>44 ■■ -oworked :r. me -7K's "a -?v. He - -j U tec.-miques. "epfecesinthe kuc-ccs-ne a w.de range ot trthaiK®. Tne fcst Tcve was raaoe a L hs patron Lera Hadusuka. me-r-a£ford':rA-v ct'Awa rr: “•5 ft p-r2s ard: rDwers r~z=d m st his name and his art r.zne. Karstass. Their -wrk is similar tc -rd maintams the high quarry ?: his pieces. 81. Crews in A Night Landscape "Fvcr-tas zr.tr. sr.:wipg a ■ settee unOer the moon on tU rrantr. z rrur.es tree, red floaers in iUzm; the design ’-t-rr-w-1 r. -r.e re:erse to sher. - it: - in fughtagamst right red ri-.-iz. L --nt.aA’-dgdd ■—■'r -' T: er mtzn. inlaid •-tit-f’eZa.;.- -/ '.J 7'-”r srd..or. g :L;'-' ■ <^d®gn. Z: 82. Crows and Wintry Trees *Five-c..$e into, showing crows perched on barren branches, amid red maple leaves. Signed: Kanshosai, in gold, with kakihan. Lacquer, sumf-e (ink painting) technique on flat rose-hued metallic gray ground. Dimensions: 3% *Ojime Oval bead with design of butterfly and flowers. *Netsuke: Kagamibuta with design of quail and flowers. Ivory and metal alloys. Lent by the Center Art Gallery, Bucknell University 83. Ichikawa Actor in a Shibaraku Role ’Tour-case rounded-corner mru, depicting a masked kabuki actor dressed in reddish-brown robes bearing crest of three concentric squares in gold, with Us sword thrust behind him. I r.e actor image overlaps another rectangle behind with geometric design. Signed: Kamhcsai '-^aer; actor image in gold an(J - j ,t :rome Ujgida-hi, against a ground; lapped q*Jar'f in im’aid gold and liver; U^nd?LJr,,;.,r, ground. .,Theficr«ton the actor’s sleeve I *Netsuke: Three monkeys. Signed Miwa. Wood. Lent by the Center Art Gallery, Bucknell University the shibaraku roIe-Tn ordTr'to^Jhe villain, the protagonist at a certain moment calls out "Shibaraku" (“Wait= moment!”). As the role provided an occasion for elaborate declamations and posturings, it became popular with the public, and was re-created many times by subsequent Ichikawa actors. The design of the actor’s pose is similar to that of Ichikawa Ebizo in a print dated to 1772 by Katsukawa Shunsho, and it is possible that the inro artist based his design loosely on that print. [See Stern (1972), no. 64, for an I8th century inro from the Greenfield collection, with a similar design by Koma Kyuhaku. The pose of the actor is identical, and the background roughly the same color, but the composition in the present piece frames the actor against a suzuribako-Iike box lid.] 85. Buddha Meditation/Benten Playing the Biwa *Three-case saya-inro (sheath into), with design of Buddha seated in meditation, visible through a circular window in the sheath; on the reverse, the female Immortal Benten playing the biwa (Japanese lute) seated on an elephant. Signed: Toju Lacquer; gold hiramakie, takamakie; gold, silver, and polychrome togidashi. Dimensions: 4 Ojime: Round bead with floral motifs on a light blue ground. 84. The Three Sake Tasters *Four-case inro, showing three sages representing Confucianism, Taoism and 01s,0nne enamel. (RiTm ■ ^',gure a harashishi Buddhist lion) with a drum. Lent hv^edLCarve^ ivory’ ent by Sordoni Family Collection Buddhism. On the reverse, landscape with retu.rnl-7® style fisherman in the pain g^ oftheMaruyama-bhiJos Signed: Kanshosai, with cinnabar red Ibju (pupil of Toyo) Zeshiim ‘^>Se‘he-Drmon'OueIler .... ... Signed: Zeshin, on bottom. Lacquer; silver fundame ground with dull matte finish; Shoki in gold hiramakie; demons in ink togidashi outline. Dimensions: 3'/i6 *Ojime: Scored oval bead. ^Netsuke: Demon squatting by washtub washing cloth. Unsigned. Wood. Lent by the Center Art Gallery, Bucknell University’ Shoki the Demon-Queller is the Japanese form of the Chinese Ch’ung-k’uei. The myths of his origins vary, but for lacquer and netsuke artists, Shoki’s most important function was in his charge to get rid of demons, or oni. In Zeshin’s finely wrought inro, an angry and intimidating Shoki is seen framed and lit by a large moon, while two demons scurry away in fright. Netsuke artists often played humorously with the theme, showing a demon getting the best of Shoki (see No. 20), but in Zeshin’s work, Shoki still has the upper hand. 87. Grasses *lbbacco-box shape inro, showing a design of grasses with a ceremonial Shinto image hung on a bamboo staff. Signed: Zeshin Lacquer; polychrome and gold takamakic, on a matte gray metallic ground. Dimensions: 2's *Ojime: Bead in form of a techniques ..... fleeinj, 3t stone. sho"’ two demons blossom motif; wood withgt lacquer and Jcingune (gold ti ■ Lent by the Center Art Gallery Bucknell University Shibata Zeshin (1807-1901) was one Ot the most gifted and innovative Japanese artists; he is known for his paintings and prints as well as his lacquer work. These two inro emplov some of the forms he was known for in lacquer, the tobacco-pouch shape, and the dark-gray olive-hued matte surface he achieves, known as “tea-dust green”. 88. Archer and Young Woman *Four-case into showing the scene of a young woman in a rose-colored kimono bowing and kneeling by a wattle fence-gate, offering a tray of flowers; the design continuing on the other side to show a huntsman-archer acknowledging her offering, in elaborate hunting dress of straw hat, animal skin, with sword, bow and quiver. Signed, but unread. Lacquer; gold and polychrome hiramakie, on a fine gold-powder ground. Dimensions: 4x 2’, s *Ojime: Round bead, gold lacquer. Lent by Shep Brotman 89. Buddhist Temple Bell ^Four-case inro in the shape of a Buddhist temple bell, with a double dragon-head handle, four rows of bosses on top and a scenes m rexcuv * . Jeer, demons in procession, monkey, demon pulling rope on �r = Zei1narrOWSS'rU8glin=in T a banner; Chinese archaic style ■mscripticns- .7.the texture of ^ie^heveril dull dark green patina. _ DiroenaoBsJ *No Nune. ‘Net-ukc; A s mythical seaside mature in a turtle s.ne.1. Unsigned. Wood with inlaid eves : ur: tangs. Silver-lined ttnctwrv in herd. Lent rr the Center Art Gallery, B_tkntll tniverhr.Tro:~.t. grist has succeeded •. nnir-'.ru - li._u-r thetexnne of cn sntan: bmnertrina. 9C. The Carriage of Prince Genji - .n-_ - ■ ingar •.r.Jthed nt th-tn_■ chariot ■ .- r-: endrit-Hr.:, under a pme tree, the design . t-’-T.-.n; tntrtreverse*’? tree. I- n-raVed. ^uer.goJdtaUnaLieona ■ ground with red undert .r>es. Dimer,.:,j H.a '-;: — 17/ vth •• ?; H £7 ; 91. Cockatoos in a Cage ’Four-case inro in the shape of a bird cage on a red-lacquer stand. On the bottom of the esse is a panel showing chrysanthemums on a nashiji ground. On the upper three cases and lid, the design gives the illusion of two cockatoos or parrots perched behind bars, one in silver, one in gold. Gold Finial ar top of cage. Unsigned. Lacquer: gold hiramakie on a deep smooth black ground, gold takamakie on the base on a njshijp ground. Hirame treatment ot perch and ground. Dimensions: 2%X PA ’Opine: Round Bead. Gold lacqi[tier. ’Netsuke: Peacock preening on a block. Carved ivory. Lent by Shep Brozman 92. Demonstration/sampler inro ’Nine-case inr?5, with each decorated in a different ci’jsonne-liye diaper pattern, and with each case interior executed in different styles. Unsigned. Lacquer; gold hiramakie and PjTjhrometwidu-.hi. Dimensions; 4x2 Ojime; Round bead. Red-< olored ivory, ^"^^-landsi ape inside ^,rn(-J by eight ’’D-j -ufdln rimting Srjmada-styJe, inlaid mother-of-pearl on black lacquer ground. Lent by Shep Brozman An inro such as this, with its virtuosic variety of diaper groundsand patterns, was probably made as a demonstration piece for the artisan to show to prospective patrons. The patron could commission his inro, choosing from the patterns shown, ot view the demonstration piece as a kind of credential, as a testimonial to the craftman’s skill. 93. The Foxes’ Wedding Procession *Four-case inro, showing a night scene with red torii gate amid pine trees, the design continuing on the reverse, showing a procession of silhouetted foxes, bearing a wedding palanquin, lanterns and banners. Signed, but unread. . Lacquer; togidashi and hiramakie in black, red and gold on a matte silver fundume ground. Dimensions: 3 3A .... ’Netsuke: Figure of a karoshi (Chinese lion) with ball. Unsigned. IvorytvithstmrungLent by the Center Art Gallery. - I I and in the foxes’ dream-like procession. 94. Gentoku, Kwanyu and Chohi *Three-case inro, the front showing imperial intendant Gentoku with his generals Kwanyu and Chohi taking the oath of brotherhood, enclosed in a circular reserve; on the reverse, a branch bearing two peaches, in circular reserve; on the top, a dragon in gold waves. Unsigned. Lacquer; gold, silver and polychrome takamakie, inlaid abalone shell and other substances, in black reserves, framed by a mottled red and black ground imitating the texture of tree bark. *pP™eils'ot4S: 3 Jjime: Bead with carved spirals. Coral, hetsuke: Flattened manju-form with design of flowers and leaves, with inset bronze filigree lid, held with a clear translucent stone. !si,,shu (carved red cinnabar) lacquer. Bucknell University and one of them, K"'13'3 trilll.llb-1‘,j (Th-.JUx Wedding). I'^iiight^1 Some of the ‘.UUieregH- ■ nightly uinxrpix ie ■l" ’ () n as in No. 65, but ■" u'“ the lonely isolaiion"11,1 Phce in m '-b*na assumed a special Chines.. >n fl?pular imagination of the u‘se. Wrilteti hv1?!tf,t' 7h,ree L-rngdoms, 1'hiiwJ |r .Urtecnth century aii.|orili ''pH’F on official documents ■lx.se ’ I n isavi' id retelling ot '" “I'l'tur ,i"V mid intrigues, ■itu| “r‘,lt“ that story is the fraternal bond between the three heroes, Gentoku, Kwanyu, and Chohi (Chinese names: Hsuan-te, or Lie Pei, Kuan-yu, and Chang-Fei). The latter’ two were commoners, each endowed with a native military intelligence; they became generals to Gentoku in his attempt to restore the country’ to Han rule. It is the values of fraternity and loyalty within military struggle that seems to interest later Japanese, for the scene of the three heroes taking the oath of brotherhood in the peach grove recurs in painting as well as in the decorative arts. Inside the circular reserve, Gentoku is seen behind his two generals with the winged cap of a noble or official; at the lower right, a red-skinned Kwanyu stroking his long pointed beard, and to the left, a blue-skinned Chohi with his short fan-like beard, holding the goblet with which the three make their vow. On the reverse in a circular reserve, a peacn peach sprig sprig oearuig bearing two fruits a^u^e5 to UIC the jJCciy.il peach 5grove setting -in which theLU 1 ---------heroes made their fraternal v ou es. i ne jewel-like inlay of the pictorial reserves contrasts with the rusticated red and black texture of the framing ground, made to resemble tree-bark; the material contrast is perhaps in some wav intended to underscore another contrast; the jewel-like endurance o the vow framed against the roug cr military values of struggle and conquest. 95. Illustration to “The Red Cliff .. *Three-case into, with t\\< reserve scenes, one showing scholars in a boat by a chtf. a crane in flight under the m<jn framed by a six pomt star diape pattern; on the reverse, a boat by cliffs under moon and clouds, framed by a swatiska/keyfret diaper pattern. Dragon on top, crosses and octagons on bottom. Wood carved in tsuishu style. Unsigned. Dimensions: 3% ’Ojime: Two hares on fret background. ivory. Signed Kozan. Wood. ’Netsuke: Theater mask. Signed Gyoku do. Wood. Lent by the Center Art Gallery, Bucknell University This inro is interesting because it is carved out of wood in the tsuishu style, which is normally executed in red cinnabar lacquer. Japanese lacquer artists learned tsuishu techniques directly from Chinese sources and examples. The production of carved red cinnabar lacquers in China goes back to the Ming dynasty. The theme, too, is Chinese and illustrates a famous prose-poem by the scholar Su Shih (SuTung-po, 1031-1101). A boat excursion the writer takes with friends to the place called Red Cliff becomes the occasion for a poetic meditation and reflection on the natural world. The scene ot scholarsmaKsatbyaclitt.watdffltga passing crane, became femwar and repeated m both Chinese and Japanese painting and decorative arts. 96. Lobster *Four-case inro, showing a dark lobster among water plants. L.KqmJrJdavkUr.U’uUeonred ground. One leguh1??^ • Dimensions: ? * ♦Ojime: Green bead. 41 �j Bibliography 99. River Landscape ’Four-case infO, showing lush river landscape, with pine and wisteria along banks, the design continuing on the “Netsuke: ran cancer. Ittene.. style. Polychrome wood. Lent bv the Center .Art Gailerv, Bucknell University 97. Mountain Landscape ’Large three-case inro. shewing a mountain landscape. the design rentinuing rn both sides. Unsigned. Lacquer: red-tened sur-.:-e •.nk-painringAcq-ter tegidasra -- srr..v-hrtse-huedmetafile grav ground. Dimen-: ons: ’C ;a-r.e: Bead in rbnn cf a tiger in c - i~» gr<_.-. e. Unsigned. Car.edor.-. ’N-iL.stand ;th Chinese .e landscape of sage and vrendar.t .vatdr.ng bird. Un--.gr.ed. : :ua- ‘ T"-"— .t.Juer. L-.-1 r: Center Art Gailerv. Buck tetris Lnivcr--. 98. Pilgrim ’F:-.e-<;.~eir.r~ ... . _-ga papjm with pack, staff, 5worj. 'ja bag nr ,<:-d. Unsigned. “fl'' ' i ‘ ■ reverse. Unsigned. Lacquer, gold hiramakie with on a glossy deep black ground. Small cracking on bottom. Dimensions: 3 s.’Qime: Figure cf Bodhidharma. Carved ivory. ’Netsuke: Fisherman in a kilt of dried leaves, with pole and basket, holding hand of woman •■•.-.th fan, an allusion to Ebisu and Benten, two of the Seven Household Gods. L nsigned. Carved ivory. Lent bv the Center Art Gallery, Bucknell University ICO. Shojo and Sake Jar ’Two-case inr<5 in the shape of a flattened u ine jar with '.imukred dripped glaze; on one ■’.de, a long-haired Shojo sits leaning on a jar. Unsigned. Lacquer; gold, silver and idvchrome takamakie on a flat '4 J J ground. Dimension.; 3 ’No ojime. +-‘.er uke; MornotarGemerging ■' * d t-' h vith leav< 1. Gold, silver and ... . -n.ln- a for 4. 101. Sparrows Struggling in Flight *Three-case into, showing two sparrows struggling in flight; on the reverse, a sparrow in flight carrying a grass blade. Unsigned. Lacquer; black, brown, hiramakie with gold on a silver gray matte ground. Dimensions: 3 *Ojime: Round bead. Amber. ♦Netsuke: Quail and millet. Wood. Signed: Okatomom, in inlaid rectangular cartouche. Lent by the Center Art Gallery, Bucknell University Rover Martha. Catalogue of Japanese Lacquers. The Walters Art Gallery. Baltimore: the Trustees of the Walters Art Gallery, 1970. ’Bushell, Raymond, adaptor. The Netsuke Handbook of Ueda Reikichi. Rutland, Vt.: Charles E. Tuttle Company, 1961. Bushell, Raymond, adaptor. The Wonderful World of Netsuke. Rutland, Vt.: Charles E. Tuttle Company, 1964. Davey, Neil K. Netsuke: A comprehensive study based on the M T. Hindson Collection. New York: Sotheby Parke Bernet, 1974. Feddersen, Martin. Japanese Decorative Art. New York: Thomas Yoseloff, 1962. ’Jahss, Melvin; and Betty Jahss. Inro and Other Miniature Forms of Japanese Lacquer Art. Rutland, Vt.: Charles E. Tuttle Company, 1971. Rsyksmusciim. Rijkisprentenkabinet. The Age of Hanmobu. Early Japanese Prints c. 1/ 00-1 /80. Catalogue of the collection of Japanese prints, part 1. Amsterdam: Rijksmuseum, 1977. Stern, Harold P. The Magnificent Three: Lacquer, Netsuke and Tsuba. Selections from the Collections of Charles A. Greenfield. Neu %rk: Japan Society, Inc., 1972. Steuart, Susan. On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection. Baltimore and London: The John Hopkins University Press, 1984Wrangham, E. A. Inro: An exhibition of Japanese into from the collection of E. A. Wranghom. Oxford: Ashmolean Museum, 1972. ’Recommended for general introductions to the subjects given in the titles. Joly, Henri L. Legend in Japanese Art. London: John Lane and the Bodley Head, 1908. Reprinted (Rutland, Vt.) Charles E. Tuttle Company, 1967. Jonas, F. M. Netsuke. London and Kobe: Kegan Paul, Trench, Thibner and Company, 1928. Reprinted (Rutland, Vt.) Charles E. Tuttle Company, 1960. Kakudo, Yoshiko. Netsuke: Myth, and Nature in Miniature, an Francisco: The Avery Brundage Collection, Asian Art Museum of San Francisco, 1981. Lazarnick George. The Signature Book of Netsuke, Inro and ^ime Artists in Photographs. Honolulu: Reed Publishers, Rurin’^wV Louise. Netsuke: A Guide for Collectors. Jutland, Vt.: Charles E. Tuttle Company, 1965. Hi-rm ^ar^ala Teri- “Japanese Netsuke and Ojime from the K(u an Jae^ne Collection of the Newark &ulrterly 27:L 2 Museum" A Sprinkling of Gold: the Lacquer Box LKrcnkran;. Newark: The Newark *b:karjk A > from thJ'-t J' laPanese Lacquer. lOlW-1 AM Selection Metrn.. )■ '“r , Greenfield Collection. New York: The R.18Ue ^>l,tan Museum of Art. 1980. V\'"’ ‘5 history of Japanese Lacquer Work, ^'lifulir i\ ' Annie R. de Wasserman. Toronto and ■nversity of Toronto Press, 1976. 45 �20. Sleeping Sheki and Demon-Thief Signature unread 11. Tbacise Retracted in Shell L 7-EgSed ^‘•’topus I 44 13. Snail Signature unread 17. Exorcising Demons 11 1 O'Jll (probably loun, •" tivc 1X10-4 1) ��I____ _ 44. Aboriginal Man with Two Toads Signed: Chikusai, in inlaid rectangular cartouche 46. Japanese Child Dressed in Dutch Clothing Signed: Ibmomitsu (?) 4* �1000173447 WILKES COLLEGE LIBRARY g ■HMH �g ’ \ :' . V ■ ; ? g ■ 1SB ■ OS klkg �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1985 October 20 Japanese Art: Inro, Netsuke, and Okimono Creator An entity primarily responsible for making the resource Okatomo Toyomasa Yukoku Kaigyokusai Naoaki Songetsu Kiyukatsu Chokuminsai Yoshimasa Ichiysuai Masatoshi Kincho Zemin Suketadu Tomochika Gyokuzan Issan Tomochika Mitsuhiro Homei Rantie Seiga Mitutoshi Masatami Chiusai Tomomitsu Masamitsu Masuyama Hasegawa Shigeyochi Jakasai Kajikawa Family KomaKansai Koma Koryu Koma Yasuhide Masanaga Ryushin Shinmin Korin School Shibayama School Shunshui Zeshin Toyo [Kanshosai] KoamiChoko Koma Kansai KomaKoryu Koma Yasuaki KomaYashihde Kozan Ryusai Shiomi Masanari Shunshui Somada School Toju Zeshira Emoretta Yang Date A point or period of time associated with an event in the lifecycle of the resource 1985 October 20 - December 1 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource The miniature arts of Japan are on display in this exhibition dedicated to Netsuke, toggle ornaments; Inro, pill boxes; and Okimono, decorative objects. Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/69f7796d865ac299cb85dd4a70a4b1f9.pdf 0f800c7d92d72d759eb3229d3f56c9c5 PDF Text Text ���������������������������� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1985 December 8 Vale of Wyoming Creator An entity primarily responsible for making the resource Eugene J. Adams William Henry Bartlett Baldwin Brower Thomas Campbell E.A. Christie Jacob Cist C.J. Corbin Jasper F . Crospey Edmund Lovell Dana George Thomas Devereux Duval Son Thomas Fleming T.M.Fowler James B. Moyer Fowler Downs Moyer Thomas Hill Augustin-Francois LeMaitre Edmund Darch Lewis J.C. McRae J.J. Merriam George Peck D.D. Granville A. Perkins Thomas Addison Richards H.H. Rowley J.C. Sidney Samuel R. Smith Mrs. Reverend Selah Stocking Paul Weber F. Charles Petrillo Roger B.Stein Annie Bohlin F. Charles petrillo Date A point or period of time associated with an event in the lifecycle of the resource 1985 December 8 - 1986 January 26 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource Vale of Wyoming is a short, comprehensive illustrated history, up to th twentieth century, of the Wyoming Valley from Campbell's Ledge to Nanticoke. Type The nature or genre of the resource Exhibition program Rights Information about rights held in and over the resource SAG https://omeka.wilkes.edu/omeka/files/original/1793db9f3981f9c6b9cb71462dd2ca70.pdf 0822b3783ddd0c06c5e0cc5c5d42ad63 PDF Text Text ��� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1986 February 9 1986 Scholastic Art Awards Date A point or period of time associated with an event in the lifecycle of the resource 1986 February 9 - March 9 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource 1986 was the 59th year that Scholastic Magazine Inc. with the cooperation of civic-minded sponsors conducted an arts awards program for highg school students of America. Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/52816fa66c51f90d82a223a4884f4ba2.pdf 0156b27d03f77bafe71dfca92bd20576 PDF Text Text ������������������������� https://omeka.wilkes.edu/omeka/files/original/4abcf03e0fe1ac3a092093e165f6e01c.pdf 98340dbb001434721f0f4054c3e0b7e9 PDF Text Text x A B' fr I:I I B I B =s g 5" ^22. E§ c=S c~£ St B PEE WEE RUSSELL AND GEORGE WETTLING I SDRD GA ND237 R86A4 1936 �THE ART OF PEE WEE RUSSELL AND GEORGE WETTLING I Sordoni Art Gallery, Wilkes College Wilkes Barre, Pennsy I van ia April 27 through June 1,1986 Essays by Hank O'Neal and Dan Morgenstern Exhibition Organized by [he Sordom Art Gallery 1 sTfarley library WILKES UNIVERSITY WILKES-BARRE PA Copyright 1986/Socdon.Art Gaflery. W*»CdW AWr«e^ 1 �Lenders to the Exhibition �■I ,,4 ’ Lenders to the Exhibition WHtVf.S Ei. - i Condon Ktsr < /Dov»«» tort Georg* Oom Richard wodtoc «» Money M • r* ■WJ Her * 3 He® The kwMuleoi Jazz ShxMt tr<« ■ '•■ i’> • I 1 •’Q”r' �. .'...... • INTRODUCTION AND ACKNOWLEDGEMENTS painter was the American abstractionist, Stuart Davis, with whom he traded drum lessons for tips on painting Wettling's images are bold, geometric abstractions based on familiar subjects like Eddie Condon's night club. Like Davis' paintings, they reflect a deep love for jazz. We are indebted to those who helped organize this exhibition and the concert held in conjunction with it: Andrew Sordoni, III. Chairman of the Sordoni Art Gallery Advisory Commission; Hank O'Neal, author and producer, New York City; Don Morgenstern, Director, The Institute of Jazz Studies, Rutgers University; and Kenny Davern, clarinetist. Most of all, I would like to thank the lenders who, through their generosity, have made this exhibition possible. This exhibition is the second in a series established in 1984 with the presentation of the music and paintings of jazz bassist. Bob Hoggart. As with the canvases of Haggart, the paintings of Pee Wee Russell and George Wettling are visual evidence of the creative impulses which made them such extraordinary jazz musicians. Pee Wee Russell once said that he didn't know what he would do without his clarinet. He couldn't live without music and his music was a strong and vital presence in his paintings. One of the lenders to the exhibition said he liked Pee Wee's paintings because they reminded him of his playing. They reflect an interest in syncopation, strong rhythms, and vibrant color — all terms that are applicable to both mediums. George Wettling always carried a sketchbook with him — on the road, on a gig, wherever. His mentor as a Judith H. O'Toole. Director 4 CHARLES ELLSWORTH “P Within a music that stresses individualism. Pee Wee Russell stood out He was a maverick whose approach to the clarinet — and to jazz — was wholly his own And he was fearless, venturing into what musicians now call "space" long before being tar out had become fashionable, but always landing safely on his teet. Pianist Dick Wellstood has described "the miracle of Pee Wee's playing" as "that.crabbed. choked, knotted tangle of squawks with which he could create such woodsy freedom, such an enormously roomy private universe." But while that unique vocabulary of tonal effects was one side of Pee Wee’s musical persona, ne could also coax contrastingly lovely, gentle sounds from his horn. Pee Wee spent most of his career playing with small groups of a rather freewheeling kind, and has been apprehended by some as an intuitive musician But he was far from unschooled and knew every rule he decided to break. In the late 1920's. in fact, he was accepted into the charmed circle of Hew York's first-string recording and dance-band musicians, doubling on soprano, alto and tenor saxophones and bass clarinet. Born in Maple 'Wood, Missouri and reared in Muskogee, Oklahoma, he took lessons on piano, violin and drums before the clarinet became his chosen instrument { when he heard the famous He w Orleans clarinetist Alcide Yellow" Nunez) and later pursued his studies with the first-chair clarinetist of the St. Louis Symphony. He was unorthodox but certainly not untutored. Though he was enrolled for a year at Western Military Academy and later briefly attended the University of Missouri, Pee Wee was not yet out of his teens when he became a professional musician. Early on, he encountered a fellow maverick, trombonist Jack Teagarden, with whom he struck up a lifelong friendship, and by the time he was 18, he had roamed the southwest and played in Mexico and California Back in St. Louis in late 1925, he hocked up with the legendary cornetist Bix Beiderbecke and his sidekick, saxophonist Frank Trumbauer, and during a resort job thef tog* then hqu< Th whe dot* Pen that sour thar Ec bar Stre Ork alsc or.' yec by< tha toC sho exp ste< he' inc typ Bar fre< Edt pre de! mu as inf ca firn the ho �CHARLES ELLSWORTH “PEE WEE” RUSSELL MENTS n abstractionist, Stuart Davis, im lessons fortips on painting, Id, geometric abstractions :ts like Eddie Condon's night s. they reflect a deep love >se who helped organize this :rt held in conjunction with it: man of the Sordoni Art sion; Hank O'Neal, author City; Dan Morgenstern, jzz Studies, Rutgers University; letist. o thank the lenders who, lave made this exhibition r I I I I I I | I I I I I “I | I E I f B b j I L L I I I F | Within a music that stresses individualism. Pee Wee Russell stood out. He was a maverick whose approach to the clarinet — and to jazz — was wholly his own. And he was fearless, venturing into what musicians now call "space" long before being far out had become fashionable, but always landing safely on his feet. pianist Dick Wellstood has described “the miracle of pee Wee's playing" as “that crabbed, choked, knotted tanale of squawks with which he could create such woodsy freedom, such an enormously roomy private universe." But while that unique vocabulary of tonal effects was one side of Pee Wee's musical persona, he could also coax contrastingly lovely, gentle sounds from his horn. Fee Wee spent most of his career playing with small aroupsof a rather freewheeling kind, and has been apprehended by some as an intuitive musician. But he wasfarfrom unschooled and knew every rule he decided to break. In the late 1920's, in fact, he was accepted into the charmed circle of New York's first-string recording and dance-band musicians, doubling on soprano, alto and tenor saxophones and bass clarinet. Born in Maple Wood, Missouri and reared in Muskogee, Oklahoma, he took lessons on piano, violin and drums before the clarinet became his chosen instrument (when he heard the famous New Orleans clarinetist Alcide "Yellow" Nunez) and later pursued his studies with the first-chair clarinetist of the St. Louis Symphony. He was unorthodox but certainly not untutored. Though he was enrolled for a year at Western Military Academy and later briefly attended the University of Missouri, Pee Wee was not yet out of his teens when he became a professional musician. Early on, he encountered a fellow maverick, trombonist Jack Teagarden, with whom he struck up a lifelong friendship, and by the time he was 18, he had roamed the southwest and played in Mexico and California. Back in St. Louis in late 1925, he hooked up with the legendary cornetist Bix Beiderbecke and his sidekick, saxophonist Frank Trumbauer, and during a resort job the following summer. Pee Wee and Bix roomed together in a ramshackle cottage, sustaining themselves on a diet of canned pork and beans, corn liquor and Louis Armstrong records. Thus Pee Wee's jazz credentials were in good order when he arrived in New York in 1927. On his first record date in town, with the prestigious Red Nichols Five Pennies, he cut a solo on Ida, Sweet As Apple Cider that startled his sophisticated colleagues and still sounds fresh. His recording career, which spans more than 40 years, contains many such gems. Early in 1935, Pee Wee was a key member of the band that put 52nd Street on the map as "Swing Street." This was the quintet led by the exuberant New Orleans-born trumpeter and singer Louis Prima, which also recorded prolifically. Because of Prime's emphasis on showmanship, these records, and Pee Wee's two years with Prima in general, have been underestimated by collectors and jazz historians, but Pee Wee told me that they were among the happiest in his life. He went to California with Prima, making his movie debute in a short film, and staying with the trumpeter when he expanded to a big-band format. Pee Wee's next steady association was with Bobby Hackett, with whom he'd first worked in New England in 1933, and this also included big-band work — Pee Wee's last fling in this type of musical setting. When Hackett's band broke up, pee wee joined Bud Freeman's Summa Cum Laude Band. By then (1939) interest in small-groupjazzof the freewheeling type identified with guitarist-entrepreneur Eddie Condon had become sufficiently popular to provide a musical home for Pee Wee for the next decade. Condon, Freeman and many of the other musicians associated with this style of jazz were known as “the Chicagoans," and Pee Wee was often included in this short-hand definition, which irked him. He did not care for stylistic pigeonholing, and besides, as he firmly pointed out, he had never worked in Chicago in the '20s. . In 1950, PeeWee moved to San Francisco. Years of hard drinking had wreaked havoc on his liver, and late 5 �and Mary was concerned that he should find something with which to occupy his newfound leisure time. One day, she came across a paint set in a department store, bought it and some pre-stretched canvases, and dumped all this in her surprised husband's lap. "Here," she said. "Do something with yourself. Paint!" To her astonishment, Pee Wee proceeded to do just that. Though he had never shown any interest in drawing or painting, or even in looking at works of art (though he'd known many painters during his many years of work and residence in Greenwich Village), he took to his new task with zest. While his approach was unconventional — he disdained easels and kept the canvas on his lap — his touch was sure. He had an innate sense of form and color, and his work in the new medium displayed the same unclassified originality that marked his playing. In a burst of creativity, he made a series of striking paintings. It pleased him immensely when they were praised by knowledgable viewers, and even more when he sold some of his works at what he considered handsome prices. But when Mary Russell died of cancer in 1968, the painting ceased, and the drinking, which he and Mary had been able to control — an after-dinner cognac had been the extent of it for many years — began again. There were still some nice playing jobs; the last was at the Presidential inaugural ball on January 21, 1969. After that. Pee Wee felt very tired, and stayed with friends in the Washington, D.C. area. On his own volition, he entered a private hospital in Alexandria where, after less than a week, he died in his sleep — some six weeks short of his 63rd birthday. that year he collapsed and nearly died. But his many friends in the jazz world rallied to his aid (a touching photograph of Louis Armstrong and Jack Teagarden at his bedside appeared in LIFE Magazine) and staged benefit concerts on his behalf. Miraculously, he pulled through, and by October 1951 resumed work at the helm of his own group — a rare instance in his career. Soon he was playing as well as ever, and just as soon had given up leading bands. The then-new genre of jazz festivals provided considerable work for him, and he became a member of George Wein's Newport All Stars, with whom he visited Europe for the first time in 1961. In the following year, he formed a quartet with trombonist-arranger Marshall Brown as co-leader. Though shortlived, this group attracted considerable attention, not least because its repertoire included compositions by Thelonious Monk (with whom Pee Wee had appeared at a Newport Festival), John Coltrane and Ornette Coleman. Pee Wee had not changed his style, but the material and setting were different, and thus brought him attention and recognition from a new generation of listeners. He won the Down Beat International Critics Poll in 1962 through 1968, and in 1969 was voted into the magazine's Hall of Fame. Pee Wee's final years were busy and productive ones. In 1964, he toured Australia, New Zealand and Japan and paid two visits to Europe. But he was now in a position to select the jobs he wanted, and his devoted wife, Mary, felt that he should no longer commit himself to exhausting traveling schedules. Like most jazz musicians, who spend much of their life "on the road," Pee Wee had not acquired any hobbies, Dan Morgenstern March 1986 6 �it he should find ipy his newfound leisure dss a paint set in a nd some pre-stretched is in her surprised d. "Do something with se proceeded to do just Dwn any interest in n looking at works of art inters during his many i Greenwich Village), he Vhile his approach was 5d easels and kept the was sure. He had an r, and his work in the new jnclassified originality >urst of creativity, he ings. it pleased him □ised by knowledgable he sold some of his landsome prices. >f cancer in 1968. the king, which he and Many i after-dinner cognac ony years — began se playing jobs; the 'ast ral ball on January 21. ery tired, and stayed D.C. area. On his own ospital in Alexandria ne died in his sleep — I birthday. Dan Morgenstern March 1986 10. Pee Wee Russell, The Twins from Mars, 1966 7 �Photograph of Pee Wee Russell �29. George Wettling. Pee Wee ��XVr i HM . / I —- 1 jrti r Ji / ^JAZ? if' 22. George Wettling, Jazz Is In 11 �GEORGE WETTLING music that flowed from Eddie Condon's Green > Village club was moderately commercial "' As the 1950's became the 1960's there were fe /o and fewer jobs for a drummer like Wettiing wjth hT . friends, who were less and less active, or anyone There were the reunions at festivals, a special '‘SS gathering or perhaps a private party but by and larnc he was lucky to get a job with the Dukes of Dixieland ra piano trio date. His last steady job was in Clarence Hutchenrider's Trio at Bill Gay Nineties, a placethat stir operates on East 54th Street in New York City, serving hamburgers to harried businessmen for lunch and9 martinis to the same crowd after work. The trio played in a room on the second floor; it was a long climb up the stairs. In the spring of 1968 Wettiing found he could no longer climb the stairs. He gave up and died in June. A few weeks later I became aware of his paintings. I never met him. Marian McPartland telephoned me sometime in mid-June 1968; told me Wettiing had died, that his drums were at Bill's Gay Nineties and the owners would be cheered if they were quickly removed. She added that it was my duty to help her; I loved the music, had a strong back PLUS an automobile in Manhattan. I agreed with heron all pointsand we did the job on a sunny Saturday afternoon. When Marian and I arrived at Jean Wettling's apartment I was not surprised to see everything in a state of disrepair; Marian had warned me beforehand that housekeeping was not Jean Wettling's strong suit but she had not warned me about the paintings. I knew that Wettiing painted; Eddie Condon had some at his house but I was unprepared to see all that were lying about the apartment; they looked remarkably like copies of Stuart Davis' work, which, I later learned, was not surprising. We placed the drums and assorted hardware in a small room and then spent some time consoling the widow Wettiing. She was not having a good day In fact, it appeared she hadn't had a good one in vears^ but one thing registered very quickly: she said she was r - -o with W illiam Holden. Louis Lamour [sic], tea a en' - io citzgerald, Yvonne DeCarlo and Portland George Wettiing, the multi-talented painter, ehotographer and highly-skilled jazz musician. he dted in Rrosevelt Hospital thirteen years and ten months later, remembered by a few, but not many. a< a bad time for a jazz musician of his kind to die, sort of an m-between time in terms of the historions ond o'-v types. It's a pity how quickly he's been forgotten; i don't meon by young jozz fans or even jazz far's w ho emerged in the 1970's who have had little or no opportunity to hear his music, let alone know about - m but by the current batch of writers, critics and educators who should be somewhat better informed. Aeft'-gs oblivion is, however, much more cc~ci;cated than simple sloppy scholarship and the -formed listeners who really believe Spyro Gyra playsjazz. George Wettiing was born in Topeka, Kansas in 1907, —e same year as Dave Tough and two years before Gene Krupa, the others in the triumverate of exceptional white drummers from the midwest. He was - Cnlcago by 1921, the right place at the right time, ac eto be influenced by the influx of great musicians '■cm New Orleans and some equally great young m.sicans growing up in Chicago. By the time he was '. .e--,- he had already formed life-long friendships a-d recorded with Muggsy Spanier, Frank escnmacher, Joe Sullivan, Eddie Condon and a host c* cmers. He was not only an exceptional drummer -■ s—jazz ensembles but was also sufficiently ■ erraf e to handle big band chores with Paul ■Chico Marx and Bunny Berigan in the ' x:us and the ABC staff in the 1940's and 1950's. Jobs /e e-e cad the rent but the musical friendships he re f always led to his finest oe o- ar ces and the best working conditions. But the j J ,cc: //ere r.ever sufficient to provide a steady "' re, e/er. during the 1940's and 1950's when the 12 ■ to aive all the paintings tc rhe g j . : . ..-eco g , SL in the neighborhood for a coupe of - cmr salo°! | liraed that she not do anyth -:g sc toons'- a.- a Marian quickly agreed. It was likely me ra-g; i d be sold to jazz fans and she couia realize mething better than a few months of free drinks. The Paintings were photographed within the week transparencies were shown to various people and most of the paintings were eventually soid I stayed in touch with Jean Wettimg throughout the 1970's I tried to give her advice on how to sort out her life She ignored almost everything I said but she a occasionally "find" a painting in the back of a closet and as often as not I'd wind up buying it from her; better me than the guy at the saloon. Then one day the telephone rang; it was a woman who lived in Jean's building. Jean had died in Roosevelt Hospital and when the super went into the apartment there was an address book with my name in it. No one knew what to do; there was no known next of kin. Phyllis Condon and I went up to that sad little apartment on West 57th street the next day. In tne same address book I found the name of a brother in New Mexico or Arizona. I placed a call and the conversation was very brief Upon learning of his sister's death he strongly suggestea he didn't want to be bothered and would I please arrange to have everything thrown into the street. I had never experienced anything quite like that but I noticed there were a number of people in the ha'i who were eyeing the furniture. Phyllis and I searched the apartment and packed all the letters, photographs, clippings and scrapbooks that related to George Wettiing into a small box. We also found two small paintings. My First Piece and Left-Handed Study. We left the apartment to the bargain hunters and headed south to Greenwich Village, much saddened by the day's events. I recall that unhappy day very vividly but despite the unpleasant aspects I'm glad I made the trip. There were not then, nor are there now. many people who can shed any light on Wettimg Other than the comments of a few people and jazz books, all I know about him comes from that small box of letters photographs, scrapbooks and ephemera that Phyllis and I collected. fZ CQr ce< Cai at; gei AC oa left iesi V his pa the ph me ac We on lift! Wi gu be the no Mi rec cu Sir m< pc De or nc Str m< rc Nt at c: c: a' 13 �GEORGE WETTLING music that flowed from Eddie Condon's Greeny i >h Village club was moderately commercial k ' As the 1950's became the 1960 s there were tew^ and fewer jobs for a drummer like Wettling with h V ih friends, who were less and less active, or anyone els There were the reunions at festivals, a special se’ gathering or perhaps a private party but by and lam he was lucky to get a job w ith the Dukes of Dixieland n a piano trio date. His last steady job was in Clarence Hutchenrider s Trio at Bill Gay Nineties, a place that still operates on East 54th Street in New York City, serving hamburgers to harried businessmen for lunch anpy martinis to the same crowd after work. The trio played in a room on the second floor; it was a long climb up the stairs. '?■. the spring of 1968 Wettling found he could -o longer climb the stairs. He gave up and died in June A few weeks later I became aware of his paintings. I never met him. Marian McPartland telephoned me sometime in mid<une 1968; Tcid me Wettling had died, that his drums were at Bril's Gay Nineties and the owners would be cheered i‘ they were quickly removed. She added mat * was my duty to help her; I loved the music, had a strong back PLUS an automobile in Manhattan. I agreed itr her on all points and we did the job on a sunny Saturday afternoon. Wrier. Marian and I arrived at Jean Wettling's apartment was not surprised to see everything in a '■‘ate cf disrepair; Marian had warned me beforehand that housekeeping was not Jean Wettling's strong suit cut she had n.ot warned me about the paintings. I •'■n.ew+hat Wetthrg painted; Eddie Condon had some at n’s house but ■ was unprepared to see all that were Ymg about the apartment; they looked remarkably ke copies of Stuart Davis' work, which, I later learned, was not surpr.s ng. /.'e p aced ire drums and assorted hardware in a sr-oi. room and then spent some time consoling the widow r g She 1//as r,Of having a good day. In fact, it appeared she hadn't had a good one in years but or e tr ipg registered very quickly: she said she was >f6,1954. Celebrity Service's Celebrity Bulletin celebrity of the dav. George Wettling. usied rith William Holden, Louis Lamcur (sic), -red la Fitzaerald, Yvonne DeCario ana Pct eno leorge Wettling, the multi-talented painter, hotographer and highly-skilled jazz usic.an in Roosevelt Hospital thirteen years and ten later, remembered by a few, cut ~c many > ad time for a jazz musician 0* "'s Kind to de. n in-between time in terms of me n:s*cr ans and y types. Its a pity how quickly hes beer n.- i don't mean by young razz fans or e. e~. azz > emerged in tne 1970's who ha’.e ~aa trie or irtunifyfohearhism.cs'o e’ao"e.-mo.-. about □y the current batch cf wcers c * os a"d >rs who should be seme.-. ~a‘ mm -‘or—ea. ’s oblivion is, however — ueb more atedthan simple slope > scho'o’sb'c and the ed listeners who rea .7 cere. eSc.ro Gma z. e Wettling was bcm nTooeko -iansesm '9L7. 3 year os Dave Teugn qr 2 c ■, e!rs before jpa. the othersm mal white drummers from mem avesn -e r.as go by 1921, the right p ace a“-5'.r‘-= ’ >e influenced by tne mf. „ , v Orleans and seme ea'.a: . a^a‘ -• -q :jp '■ as - nad a ready termed ■——~ rraed w th Muggs,=-A-, cher Joe Sc ,a-. Feme Co-acr. zraa ,-ewa; notomyanexoep: ana, a■anensemb.escm ,7d:3.3C' ■o^andlebtgbaracrc-e-. A - = ' J iG Chico Marx and Dr- -c--jM-, K^ABCsfoffir _ mces ana the « were never: am -ven =~ <2 oing to give all the paintings to the guy who owned a aloon in the neighborhood for a couple of month's -redit, I urged that she not do anything so foolish and Marian quickly agreed. It was likely the paintings could be sold to jazz fans and she could realize something better than a few months of free drinks. The paintings were photographed within the week, transparencies were shown to various people and most of the paintings were eventually sold. I stayed in touch with Jean Wettling throughout the 1970's. I tried to give her advice on how to sort out her life. She ignored almost everything I said but she'd occasionally "find" a painting in the back of a closet and as often as not I'd windup buying it from her; better me than the guy at the saloon. Then one day the telephone rang; it was a woman who lived in Jean's building. Jean had died in Roosevelt Hospital and when the super went into the apartment there was an address book with my name in it. No one knew what to do; there was no known next of kin. Phyllis Condon and I went up to that sad little apartment on West 57th street the next day. In the same address book I found the name of a brother in New Mexico or Arizona. I placed a call and the conversation was very brief. Upon learning of his sister’s death he strongly suggested he didn't want to be bothered and would I please arrange to have everything thrown into the street. I had never experienced anything quite like that but I noticed there were a number of people in the hall who were eyeing the furniture. Phyllis and I searched the apartment and packed all the letters, photographs, clippings and scrapbooks that related to George Wettling into a small box. We also found two small paintings. My First Piece and Left-Handed Study. We left the apartment to the bargain hunters and headed south to Greenwich Village, much saddened by the day's events. I recall that unhappy day very vividly but despite the unpleasant aspects I'm glad I made the trip. There were not then, nor are there now, many people who can shed any light on Wettling. Other than the comments of a few people and jazz books, all I know about him comes from that small box of letters, photographs, scrapbooks and ephemera that Phyllis and I collected. ^eorge Wettling began to parr, 19< 44 t- ~ portrait of Maggie Condon a. ar, nfan* dates tne beginning; this was his second paint-g n 1970EOO e ->ondon recoiled George Wetting learned io coif-t at our apartment in 1943. We were moving cut and to get back at a pesty super we decided to have a wall-painting party. George was our most enthusiastic painter. When he ran out of walls at our apartmenr he left immediately for Stuart Davis’ where he found lessons and encouragement." Wettling's relationship with Stuart Davis was critical in his development as a painter; within a few years his paintings began to resemble nis teacher's and from the correspondence that has survived, as well as photographs and assorted memories, it is clear the two men were very good friends who admired the other s accomplishments. Painting became important to Wettling; jazz was equally important to Davis who once wrote: "Recently I had occasion to inquire of a little boy what he wanted to be when he grew up. Without breaking the Chicago-style beat of his bubble gum he replied, 'Eddie Condon.' Conference had been fogging my vision a bit of late It was clear that the little boy had hip boots well ciasped up to his navel. This was the jolt I needed, i played an old Punch Miller record with a George Wettling backing 1 had recently dubbed in, added a configuration to my current painting. The Mellow Pad, and forgot all about Sir Alexander Cadogan and Gromyko. For a brief moment I thought I was Eddie Condon too, but that passed." Add to this that Wettling was intellectually on Davis' wavelength One only had to look at the books on Wettling's shelves; no useless books, no pulp, nothing trendy. He had everything Henry Miller. John Steinbeck and Kenneth Patchen had ever written and many others as well. Wettling was sufficiently accomplished by 1947 to have produced a body of work that was of interest tc a New York City gallery. A one man show was mounted at the Norlyst Gallery and the advertising fiver contained a special tribute by Stuart Davis. Two of his paintings from that show Stuart Davis On Oil Cloth and My First Piece are included in the present 13 �30. George Wettling, The Queen Mary exhibition at the Sordoni Art Gallery and it is likely a third is also present. Age and stylistic similarities point to The City No. 2 or The City No. 3 being Untitled No. One in the current show. Wettling’s paintings fall into four distinct stylistic periods; examples of each are presented in this exhibition. The first period is characterized by limited technique and lack of direction, as may be observed in Maggie Condon and My First Piece. These paintings are charming but very primitive. He entered his second phase well before the 1947 show, exhibiting a much better technique and the beginnings of a strong dependence on Stuart Davis, shown in Stuart Davis On Oil Cloth and Untitled No. One. His third phase, perhaps his best, began in the late 1940'sand lasted into the early 1950's where the complete dominance of Davis is apparent, as is a secure technique. Jazz Is In, a painting that tells about a recording session and was the focal point of a 1951 article about Wettling in Collier's magazine is a prime example of his work at this time and is perhaps his finest painting. Roadgraders and High As A Kite, both exhibited at the Philadelphia Museum of Art in 1952 are also from this period. The final phase, which lasted into the late 1950's shows the influence of Davis but here Wettling also presented a more personal vision, as may be seen in Self Portrait, and McSoriey’s. It is likely Wettling did not continue to paint after 1960, even though his sketch books continue to 1967. It may well be the sketch books took the place of larger works for, beginning in the early sixties he began to date and locate many of his tiny drawings; Albany 62, Toronto 63 and Gay Nineties 67. It also appears he stopped taking photographs about the same time he Qave up painting. There is nothing in his scrapbooks after 1960 and his album ofclippings ends in 1955. If is unclear why he stopped and probably no one can supply a definitive answer. It may have been he was no OhQer interested but this seems unlikely. The death of Stuart Davis in 1964 was probably demoralizing but he Qd stopped well before his friend's death. It is . bparent he never had any particular commercial ccess with his paintings; he rarely sold them and for the most part they were given to friends. I d lack of commerciality would have stoppec he doesn t seem to be the kind of person w concerned with that aspect of his art. A me reason is that he stopped because of pers< disasters and serious health problems. Wei health deteriorated in the early 1960's. His life, which was never particularly stable be intolerable about the same time. Both thes mitigated against his painting but as glooi circumstances might have been, it might t possible to overcome them on some level, real answer lies elsewhere; at some point \ seems to have suffered a severe case of Ic confidence and this condition was exacei some very poor guidance. Hidden away in the back of Wettling's la scrapbook of clippings I found three shee "critiques" and a letter from the Famous A one of those dreary organizations that ad matchbooks and in cheap magazines, sr unwary with promises of untold success. Tl George Wettling; he sent in a dime to be 1 Michaelangelo in a minute and it is tragic employee of this "school" offering all sort: manufactured suggestions on how Wettlii improve. Apparently Wettling would subr and then the "instructor" assigned to him repaint the picture, showing him how it m properly executed. Perhaps it would hav< had someone executed the instructor; or criticism sheets deals with a painting of Ei Condon's and the suggestions are so pre overtly scholarly it is sickening. Here is an hack, who probably exhibited at county events like the presently dreary Washing! been selected from 3,200 entries to tour States in addition, the letter announces Sy artis^25 worth of art supplies fron 15 �£3 £3 £3 / z 77 inhibition at the Sordoni Art Gallery and it is likely a third is also present. Age and stylistic similarities point to The City No. 2 or The City No, 3 being Untitled No One in the current show. Wettling's paintings fall into four distinct stylistic ceriods; examples of each are presented in this exhibition. The first period is characterized by limited technique and lack of direction, as may be observed in Maggie Condon and My First Piece. These paintings are charming but very primitive. He entered his second phase well before the 1947 show, exhibiting a much better technique and the beginnings of a strong dependence on Stuart Davis, shown in Stuart Davis On Oil Cloth and Untitled No. One. His third phase, perhaps his best, began in the late 1940's and lasted into the early 1950's where the complete dominance of Davis is apparent, as is a secure technique. Jazz Is In, a painting that tells about a recording session and was the focal point ofa 1951 article about Wettling in Collier's magazine is a prime example of his work at this time and is perhaps his finest painting Roadgraders and High As A Kite, both exhibited at the Philadelphia Museum of Art in 1952 are also from this period. The final phase, which lasted into the late 1950's shows the influence of Davis but here Wettling also presented a more personal vision, as may be seen in Self Portrait, and McSorley’s. Itis likely Wettling did not continue to paint after 1960, even though hissketch books continue to 1967. It may well be the sketch books took the place of larger works for, beginning in the early sixties he began to date and locate many of his tiny drawings; Albany 62, Toronto 63 and Gay Nineties 67. It also appears he stopped taking photographs about the same time he gave up painting. There is nothing in his scrapbooks after 1960 and his album ofclippings ends in 1955. It is unclear why he stopped and probably no one can supply a definitive answer. It may have been he was no longer interested but this seems unlikely. The death of Juart Davis in 1964 was probably demoralizing but he nadstopped well before his friend's death. It is apparent he never had any particular commercial success with his paintings; he rarely sold them and for he doesn t seem to be the kind of person who was only concerned with that aspect of his art. A more likely reason is that he stopped because of personal k ISal*Lers and serious health problems. Wettling's health deteriorated in the early 1960's. His personal life, which was never particularly stable became intolerable about the same time. Both these factors mitigated against his painting but as gloomy as these circumstances might have been, it might have been possible to overcome them on some level. I think the real answer lies elsewhere; at some point Wettling seems to have suffered a severe case of lack of confidence and this condition was exacerbated by some very poor guidance. Hidden away in the back of Wettling's large scrapbook of clippings I found three sheets of "critiques" and a letter from the Famous Artists School, one of those dreary organizations that advertise on matchbooks and in cheap magazines, snaring the unwary with promises of untold success. They snared George Wettling; he sent in a dime to be turned into Michaelangelo in a minute and it is tragic to see an employee of this "school" offering all sorts of manufactured suggestions on how Wettling might improve. Apparently Wettling would submit a painting and then the "instructor" assigned to him would repaintthe picture, showing him how it might appear if properly executed. Perhaps it would have been best had someone executed the instructor; one of the criticism sheets deals with a painting of Eddie Condon's and the suggestions are so pretentious and overtly scholarly it is sickening. Here is an academic hack who probably exhibited at county fairs and events like the presently dreary Washington Square Art Show and has been reduced to working for the matchbook school of art. He's telling Wettling how to paint There is even a letter, dated 1960. from these bandits advising Wettling one of his paintings has been selected from 3,200 entries to tour the United States In addition, the letter announces a prize for the lucky artist; $25 worth of art supplies from the Famous 15 14 �between he produced some good work. George Wettling was not a great painter but he was a more than adequate disciple of Stuart Davis. He certainly painted better than Davis drummed. He was also a fine photographer; it is obvious he used his camera as a sketchbook in the same manner as did Ben Shahn and Reginald Marsh. His writing was inventive and witty. Every artistic endeavor he approached, music, painting, photography, writing, showed a genuine creative flair. There was, however, a flaw somewhere in Wettling's personality; his personal life was a shambles and he was unable to cope with the way in which our society often treats some of its more creative, though distinctly uncommercial, citizens. Had his personal affairs been better organized he could hdve perhaps overcome the difficulties caused by his lack of commercial success, but each of his problems fed on the other and hdd it not been for Phyllis Condon, Marian McPartland and myself all the non-musical aspects of his very creative life would long ago have been scattered along West 57th Street or gracing the walls of a dingy saloon somev/here. Most of Wettling's paintings are dispersed, destroyed or obandoned in long forgotten attics. A pity He was a good painter and his work deserves better treatment. Hank O'Neal 3 February 1986 24. George Wettling, Self Portrait �Photograph of George Wettling �CHECKLIST OF PAINTINGS BY PEE WEE RUSSELL (All dimension In inches; height proceeds width.) 1. Beauty and the Beast Oil on canvas, 173M x 24 Courtesy of Hank O'Neal 10. The Twins from Mars, 1966 Oil on canvas, 24 x 36 Institute of Jazz Studies, The State University of Nev/ Jersey. Rutgers 2. The Inner Man, 1966 Oil on canvas, 18x24 Institute of Jazz Studies, The State University of New Jersey, Rutgers 11. Parisian Sewers, 1966 Oil on canvas, 24 x 36 Institute of Jazz Studies. The State University of New Jersey, Rutgers 3. Downtown, 1966 Oil on canvas, 18x24 Institute of Jazz Studies, The State University of New Jersey, Rutgers 19. untitled No. 11.1966 Oil on canvas. 36x24 Institute of Jazz Studies, The State University of New Jersey, Rutgers 20 The Prisoners Oil on canvas, 36 x 24 Institute of Jazz Studies, The State University of New Jersey, Rutgers 21. Faces in the Crowd, 1967 Oil on canvas, 401/? x 3O’/z Courtesy of Mr. and Mrs. Kenny Davern 12. Self-Portrait, 1966 Oil on canvas. 30 x 40 Institute of Jazz Studies. The State University of New Jersey, Rutgers 4. Dance Around the Fire, 1966 Oil on canvas, 18x24 Institute of Jazz Studies, The State University of New Jersey, Rutgers 13. Friends, 1966 Oil on canvas. 24 x 36 Institute of Jazz Studies, The State University of New Jersey, Rutgers 5. Little Fooler, 1966 Oil on canvas, 35x24 institute of Jazz Studies, The State University of New Jersey, Rutgers 14. Subconsious, 1966 Oil on canvas, 22x28 Institute of Jazz Studies, The State University of New Jersey, Rutgers 6. Anything Goes No. 2,1966 Oil on canvas, 24 x 30 Institute of Jazz Studies, The State University of New Jersey, Rutgers 15. Improvisation, 1966 Oil on canvas, 45 x 36 Institute of Jazz Studies, The State University of New Jersey, Rutgers 7. Untitled No. 3 Oil on canvas, 24x35 Institute of Jazz Studies, The State University of New Jersey, Rutgers 16. The Garden Party, 1966 Oil on canvas, 24 x 36 Institute of Jazz Studies, The State University of New Jersey, Rutgers 8. Ditto, 1966 Oil on canvas, 24x35 Institute of Jazz Studies, The State University of New Jersey, Rutgers 17. Untitled No. 10,1966 Oil on canvas, 18 x 24 Institute of Jazz Studies, The State University of New Jersey, Rutgers 9. The Turtle, 1966 Oil on canvas, 24x36 Institute of Jazz Studies, The State University of New Jersey, Rutgers 18. Explosion, 1966 Oil on canvas, 18 x 24 Institute of Jazz Studies, The State University of Nev; Jersey, Rutgers 18 CHECKLIST OF PAINTIb (All dimension in inc 22. Jazz Is In Oil on canvas, 22 x 301M Courtesy of Hank O'Neal 28. Baby Dodds Ink on Paper, Courtesy of H< 23. Roadgraders Oil on canvas, 24 x 36 Courtesy of Hank O'Neal 29. Pee Wee Ink on Paper, Courtesy of H< 24. Self Portrait Oil on canvas, 20 x 16 Courtesy of Hank O'Neal 25. Untitled No. 1 Oil on canvas, 16x12 Courtesy of Hank O'Neal 26. Left Hand Oil on canvas, 13% x 9% Courtesy of Hank O'Neal 27. First Sketch Oil on canvas, 7x5 Courtesy of Hank O'Neal 30. The Queen tv Oil on canva; Courtesy of PI 31. Maggie NotOil on canva1 Courtesy of fv 32. McSorley’sO Oil on canva Courtesy of J: 33. High as a Kit J Oit on canva Courtesy of N �ST OF PAINTINGS BY PEE WEE RUSSELL (All dimension in inches; height preceeds width.) 10. The Twins from Mars, 1966 Oil on canvas, 24 x 36 Institute of Jazz Studies, The State University of New Jersey, Rutgers 11. Parisian Sewers, 1966 Oil on canvas, 24 x 36 Institute of Jazz Studies, The State University of New Jersey, Rutgers ?utgers 19. Untitled No. 11,1966 Oil on canvas, 36x24 Institute of Jazz Studies, The State University of New Jersey, Rutgers 20. The Prisoners Oil on canvas, 36x24 Institute of Jazz Studies, The State University of New Jersey, Rutgers 21. Faces in the Crowd, 1967 Oil on canvas, 401/2 x 301/2 Courtesy of Mr. and Mrs. Kenny Davern 12. Self-Portrait, 1966 Oil on canvas, 30 x 40 Institute of Jazz Studies, The State University of New Jersey, Rutgers Sutgers 13. Friends, 1966 Oil on canvas, 24 x 36 Institute of Jazz Studies, The State University of New Jersey, Rutgers lutgers 14. Subconsious, 1966 Oil on canvas, 22 x 28 Institute of Jazz Studies, The State University of New Jersey, Rutgers 'utgers 15. Improvisation, 1966 Oil on canvas, 45 x 36 Institute of Jazz Studies, The State University of New Jersey, Rutgers utgers utgers 16. The Garden Party, 1966 Oil on canvas, 24 x 36 Institute of Jazz Studies, The State University of Nev/ Jersey, Rutgers utgers 17. Untitled No. 10,1966 Oil on canvas, 18x24 Institute of Jazz Studies, The State University of New Jersey, Rutgers utgers 18. Explosion, 1966 Oil on canvas, 18 x 24 Institute of Jazz Studies, The State University of New Jersey, Rutgers 18 CHECKLIST OF PAINTINGS BY GEORGE WETTLING (All dimension in inches; height proceeds width.) 22. Jazz Is In Oil on canvas, 22 x 301/4 Courtesy of Hank O'Neal 28. Baby Dodds Ink on Paper, 10x73/s Courtesy of Hank O'Neal 34. Jimmy McPartland Pencil sketch, 9 x 11 Courtesy of Marian McPartland 23. Roadgraders Oil on canvas, 24 x 36 Courtesy of Hank O'Neal 29. Pee Wee Ink on Paper, 5x4 Courtesy of Hank O'Neal 35. Stuart Davis, Oil on cloth Oil on canvas wallpaper, 16x24 Courtesy of Earl George Davis 24. Self Portrait Oil on canvas, 20x16 Courtesy of Hank O'Neal 30. The Queen Mary Oil on canvas, 14 x 291te Courtesy of Phyllis Condon 36-40. Sketchbooks Pencil on paper Courtesy of Hank O'Neal 25. Untitled No. 1 Oil on canvas, 16x12 Courtesy of Hank O'Neal 26- Left Hand Oil on canvas, 137/sx97/8 Courtesy of Hank O'Neal 27- First Sketch Oil on canvas, 7x5 Courtesy of Hank O'Neal 31. Maggie No Neck Oil on canvas Courtesy of Maggie Condon 41. Gin Mill, c. 1950-53 Oil on canvas, 14 x 10 Courtesy of Richard Hadlock 32. McSorley’s Old Ale House, 1958 Oil on canvas board, 16x20 Courtesy of Jon Aaronsohn 42. Stuart Davis Rhythm, (George Wettling), 1947 Oil on canvas, 9x11 Courtesy of Earl George Davis 33. High as a Kite Oil on canvas Courtesy of Marian McPartland 19 �Sordoni Art Gallery ADVISORY COMMISSION 1985-86 Andrew J. Sordoni, III, chairman Christopher N. Breiseth, Ph.D. Deane Berger Richard F. Charles Aleta Connell Lou Conyngham Yvonne Eckman Charles Flack Gerald E. Hartdagen, Ph.D. Judith H. O'Toole, Director Oscar Jones Charlotte Lord, Ph.D. Marilyn Maslow Arnold Rifkin Jill Evans Saporito Judith Schall Helen Farr Sloan William H. Sterling, Ph.D. 20 �1000133321 MILKES COLLEGE LIBRARY �......... Of to ’. •J ■ 7 •?-*** «•£. t- t I ■■ ■ ■ - . ■ ::.. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1986 April 27 Pee Wee Russell and George Wettling Creator An entity primarily responsible for making the resource Pee Wee Russell George Wettling Hank O'Neal Dan Morgenstern Date A point or period of time associated with an event in the lifecycle of the resource 1986 April 27 - June 1 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource Second in a series of exhibitions dedicated to to the presentation of music and paintings, these works are evidence of creative impulses acrosss disciplines. Type The nature or genre of the resource Exhibition program Rights Information about rights held in and over the resource SAG https://omeka.wilkes.edu/omeka/files/original/2a28d0a920a6f2b1309afbe795ff7c2a.pdf c9654d4825b21e84df8993ca23c61727 PDF Text Text �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1986 Lecture Will the Real Franz Kline Please Stand Up? Creator An entity primarily responsible for making the resource Franz Kline Date A point or period of time associated with an event in the lifecycle of the resource 1986 September 21 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource This is lecture ephemera about Franz Kline NOT an exhibition Type The nature or genre of the resource Lecture Ephemera https://omeka.wilkes.edu/omeka/files/original/a23b1b151fa2356fcd4e3c093360066e.pdf a7301e4b26e6f2437a59169ccb5906e7 PDF Text Text ������������ Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1986 August 24 Seven Sculptors Creator An entity primarily responsible for making the resource Leon Sitarehuk Joe Mooney Stephen Porter Herbert Simon Peter Grimord Robinson Fredenthal Jerome Hershey Kevin O'Toole Kevin O'Toole Date A point or period of time associated with an event in the lifecycle of the resource 1986 August 24 - September 28 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource In any invitational exhibition, there is, hopefully, a theme or underlying current to which the work of each artist contributes. Ideally the individual pieces will be better understood in light of the works with which they have been surrounded. Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/4f8b71a98f524ee231c986c68d87f6d0.pdf c30c678f8e88f7db45f02ff727b8faab PDF Text Text �-T THE SORDONI ART GALLERY WILKES COLLEGE Research preparation by Margaret Csala. Texts by Judith O'Toole. Photography by Mark Cohen, |on McDowell, and Curtis Salonick. Design by Annie Bohlin. Printed by Penn Creative Litho. Funding for this project was provided in part by the Pennsylvania Council on rhe Arrs. Wilkes College is an affirmative action, equal opporrunity institution. Published by the Sordoni Art Gallery, Wilkes College, 1987. A1l rights reserved. Front cover: lohn Sloan (f87I I95I), Girl Bach to the Piano, detil. �THE SORDONI ART GALLERY WILKES COLLEGE Installation view of the Gallery with Gnrge Luhs : An Arneric nn Anist, April-May, 1987 . �The Sordoni Art Gallery of Wilkes College in 1973 to encourage and support an appreciation of the visual arts in an academic setting. was established Representing more than the fine arts aspect of a liberal arts education, the Gallery serves as a teaching resource for campus and community and creates a stimulus for local artists. It is a professionally staffed and equipped facility which provides an ambitious schedule of exhibitions, lectures, and related programs, all of which are available to the public without charge. Major exhibitions organized by the Gallery have included FRANZ KLINE: PAINTINGS (1978); THE EIGHT (1979); THREE PENNSYLVANIA WOMEN: BEAUX, CASSATT, AND WALTER (1980); STUDENTS oF THE EIGHT (1981); CARL SPRINCHORN: REALIST IMPULSE AND ROMANTIC VISION ( 1982); 1933 REMSTED: AMERICAN MASTERS OF THE EARLY THIRTIES (1983); and GEORGE LUKS: AN AMERTCAN ARTTST ( L987). The Sordoni Art Gallery/s growing permanent collection is focused upon nineteenth and twentieth century American paintings, and a print collection which includes works of old masters and contemporary artists. A select group of nineteenth century European paintings from the former �collection of Senator Andrew |. Sordoni is also part of the Galleqfs permanent holdings. Operating support for the Gallery is largely undertaken by Wilkes College, with additional funding provided by the Sordoni Foundation, Inc., grants from corporate and individual sponsors, and members of the Friends of the Sordoni Art Gallery. t r{ I}1. i.S f L." View towards the Gallery from the surrounding Marts Courtyard. Qteutet #2 by Steve Porter is shown. �Iloutt: Mond.ay through Fridny 12-5 p.rn. Thwrcd,ay evenings antil9 p.rn. Satarday l0 a.rn. - 5 p.*. Sunday 1-5 p.m. Closed all rnajm bolidays. Ad.rnissinn to tlte Gallery is ftre. Locotion: Nyer Street Wilhe*Barue, PA 18766 (717) 8244651, ext. 388 150 Soutb The Gollery is centrally hcated on the groand fhor of Starh Learning Center 0n tbe Wilbs College ca.rnq)as. Parb,ng is availnble soath of the Gallery offSoath Riyer Street. Aai.vities: Gnllery tourc, lectares, bws trips, g allery internships students at Wilhcs College. ftr recept'iarw, and. Fxhibitiotx: Contem.p orary and, historicnl ; han, traueling, and. exhibitioru from the perw,anent nllectinn. The collectian //ra.y appointment when exhibirion. be seen by it is not on \AILKES COLLEGE u'ilkes'Barre, Pennsvlvanir 18766 �I}IS/GIflS: SELECTIONS FROM THE PERMANENT COLLECTION, SORDONI ART GALLERY, WILKE,S COLLEGE in.sight (in'srt') n. 1. The capacity to discern the true nature of a situation; penetration. 2. An elucidating glimpse. �IOHN SLOAN ( r87t-r9st) Tempera Helen in Green, 1947 and oil glazes on masonite,2L x 18 inches F* d-"1 ffi m i*{ �Born in Lock Haven, Pennsylvania, Iohn Sloan began his artistic career as a newspaper artist in Philadelphia, where he also took classes from Thomas Anshutz at the Pennsylvania Academy of Fine Arts and met fellow artist Robert Henri, who encouraged him to paint. The two men later became leade rs of a group of New York realists known as "The Ash Can School." While still in Philadelphia, Sloan became interested in etching, a process whose technical features resurface in the textured cross-hatching of later paintings. In 1904 Slaan moved. to New Tork with snernl af his nrwspaper fricnds, with whorn he continued. to d*tlop a painting style centered. on the d.irect observat'ion 0f city life. Smmed by the fficinl exhibitinns a.s tw tulgar, Sloan and. his fr,iend.s banfud together to begin the Infupendcnt rnlvernerct wlrich, fr.llrllrg otber things, pcrrnitted n non-jwried. opportanity fd Fr{ tLi w i1 for artists to exbibit tbeir work. Beginning in 1919, Sloan spent lus summers in Sante Fe, where h 1947 he painted this portrait of his wife, Helen Farr. The series of glazes and cross hatching which form the image are an attempt to emphasize three-dimensional volume in a two-dimensional format. Helen Farr Sloan worked with her artist-husband to publish Gist of Art, an important book which records Sloan's ideas about art as expressed through his classroom lectures. �ry U) LiI i-.* 1", �SEVERIN ROESEN (c. 1814-c. L872) Still Life with Flowers arrd Still Life with Fruit, c. 1865 Both oil on wood panel, 12x76 inches Although little is known about his life, Severin Roesen was an artist who left a strong mark on American nineteenth century still life painting through the style and number of his compositions. He came to the United States from Germany in 1848 and painted in New York City until 1856. At mid-century, there was already a growing appreciation for German art, especially still life, and Roesen's work appealed to the increasingly well-to-do middle class. His paintings were sold through the American Art Union and went to collectors as far away as Maine and Missouri. Roesen left New York to travel through Pennsylvania in 1856; in 1860 he settled in Williamsport, a prosperous lumber community in the center of the state. There he found an interested market for his paintings and a number of students to whom he could teach his style of still life composition. t-l r\ (s H These two paintings are matched in size and reflect the Victorian taste for hauing an ensemble of srnall paintings to group together on a wall. The pristine, detailed painting style is typical of Roesen, as are the bright color and jewel-lilae apped.rance of each flower and fruit. Roesen's concern for realism is euident in his careful brushwork, concern for detail, and mastery in reproducing the colors and textures of nature. Created by an immigrant for immigrants, his pleasing compositions represent the pride of nineteenth century Americans in the natural bounty and beauty of their new courutry. �CHTLDE HASSAM (1859 - a955) Ililltop: Two Figures on the Dunes,1895 Oil on @nvas, aB x251h inches Qiven in honor of Dr. Arnaud C. Marts byhis wife Z a t-( o f-( lJr -l t �Childe lTassam is consldered to be one of the foremost painters of the American Impressionist mouement. Iile u)as a member of the ^The Ten," a group of artists from New York and Boston who organized in 7898 to draw attention to their work and awaA from the French Impressionists. Hassam left high school to work as an engraver and illustrator in Boston, where he took lessons at the Boston Art Club and the Lowell Institute. By 1885 he had already begun sending paintings to exhibitions, and he felt the call to go to Europe. Eventually he spent three years in Paris, where he became familiar with the work of the Impressionists. Hassam was attracted by their subject matter, which was drawn from everyday life, and their new use of color and light, and he incorporated these ideas in his own canvases. flassam was a very successful artist and won 55 major prizes in exhibitions both at home and abroad. He is best known for his paintings of summer resorts in New England and street scenes in New York. ITilltop: Two Figures on the Dunes shows the unusual perspective and high horizon line of Impressionist composition as well as the use of bright color and stippled brushwork to simulate natural light. m *l tut �WALTER ELMER SCHOF'IDLD QB67 - a944) Wandering Brook, n.d. Oil on canvas, 5O1/a x 5O126 inches Cift of Phillip and Muriel Berman Z g crT >-l { s �Acknowledged during his lifetime as one of America's foremost landscape painters, Schofield was born and raised in Philadelphia. After attending the Pennsylvania Academy of Fine Arts, hejoined the hundreds of American artists who studied at the Julian Academy in Paris. There he came in contact with the tenets of Impressionism, which he adopted for his mature style. An important part of Impressionism is the concept of painting directly from the subject out-of-doors, rather than from memory and sketches in a studio. Schofield was a big, hardy outdoorsman who erjoyed painting scenes in all seasons, and he is well known for his winter landscapes. He dMded his time between a home in Cornwall, England, and the United States, where he worked in New England, the Western states, and, especially, the Brandyuine River Valley in Pennsylvania. $ t" fr r ltrandering Brook was probably painted in Pennsyluania. It emplogs the square formatwncentvan Qogh discouered to be effective in his late paintings and shows the same intense, flickering brushstroke. The use of raw, unblended colors helps inuigorate the scene. Schofield is represented in the Metropolitan Museum of Art (New York), the Corcoran Art Oallery (Washington, D.C.) and other important collections. tle is recognized as one of Pennsylvania's important contributors to the turn-ofthe-century American Impresstonlst mouemenL �GEORGE CATLTN ( 1796 -L872) A Lone Bwffilo Suruownded. by n Pack of Wolttes, n.d. Gift orDr. and Mrs. i:'J""ff:il ]r'"T^f,T';*. Graham Arader rrr In A Lone Baffalo, Catlin shows the animal in its final stand against a natural enemy: wolves. But the artist's real concern was the killing of wild life and invasion of the Indians' land by white fur traders. Catlin's images of the American Indian and his way of life are some of the most informative historical documents of that era. According to nineteenth century practice, this piece was drawn and printed as a lithograph by master craftsmen from Catlin's original watercolor. z{e r-l Ul �George Catlin was born in Wilkes-Barre, and grew up to practice law in his home town. In 182I, after three years as a lawyer, he sold his law library and moved to Philadelphia to devote himself to painting. He began as a portraitist, but when a group of Plains Indians passed through Philadelphia around 1825, he found his true calling. Fascinated by these "knights of the forestr" he decided to document the Indian tribes living between the Allegheny and Rocky Mountains. By 1837 he had compiled an "Indian Gallery" complete with 494 paintings and artifacts such as spears, drums, robes, and a teepec. Catlin took his Gallery to London and Paris, hoping that on his return home the lJnited States Government would buy it for display. But it was not until the death of )oseph Harrison, a private collector who bailed the artist out of his financial troubles, that the Gallery was given to the Smithsonian by Harrison's widow. LJ B.iq F"{ �2 G EORG E BENJAM rN LU KS (1 867 Society Lady, c. 1932 Oil on canvas, 43x331/z inches - m 1933) h,J I X t ffi �George Luks is best known to the art world as a member of the "The Eight," a group of American painters who broke with the traditions of the American academies of the early twentieth century in order to develop their own artistic styles. Luks's natural ability to draw was put to use as a reporterillustrator for the Philadelphia Press in the 1890's. The artists he met at the Press and in Philadelphia Sloan, William - Johnencouraged Glackens, Everett Shinn, and Robert Henri - along withLuks to paint in oils; later they became his associates, Maurice Prendergast, Arthur B. Davies, and Ernest Lawson, in "The Eight." Luks had settled in New York City by the early 1900's and his subjects became city workers, beggar women, and other eccentrics of the streets. His powerful ability to capture character in portraiture caused many (including himself) to compare his work to that of the famous seventeenth century Dutch painter, Frans Hals. The sitter for Society Lady studied with Luks at his informal school in lower Manhattan. The painting shows Luks's flamboyant brushwork and spontaneous sense of form and color. The raw sensation of a limited but brilliant palette - vivid blue, gold and red laid on in strong brush sfrokes is - but remarkably modern, despite his rough technique and sparse details, Luks conveys the dignified, introspective manner of the sitter. This painting came to the Gallery as a result of research for the important traveling retrospective exhibition George Luks: An American Artist, which was organized by the Sordoni Art Gallery and opened there in May, 1987. x ffi tl/ K *{ ffi �GEORGE INNESS ( 1825-1894) Evening Landscape, c. L890 Oil on canvas, L2 x l8'/+ inches George Inness was one of the most prolific Ame rican landscape painters of the nineteenth century. V.ry early in his career he painted in the style of the Hudson River School, but later he turned away from that school's realism and detail to create a more brooding, mystical view of nature. 4 4 CN ry Fl \ �Inness grew up in New York City and in Newark, New )ersey, where as a teenager he was an apprentice to engravers. In I844, at the age of nineteen, he began to exhibit landscapes whose expressionistic mood differed from the Hudson River style. During the 1850s frequent trips to Italy and France introduced him to the romanticism of the Barbizon School, and a gentle, reflective qualiry entered his style. During the late 1860s Inness'paintings began to take on a more abstract, introspective view of nature. From L87O-74 he lived in Italy and his work became less realistic and more dramatic through the use of color and a looser brushstroke. During his late period he rard worked outdoors, but preferred to repaint a single canvas many times over from his imagination. Eoening Londscape, painted around 1890, dates from this late period. Though it is easily recognizable as a landscape, the brushstrokes are blurred and the colors intense. The white crane in the foreground is an exotic inclusion, appearing as a spector in a dramatic stage setting. ry L1 trJ Fl \ �TTARRY GOTTLTEB ( 1895 - Bootleg Mining, L937 Llthogrrcph, 14 x lSYs z UI l-l n H tJ.a l-{l tr �Horry Gottlieb wqs one of the founding members of o speciql unit ol the Works Progrress Administrqtion's Federql Art Project, This unit wqs formed in I938 to explore the potenticrl of the silkscreening process; the result wos serigrophy, on importont development in printmcking. Prints were q relqtively inexpensive wcry for the Federql Alt Project to distribute origincrl works of qrt to vcrrious public irstitutions during the Depression yeqrs, In turn, serigrrophy provided o relotively simple ond inexpensive process for qrtists who could not qfford ccrnvcts ond points. Gottlieb wos born in Buchqrest, Rumqniq; lqter the fomily moved to irelqnd qnd then to the United Stotes. He ottended the Minneopolis Art Institute. Iecnring in 1908 Ior NewYork City, where he becqme cr set qnd costume designer for Eugene O'NeiIl's Provincetown Thecrtre group, € t-"t H *. ($ H w ,? H t-{ AIter c one-mcn show of his serigrrqphs was held in New York in 1940, Gottlieb toured the country gling lectures on serigrraphy. His experiences with people led him to become interested in the labor movement cnd when he visited Northecrstern Pennsylvcnlc he wcs sympathetic to the plight oI the cocl miners. Bootleg Mning is a lithogrcph, ct more expensive type of print medium; it reflects Gottlieb's vierr thqt the artist hcs q responsibility to record the events crnd emotions of his own time. �CARL SPRTNCHORN (1887 - 1971) The Blizzard, 1941 Oil on canvas,21 x29 inches Gift of Dr. and Mrs. Joseph M. Klein The Blizzard shows fhe bravura of Sprinchorn's brushwork and demonstrates his move from the gritty realism of his earlier style to the more romantic, interpretive images of his later work. Although still clearly a landscape, the tightly controlled abstract rhythms of The Blizzard evoke a pictorial winter storm. The zig-zag brushwork and the dagger-like forms of dark pines threaten the observer with a primitive force. Z u f, x*{ (s �Carl Sprinchorn moved to New York City f rom his native Sweden in 1903, when he enrolled at the Art Students League. His mentor there was the charismatic teacher, painter, and co-founder of "The Eight," Robert Henri. Drawing his subjects from the hectic life of the city around him, Sprinchorn's painting style became bold and vigorous. Sprinchorn's career looked promising and by the 1920's he was thoroughly involved in the polemics of the New York art world as Director of the New Gallery, which showed the work of such Europeans as Van Gogh and Matisse. But repeated excursions to the back country of Maine began to draw his attention away f rom the city. He found work as a lumberjack and eventually moved to a small village in the Maine woods, where he became a recluse, going to New York only when he needed to sell paintings. 0) t-*- x ary (# 4 Sprinchorn's respect for nature produced powerful images, but his retirement from the art world caused a public eclipse of his work. The Blizzard was included in a retrospective exhibition, Carl Sprinchorn: Realist lmpulse and Romantic Vision, mounted at the Sordoni Art Gallery in 1983. �THOMAS HART BENTON (188e-Le74) Sunset, L94l Lithograph , l0 x gl/n inches z O !.1 lJ{ Fl �Together with Grant Wood and John Steuart Curry, Thomas Hart Benton was a proponent of Regionalism, a style popularized in the 1930s which was intended to create a purely American style, independent of European inspiration. Benton believed that "we must find our aesthetic values . . . in penetrating the meaning and forms of American life as known and felt by ordinary Americans." Benton stud,ied. first at the Chicago Art Institute, then from 1908 to 1911 in Paris, where he deueloped an abstract style. But by the early 1920s, after seruing in the Nauy and painting a series of large canuases illustrating American history, Benton had rejected modernism. His mature style was rooted in realism and influenced by the anatomical distortions and expressionistic forms of the Spanish painter Goya. In 1935 he moved to Kansas City, a change that reflected the anti-urban aspect of Regionalism as well as Benton's search for his own roots, which were in the midwest. Sunset, done in 1941, is a peaceful landscape filled with soft, rounded forms that evoke latent fertility. It depicts the America Benton loved, which he felt could not be expressed through an abstract style. w WJ l'{ .l F '-i ts (3 �;%fl'}ffi#fl_Fffi -,fum:"H. f,k%"H*$-,8::1Hffi nrs/Grrs � https://omeka.wilkes.edu/omeka/files/original/254eefb9c8e0b0175d38c79da965c352.pdf 2674162fea74169a76ab9e259f94a371 PDF Text Text �THE SORDONI ART GALLERY WILKES COLLEGE Installation view of the Gallery with George Luks: An American Artist, April-May, 1987. E.S. FARLEY LIBRARY WILKES UNIVERSITY WILKES-BARRE, PA �4 uichivlS : 'U i Y- The Sordoni Art Gallery of Wilkes College was established in 1973 to encourage and support an appreciation of the visual arts in an academic setting. Representing more than the fine arts aspect of a liberal arts education, the Gallery serves as a teaching resource for campus and community and creates a stimulus for local artists. It is a professionally staffed and equipped facility which provides an ambitious schedule of exhibitions, lectures, and related programs, all of which are available to the public without charge. Major exhibitions organized by the Gallery have included FRANZ KLINE: PAINTINGS (1978); THE EIGHT (1979); THREE PENNSYLVANIA WOMEN: BEAUX, CASSATT, AND WALTER (1980); STUDENTS OF THE EIGHT (1981); CARL SPRINCHORN: REALIST IMPULSE AND ROMANTIC VISION (1982); 1933 REVESTED: AMERICAN MASTERS OF THE EARLY THIRTIES (1983); and GEORGE LUKS: AN AMERICAN ARTIST (1987). The Sordoni Art Gallery’s growing permanent collection is focused upon nineteenth and twentieth century American paintings, and a print collection which includes works of old masters and contemporary artists. A select group of nineteenth century European paintings from the former JOHN SLOA Helen in C Tempera and oil glazes o �of Wilkes College irage and support an an academic setting, arts aspect of a ’ serves as a teaching nip- and creates a -ofessionally staffed des an ambitious and related de to the public bv rhe Gallen- have TINGS (1978,: ENNSYLVANLA VND WALTER GHT 11981k T IMPULSE AND >33 REXTSTED: E EARLY i LUKS: AN wing permanent ith and twentieth print collection rs and p of nineteenth he former JOHN SLOAN (1871-1951) Helen in Green, 1947 z(Z> Tempera and oil glazes on masonite, 21 x 18 inches O bp Z H �Born in Lock Haven, Pennsylvania, John Sloan began his artistic career as a newspaper artist in Philadelphia, where he also took classes from Thomas Anshutz at the Pennsylvania Academy of Fine Arts and met fellow artist Robert Henri, who encouraged him to paint. The two men later became leaders of a group of New York realists known as “The Ash Can School.” While still in Philadelphia, Sloan became interested in etching, a process whose technical features resurface in the textured cross-hatching of later paintings. In 1904 Sloan moved to New York with several ofhis newspaper friends, with whom he continued to develop a painting style centered on the direct observation ofcity life. Scorned by the official exhibitions as too vulgar, Sloan and his friends banded together to begin the Independent movement which, among other things, permitted a non-juried opportunity for artists to exhibit their work. £ □ Z P—4 Beginning in 1919, Sloan spent his summers in Sante Fe, where in 1947 he painted this portrait of his wife, Helen Farr. The series of glazes and cross hatching which form the image are an attempt to emphasize three-dimensional volume in a two-dimensional format. Helen Farr Sloan worked with her artist-husband to publish Gist ofArt, an important book which records Sloan’s ideas about art as expressed through his classroom lectures. ��SEVERIN ROESEN (c. 181 l-c. 1872» Still Life with Flowers and Still Lite with /• rz/C. Both oil on wood panel, 12 x m in. Although little is known about his life. S» \. > Roetien was an arti t who left a strong mark on American nineteenth century still life paiidin • lhi“uf ft the style ami number of his composition He came to the United States from Germany in I ; and painted in New York City until I Kat’.. Al mid anuic there was already a growing appreciation foi German art, especially till lift and Rm sen's work appealed m the increasingly well to -do middle class. I lis p.nntinr were sold through the Am a m Art Union and w< nt to collectors as tar away a Maim and Missouri Roesen left New York to travel through Pennsylvania in h-mti. a. I -.»;<> io- settled in William ,pmi a prosperous lumber eornmunh . in the center of I In I >i There fte found an intere-ted market for hi painting ami a number of student ? ■, whom he could ImiIi hi style of still life composition 71 I—• X z __ 7/a se two paintings are matcher! m :.i.-c and reflect the I utorian tu.tv for having an ensenthie of small paintings tn group together on a u all. The pre.line, detailed painting styb ,■, typical of Roescn, at. are 'the bright color and jeuvllike appearance of each flower and fruit. Koos, n s concern for realism z , evident in. he. careful brushicork. concern for detail, and. masters in reproducing the colors and texture-, of nature, ('rented b. f',rJm™er“nts. his pleasing rompo-ctiori. ,ri ,f’^Pri,L- of nineteenth, century Americans >.n i< mi arm ounty und beauty of their ne.u: country. m, , �r(c. 1814-c. 1872) ill Life with Fruit, c. 1865 I 1,12 x 16 inches lout his life, Severin strong mark on till life painting through ipositions. es from Germany in 1848 intil 1856. At mid-century, ipreciation for German ‘sen’s work appealed to lie class. His paintings ii Art Union and went to i and Missouri. ivel through re settled in Williamsport, y in the center of the state, arket for his paintings 10m he could teach his itched in size and reflect m ensemble of small a wall. The pristine, tl of Roesen, as are the ’arance of each flower and ~sm is evident in his detail, and mastery in ares of nature. Created by his pleasing compositions ■h century Americans in of their new country. I !i < * ’ > -■> ': • -A. v I ■ I i: I- < CHILDE HASSAM (1859 - 1955) Hilltop: Two Figures on the Dunes, 1895 Oil on canvas, 18 x 25'Zi indies Given in honor of Dr. Arnaud C. Marts by his wife 2 �ChfWe Hassam is considered to be om of the foremost painters of the Anwrlt an Impressionist movement. He was a member of the /he lew a group of artists from Hew York and boston who orqani/ed in 1898 to draw attention to their work uni away from the I rent h Impressionists. I llassam left high s< hool to work a . an » ngia ■ and illustrator in Boston. where fie took lessons ,1! tin Boston Art Club and the l.ov.-ll Institute By 1HH'5 hr had already begun sending paintings to » xhibilions and lie felt the < .ill to go to I uropc. I v» ritually hr spent three years in Paris where he Ix-r.irm familiar with tinwork of the Impressionists, flassam was attracted by their subject matter, which was drawn from everyday life, and their new use of c olor and light, and he incorporated these ideas in his own r anvases flassam was a very successful artist and won 35 major prizes in exhibitions both at home, and abroad lie is best known for his paintings of summer resorts !" ^Cu. En3,;m<1 and street sc enes in flew York Hilltop: u tj 1 icyues on the Dunes shows the unusual perspective and high horizon line of Impressionist “m^'Jon aS WeH as the US€ of bright color and stippled brushwork to simulate natural light �aver s at the 33 he ions, le spent vith the ed by yday n 35 >road. ;sorts hilltop: list nd 2 WALTER ELMER SCHOFIELD (1867 - 1944) Wandering Brook, n.d. Oil on canvas, 30% x 30% inches Gift of Phillip and Muriel Berman o a �Acknowledged during his lifetime as one of America's foremost landscape painters, Schofield was born and raised in Philadelphia. After attending the Pennsylvania Academy of Fine Arts, he joined the hundreds of American artists who studied at the Julian Academy in Paris. There he came in contact with the tenets of Impressionism, which he adopted for his mature style. An important part of Impressionism is the concept of painting directly from the subject out-of-doors, rather than from memory and sketches in a studio. Schofield was a big, hardy outdoorsman who enjoyed painting scenes in all seasons, and he is well known for his winter landscapes. He divided his time between a home in Cornwall, England, and the United States, where he worked in Hew England, the Western states, and, especially, the Brandywine River Valley in Pennsylvania. E o 35 z: Wandering Brook was probably painted in Pennsylvania. It employs the square format Vincent van Gogh discovered to be effective in his late paintings and shows the same Intense, flickering brushstroke. The use of raw, unblended colors helps invigorate the scene. Schofield is represented in the Metropolitan Museum of Art (New York), the Corcoran Art Gallery (Washington, D.C.) and other important collections. He is recognized as one of Pennsylvania's important contributors to the tum-ofthe-century American Impressionist movement. A Lol Gift o In A Lone Buffo enemy: wolves. But t of the Indians’ land i his way of life are so According to ni lithograph by mastei �Wandering Brook was probably tinted In Pennsylvania. It employs e square format Vincent van Gogh scovered to be effective in his late tintings and shows the same tense, flickering brushstroke. The •e of raw, unblended colors helps vigorate the scene. Schofield is represented in the ’tropolitan Museum of Art (Mew rk), the Corcoran Art Gallery ashington, D.C.) and other portant collections. He is cognized as one of Pennsylvania's portant contributors to the turn-ofz-century American Impressionist jvement GEORGE CATLIN (1796-1872) A Lone Buffalo Surrounded by a Pack of Wolves, n.d. Lithograph, 11% x 17% Gift of Dr. and Mrs. Robert L. Mayock and W. Graham Arader III In A Lone Buffalo, Catlin shows the animal in its final stand against a natural enemy: wolves. But the artist’s real concern was the killing of wild life and invasion of the Indians’ land by white fur traders. Catlin’s images of the American Indian and his way of life are some of the most informative historical documents of that era. According to nineteenth century7 practice, this piece was drawn and printed as a lithograph by master craftsmen from Catlin’s original watercolor. CZ> o 3 H 'Jl �George Catlin was born in Wilkes-Barre, and grew up to practice law in his home town. In 1821, after three years as a lawyer, he sold his law library and moved to Philadelphia to devote himself to painting. He began as a portraitist, but when a group of Plains Indians passed through Philadelphia around 1825, he found his true calling. Fascinated by these “knights of the forest," he decided to document the Indian tribes living between the Allegheny ami Rocky Mountains. By 1837 he had compiled an " Indian Gallen',1' complete with 494 paintings ami artifacts such as spears, drums, robes, and a teepee. Catlin took his Gallen.' to London and Paris, hoping that on his return home the United States Government would buy it for display. But it was not until the death of Joseph Harrison, a private collector who bailed the artist out of his financial troubles, that the Gallen was given to the Smithsonian by Harn son’s widow. GEORGE BENJAMIN Society Lad Oil on canvas 431 �Vilkes-Barre, and me town. In 1821, old his law library vote himself to st, but when a irough und his true Jits of the forest, an tribes living y Mountains. i, an “Indian aintings and , robes, and ry to t on his display. But seph ho bailed •oubles, that nithsonian z CO GEORGE BENJAMIN LUKS (1867- 1933) Society Lady, c. 1932 Oil on canvas, 43 x 337a inches 0 I -I CD �George Luks is best known to the art world as a member of the "The Eight." a group of American painters who broke with the traditions of the American academies of the early twentieth century in order to develop their own artistic styles. Luks’s natural ability to draw was put to use as a reporter illustrator for the Philadelphia Press in the J890s The artist:, he met at the Press and in Philadelphia • John Sloan, William Glackens, Everett Shinn, and Robert Henn encouraged Luks to paint in oils: later they became his associates. along with Maurice Prendergast. Arthur B Davies and Ernest Lawson, in "The Eight." Luks had settled in New York City by the early 1900’s and his subjects became city workers beggar women. and other eccentrics of the streets His power'ul ability to capture character in portraiture caused many (including himself) to compare his work to that of the famou ; seventeenth century Dutch painter. Frans Hals The sitter for Society Lady studied with Luks at his informal school in lower Manhattan. The painting shows Luks's flamboyant brushwork and spontaneous sense of form and color. The raw sensation of a limited but brilliant palette vivid blue, gold and red — laid on in strong brush strokes is remarkably modern, but despite his rough technique and sparse details, Luks conveys the dignified, introspective manner of the sitter. zzs*by ,he swdoni Art GEOR< Ever Oil George Inn American landsc century. Ven eai of the Hudson r from that schoo brooding, myso �world as a member of iters who broke with of the early twentieth Stic styles. to use as a reportere 1890’s. The artists John Sloan. William i — encouraged Luks iciates, along with id Ernest Lawson, in ; City by the early srs, beggar women, werful ability to any (including b famous seventeenth 'h Luks at his minting shows Luks’s ense of form and rilliant palette — vivid sh strokes is technique and introspective GEORGE INNESS (1825-1894) Evening Landscape, c. 1890 Oil on canvas, 12 x 18/4 inches result of research for ition George Luks: Jy the Sordoni Art George Inness was one of the most prolific American landscape painters of the nineteenth century. Very early in his career he painted in the style of the Hudson River School, but later he turned away from that school’s realism and detail to create a more brooding, mystical view of nature. z 0 H �• | Inness grew up in New York City and in Newark, New Jersey, where as a teenager he was an apprentice to engravers. In 1844, at the age of nineteen, he began to exhibit landscapes whose expressionistic mood differed from the Hudson River style. During the 1850s frequent trips to Italy and France introduced him to the romanticism of the Barbizon School, and a gentle, reflective quality entered his style. During the late 1860s Inness’ paintings began to take on a more abstract, introspective view of nature. From 1870-74 he lived in Italy and his work became less realistic and more dramatic through the use of color and a looser brushstroke. During his late period he rarely worked outdoors, but preferred to repaint a single canvas many times over from his imagination. Evening Landscape, painted around 1890, dates from this late period. Though it is easily recognizable as a landscape, the brushstrokes are blurred and the colors intense. The white crane in the foreground is an exotic inclusion, appearing as a spector in a dramatic stage setting. HARRY GO: Bootleg Mi Lithograph, b �New York City and in Newark, New iger he was an apprentice to the age of nineteen, he began to >se expressionistic mood differed r style. During the 1850s frequent e introduced him to the romanticism 1, and a gentle, reflective quality 860s Inness’ paintings began to ct, introspective view of nature, d in Italy and his work became less .matic through the use of color and During his late period he rarely : preferred to repaint a single canvas his imagination. be, painted around 1890, dates . Though it is easily recognizable •ushstrokes are blurred and the zhite crane in the foreground is an earing as a Spector in a dramatic % Ui 5-=3 0 K H 00 �Harry Gottlieb was one of the founding members of a special unit of the Works Progress Administration's Federal Art Project. This unit was formed in 1938 to explore the potential of the silkscreening process; the result was serigraphy, an important development in printmaking. Prints were a relatively inexpensive way for the Federal Art Project to distribute original works of art to various public institutions dunng the Depression years. In turn, serigraphy provided a relatively simple and inexpensive process for artists who could not afford canvas and paints Gottlieb was born in Bucharest. Rumania; later the family moved to Ireland and then to the United States. He attended the Minneapolis Art Institute, leaving in 1908 for New York City, where he became a set and costume designer for Eugene O'Neill's Provincetown Theatre group. CO 0 8—] £ After a one-man show of his serigraphs was held in New York in 1940, Gottlieb toured the country giving lectures on serigraphy. His experiences with people led him to become interested in the labor movement and when he visited Northeastern Pennsylvania he was sympathetic to the plight of the coal miners Bootleg Mining is a lithograph, a more expensive type of print medium; it reflects Gottlieb's view that the artist has a responsibility to record the events and emotions of his own time. CARL SPRINC The Blizzard. Oil on canvas 21 x 29 Gift of Dr and Mrs Jo The Blizzard s demonstrates his r the more romantic clearly a landscape Blizzard evoke a p the dagger-like foi primitive force. �e of the founding members rks Progress Administration's lit was formed in 1938 to e silkscreening process; the mportant development in relatively inexpensive way to distribute original works itutions during the serigraphy provided a pensive process for artists as and paints. ucharest, Rumania; later the nd then to the United States, oils Art Institute, leaving in ere he became a set and me O'Neill's Provincetown t one-man show of his serigraphs was w York in 1940, Gottlieb toured the ving lectures on serigraphy. His es with people led him to become in the labor movement and when he theastern Pennsylvania he was :ic to the plight of the coal miners. 7 Mining is a lithograph, a more type of print medium; it reflects new that the artist has a responsibility he events and emotions of his own time. CARL SPRINCHORN (1887 - 1971) The Blizzard, 1941 Oil on canvas, 21 x 29 inches Gift of Dr. and Mrs. Joseph M. Klein The Blizzard shows the bravura of Sprinchorn’s brushwork and demonstrates his move from the gritty realism of his earlier style to the more romantic, interpretive images of his later work. Although still clearly a landscape, the tightly controlled abstract rhythms of The Blizzard evoke a pictorial winter storm. The zig-zag brushwork and the dagger-like forms of dark pines threaten the observer with a primitive force. z CO Q _| CQ �Carl Sprinchorn moved to New York City from his native Sweden in 1903, when he enrolled at the Art Students League. His mentor there was the charismatic teacher, painter, and co-founder of “The Eight,” Robert Henri. Drawing his subjects from the hectic life of the city around him, Sprinchorn’s painting style became bold and vigorous. Sprinchorn’s career looked promising and by the 1920’s he was thoroughly involved in the polemics of the New York art world as Director of the New Gallery, which showed the work of such Europeans as Van Gogh and Matisse. But repeated excursions to the back country of Maine began to draw his attention away from the city. He found work as a lumberjack and eventually moved to a small village in the Maine woods, where he became a recluse, going to New York only when he needed to sell paintings. CD I— I 0 <Z) z Sprinchorn’s respect for nature produced powerful images, but his retirement from the art world caused a public eclipse of his work. The Blizzard was included in a retrospective exhibition. Carl Sprinchorn: Realist Impulse and Romantic Vision, mounted at the Sordoni Art Gallery in 1983. �Led to New I Sweden in bt the Art Lntor there her, painter, Eight,” Robert Lets from the lind him, He became ig k art |iich Lan pns raw d Led ere I respect for nature lul images, but his lhe art world caused a Ibis work. The Blizzard was respective exhibition, Car! 1st Impulse and Romantic at the Sordoni Art Gallery �collectk rhe Gall Together with Grant Wood and John Steuart Curry, Thomas Hart Benton was a proponent of Regionalism, a style popularized in the 1930s which was intended to create a purely American style, independent of European inspiration. Benton believed that “we must find our aesthetic values ... in penetrating the meaning and forms of American life as known and felt by ordinary Americans.” Benton studied first at the Chicago Art Institute, then from 1908 to 1911 in Paris, where he developed an abstract style. But by the early 1920s, after serving in the Navy and painting a series of large canvases illustrating American history, Benton had rejected modernism. His mature style was rooted in realism and influenced by the anatomical distortions and expressionistic forms of the Spanish painter Goya. op underta funding grants 1 niembei r5 i In 1935 he moved to Kansas City, a change that reflected the anti-urban aspect of Regionalism as well as Benton’s search for his own roots, which were in the mid­ west. Sunset, done in 1941, is a peaceful landscape filled with soft, rounded forms that evoke latent fertility. It depicts the America Benton loved, which he felt could not be expressed through an abstract style. f View tow ar Quartet #2 �collection of Senator Andrew J. Sordoni is also part of the Gallery’s permanent holdings. »d and John Steuart Curry, roponent of Regionalism, a which was intended to create a mdent of European inspiration, st find our aesthetic values .. . ad forms of American life as mericans.” Operating support for the Gallery is largely undertaken by Wilkes College, with additional funding provided by the Sordoni Foundation, Inc., grants from corporate and individual sponsors, and members of the Friends of the Sordoni Art Gallery. ? Chicago Art Institute, then tere he developed an abstract ifter serving in the Navy and :ases illustrating American lodernism. His mature style uenced by the anatomical c forms of the Spanish painter 1 to Kansas City, a I the anti-urban aspect ill as Benton’s search rich were in the mid11941, is a peaceful i soft, rounded forms ility. It depicts the id, which he felt could iugh an abstract style. View towards the Gallery from the surrounding Marts Courtyard. Quartet #2 by Steve Porter is shown. �Hours: Monday through Priday 12-5 p.m. Thursday evenings until 9p.m. Saturday 10 a.m. - 5p.m. Sunday 1-5 p.m. Closed all major holidays. Admission to the Gallery is free. Location: 150 South River Street Wilkes-Barre, PA 18766 (717) 824-4651, ext. 388 The Gallery is centrally located on the ground floor ofStark Learning Center on the Wilkes College campus. Parking is available south of the Gallery offSouth River Street. Activities: Gallery tours, lectures, bus trips, receptions, and gallery internships for students at Wilkes College. Exhibitions: Contemporary and historical; loan, traveling, and exhibitions from the permanent collection. The collection may be seen by appointment when it is not on exhibition. ��� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1987 Insights: Selections from the Permanent Sordoni Art Gallery collection Creator An entity primarily responsible for making the resource John Sloan Severin Roesen Childe Hassam Walter Elmer Schofield Gerorge Catlin George Benjamin Luks George Inness Harry Gottlieb Carl Sprinchorn Thomas Hart Benton Date A point or period of time associated with an event in the lifecycle of the resource 1987 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource Insights is an exhibition surveying the collection of the Sordoni Gallery up to this point in 1987. It includes works from artists such as John Sloan, Childe Hassam, and George Luks. Type The nature or genre of the resource Exhibition program Source A related resource from which the described resource is derived The National Collection of Fine Arts Smithsonian Institution and The National Gallery of Art Rights Information about rights held in and over the resource The National Collection of Fine Arts Smithsonian Institution and The National Gallery of Art https://omeka.wilkes.edu/omeka/files/original/6cd72e2f8d64a5edc6f28995005fe734.pdf 4fc0ad912f7385a0b087737f63d6af45 PDF Text Text ����������������������������������������������������������� https://omeka.wilkes.edu/omeka/files/original/5ed1f8a1e380a387dc6713990bbecead.pdf 8e48f6b6b5397522a2accb17d004ff75 PDF Text Text f I if 11 I s . I s : =■ II 11 11 r ■? I SORD GA, N6537 L83A4 I 1987 j �George Luks; An American Artist Ati exhibition organized by the Sordoni Art Gallen/, Wilke'* College and supported bp a grant from the John Sloan Memorial Foundation Essays by Stanley L. Cuba. Nina Kasanof, and /udith OTvole Sordoni Art Gallery, Wilkes College Wilkes-Barre, Pennsylvania May 3 through June 14, 1987 Delaware Art Museum Wilmington, Delaware July 3 through September 6, 1987 The Hunter Museum "" Chattanooga, Tennessee November 14, 1987 through January 17, 1988 Kraushaar Gallery New York City February' 10 through March 5, 1988 E.S. FARLEY LIBRARY WILKES UNIVERSITY WILKES-BARRE, PA �ARCHIVE Lenders to t This book is fondly dedicated to Helen Farr Sloan whose unflagging commitment to promoting the achievements of The Eight and their circle has done much to keep their art alive. We are deeply grateful for the vital support she has given young scholars and artists of subsequent generations. Many of us have found the impetus to continue, strengthen, and expand our work through her steady encouragement and unshakable belief in the supreme importance of Art. Berry-Hill Galleries, Inc. ■ Butler Institute of American .4 Childs GallenI Columbus Museum of Art ■ Delaware Art Museum ■ The Detroit Institute of Arts ■ Mr. and Mrs. Sanford I. Feld ■ Mr. and Mrs. C. Harn- Foster" Mr. and Mrs. Andrew Gruga" Hirshhorn Museum and Scul" Mrs. R. B. Humphrey H Hunter Museum of Art H Mr. and Mrs. Sigmund Hym® ■ IBM Corporation.Inc. Miss Antoinette Kraushaar ■ Kraushaar Gallery | �Lenders to the Exhibition irr md alive. irt she found ■xpand ?nt and ice of Berry-Hill Galleries, Inc. Butler Institute of American Art Childs Gallery Columbus Museum of Art Delaware Art Museum The Detroit Institute of Arts Mr. and Mrs. Sanford I. Feld Mr. and Mrs. C. Harry Foster Mr. and Mrs. Andrew Grugan Hirshhorn Museum and Sculpture Garden Mrs. R. B. Humphrey Hunter Museum of Art Mr. and Mrs. Sigmund Hyman IBM Corporation,Inc. Miss Antoinette Kraushaar Kraushaar Gallery Lehigh University Art Galleries Mead Art Museum, Amherst College Milbank, Tweed, Hadley & McCloy, New York Munson-Williams-Proctor Institute Museum of Art, The Pennsylvania State University National Museum of American Art, Smithsonian Institution Mr. and Mrs. Meyer P. Potamkin Pottsville Free Public Library The Phillips Collection Private Collections Mr. Clyde Singer Sordoni Art Gallery, Wilkes College Walker Art Center Westmoreland Museum of Art Whitney Museum of American Art ? .1 3 �"This world never had but two great painters.. . Frans Hals and George Luks!" It was George Luks that had said it. Unabashed he had uttered it... Swung his fists to accent it.. . Thrust the wedge ofa determined look to fasten it on his hearer's consciousness . . . Snapped his teeth in finality. . . "Any ofyou guys want to make anything of it?" —("Everett Shinn of George Luks: An Unpublished Memoir," Archives ofAmerican Art, v. 6, no. 2 (April 1966), p. 1.) Introduction and Acknowledgements It is hard not to talk about George Luks in cliches; certainly enough have been repeated throughout the body of critical information on him. In fact Luks himself demanded it, for his speech was filled with epigrams. Yet in his life, as in his art, Luks brought sincerity and vitality to the most hackneyed of subjects. In December of 1932, a little more than a year before his death, Luks was asked to address a meeting of the Artist's Co-operative Market. Instead of demonstrating the painting of a portrait as had been scheduled, he decided to lecture the audience on his ideas of art. Throughout his deliberately shocking, bombastic tirade could be heard the very real frustration of an artist who wants desperately to have his theories understood: I can paint and you know it. Now shut up and listen to me .. . It's time America woke up to the realization that it is the greatest country in the world, with the greatest artists, the most common sense, and the least appreciation of its own strength. In part because of this speech, and in part because of Luks pride in having contributed to the establishment of a "truly American art,'' we have given this exhibition and catalog the title, George Luks: An American Artist. Luks, who often expressed his disdain for institutions, came to be admired and accepted by the 4 members of many. This young rebel was in the roster of the American Society of Painters, Sculptors, and Gravers; the National Association of Portrait Painters; The Boston Art Club; and The New York Water Color Club, among others. In his later years he was sought out by the press for his opinions on everything from art to women to proper beer drinking techniques. After his death a ship was christened the S.S. George Luks in recognition of his service as one of America's first war correspondents. The circumstances of his death in 1933 in the doorway of a New York pub indicated violence and may have been brought on by his alter-ego, "Chicago-Whitey," the boxer. (Luks was fond of starting bar room brawls, ducking out at the right moment leaving others to finish the quarrel.) The official cause of death was heart failure. The newspapers reported that he had been out all night to record the effects of dusk and dawn on the elevated train near his studio in Greenwich Village. It is astonishing that a man so public could have so many mysteries, distortions of fact, and untruths perpetuated in his life story. It is these that we have attempted to penetrate and correct. This catalog is meant to do more than document an exhibition. It is the first attempt to provide a substantive monograph on the artist. The inspiration and guiding force for this project has been Helen Farr Sloan, as our dedication states. It �is Hols mid uil-nehed he ist the nx/ejin'ti emoir," I) Hedgements tembers of many. This young rebel was in the roster f the American Society of Painters, Sculptors, and havers; the National Association of Portrait ainters; The Boston Art Club; and The New York Vater Color Club, among others. In his later years he ras sought out by the press for his opinions on verything from art to women to proper beer rinking techniques. After his death a ship was hristened the S.S. George Luks in recognition of his ervice as one of America's first war correspondents. The circumstances of his death in 1933 in the oorway of a New York pub indicated violence and lay have been brought on by his alter-ego, Chicago-Whitey," the boxer. (Luks was fond of tarting bar room brawls, ducking out at the right loment leaving others to finish the quarrel.) The fficial cause of death was heart failure. The ewspapers reported that he had been out all night to ecord the effects of dusk and dawn on the elevated •ain near his studio in Greenwich Village. It is astonishing that a man so public could have so aany mysteries, distortions of fact, and untruths ierpetuated in his life story. It is these that we have ttempted to penetrate and correct. This catalog is leant to do more than document an exhibition. It is he first attempt to provide a substantive monograph m the artist. The inspiration and guiding force for this project las been Helen Farr Sloan, as our dedication states. It was she who three years ago proposed the idea of an exhibition for George Luks and the simultaneous publication of a scholarly document on his life and art. Antoinette Kraushaar and Carole Pesner of the Kraushaar Gallery in New York were also involved from the beginning, graciously and patiently answering our questions and giving us access to their extensive files. (Luks exhibited with the Kraushaar Gallery from 1913 to 1924.) The descendants of George Luks, especially Daniel and Andrea Luks, provided valuable biographical information along with an insight to Luks' personal life. Their clipping files and scrapbooks yielded much that was new to our study. The staffs of many museums and libraries provided assistance but in particular we would like to recognize: Catherine Shappert of the Farley Library, Wilkes College; Roland Elzea, Elizabeth Hawkes, Mary Hollohan and Lenora White of the Delaware Art Museum; Paul Schweizer, Sara Clark-Langager and Patricia Serafini of the Munson-Williams-Proctor Institute; William Henning of The Hunter Museum of Art; Clyde Singer of The Butler Institute of American Art; and Michelle Fondas of The Phillips Collection. Arthur Lewis, an author whom I hope will someday write a complete biography on Luks, also shared information with us. Cynthia Seibels, an independent researcher in New York, provided information on specific paintings. Support for the project also came from Wilkes College and the Advisory Commission of the Sordoni Art Gallery. From Wilkes College I would like to thank those who recognized the importance of this project, Christopher N. Breiseth, President; Richard F. Charles, Vice-President for Advancement; and my assistant Jean C. Adams. Constant encouragement came from Andrew J. Sordoni, III, Chairman of the Sordoni Foundation, and Lou Conyngham, Chairman of the Gallery's Advisory Commission. Without the cooperation of the museums and private collectors who agreed to loan their works to the exhibition, this project would never have come Fig. 13. Robert Henri, Portrait of George Luks, 1904 (oil on canvas). Courtesy, The National Gallery of Canada, Ottawa. 5 �about. In this era of limited lending policies we are deeply grateful to those who generously allowed their works to travel and be seen by a greater audience. This must be seen as an important tribute to the generous spirit of the artist himself. Special, supplemental funding for this catalog was provided by Mr. and Mrs. David C. Hall, Mr. and Mrs. Richard Maslow, Sandy and Arnold Rifkin, and an anonymous friend with a matching grant from the Sordoni Foundation. Finally, the collaborators in this work and I agree with Everett Shinn when he wrote: Only through gratitude for a man that kept me laughing have I attempted this work. Only deep appreciation for a man who has given me the keenest of thrills, that of paint-magic in its application to a flat surface that vibrates and tells me of life. ("Everett Shinn on George Luks: An Unpublished Memoir," Archives ofAmerican Art, v. 6, no. 2 (April 1966), p. 12.) GEORGE LUKS Judith H. O'Toole, Director Sordoni Art Gallery Wilkes College Self Portrait, 1907, (oil on canvas) 6 ' There are only two great artists in th Frans Hals and George Luks." This boa: most likely uttered in his cups, frequen cited to accentuate his Rabelaisian mvst detriment of his prodigious artistic outp and posing have made for entertaining colorful copy, which he himself often cf obligingly manufactured. It permeates i life and renders more difficult an accura compilation of his biography. Luks' boast also mirrors the observati Phillips, a collector of his work and foui Phillips Collection in Washington. DC:' individualist with a bouvant belief in hi< and a gusto in his copious enjoyment of subjects." Luks love of life was expres: through bold feeling and rollicking colo: time he had great contempt for convent snobbishness and dilettantism — a direc empathy he developed for the common growing up in the Pennsylvania coal fiel Luks' stature as one of the most prone individual painters of modern times coil America's industrial and political comm turn of the century and with the develop truly national art. In an era marked by ir tonalist landscapes and drawing room p new plutocracy, Luks sensed the power the native environment and sought to p �GEORGE LUKS (1866-1933) [elf Portrait. 1907. (oil on canvas; 'There are only two great artists in the world — Frans Hals and George Luks." This boast, which Luks most likely uttered in his cups, frequently has been cited to accentuate his Rabelaisian mystique to the detriment of his prodigious artistic output. His antics and posing have made for entertaining reading and colorful copy, which he himself often cheerfully and obligingly manufactured. It permeates all facets of his life and renders more difficult an accurate compilation of his biography. Luks' boast also mirrors the observation of Duncan Phillips, a collector of his work and founder of The Phillips Collection in Washington, DC: "[Luks] is an individualist with a bouyant belief in his own genius and a gusto in his copious enjoyment of his chosen subjects." Luks' love of life was expressed in his art through bold feeling and rollicking color. At the same time he had great contempt for conventionality, snobbishness and dilettantism — a direct result of the empathy he developed for the common man while growing up in the Pennsylvania coal fields. Luks' stature as one of the most pronounced individual painters of modern times coincides with America's industrial and political coming of age at the turn of the century and with the development of a truly national art. In an era marked by inoffensive tonalist landscapes and drawing room portraits of the new plutocracy, Luks sensed the power residing in the native environment and sought to paint "110 per cent American." It was therefore no accident that he belonged to the New York "Eight" in 1908 and participated five years later in the landmark Armory Show. The subject matter and technique of "The Eight," though shocking to many of their contemporaries, nonetheless heralded modernism in American painting and its eventual liberation from the dictates of European art. James Huneker, a prolific New York writer, critic and Luks' fellow revolutionist in thought, felt that it is absolutely impossible to set down on paper any adequate description of . . . [Luks]. He is Puck. He is Caliban. He is Falstaff. He is a tornado. He is sentimental. He can sigh like a lover, and curse like a trooper. Sometimes you wonder over his versatility; a character actor, a low comedian, even song-and-dance man, a poet, a profound sympathizer with human misery, and a human orchestra. The vitality of him!2 With its inherent limitations, the following essay summarizes the colorful and controversial career of "little old George Luks," as its protagonist referred to himself on more than one occasion with a twinkle in his eye and a devilish smile. George Benjamin Luks was born into a genteel and lettered family in Williamsport, Pennsylvania, on August 13,1866? His father, Emil Charles Luks, had immigrated to the United States prior to the 7 �American Civil War. He may have been part of the wave of Central European exiles dislocated by the Revolution of 1848 in Europe. This is suggested by his political sympathies in the 1870zs with the striking miners in the Pennsylvania coal fields. Emil came to Pennsylvania via Gdansk (Danzig), Poland, an old Hanseatic port on the Baltic Sea with a mixed Polish and German population. Orphaned at a young age, he had been adopted and raised by a minister. A quiet and gentle man, Emil Luks learned to speak more than half a dozen European languages fluently and later served as an interpreter for the miners in the courts in Pennsylvania? (Fig. 1) George's mother, Bertha Amalia von Kraemer, was of noble origin. Bom in Bavaria, she was the daughter of August von Kraemer von Firstentroy, a major in the Bavarian Army. He had married outside of his social class, as his wife, Amalia, who died early in their marriage, was not of noble birth. Educated in schools in France and Switzerland proper to her father's station, Bertha had come to the United States in the 1850's with her elder sister, Emma, who married Dr. Francis J. Kern and settled in Pottsville, Pennsylvania. It may well have been through her brother-in-law that Bertha met her future husband. The first six years of George's life were spent in Williamsport, Pennsylvania, where his younger brother, Will, was born in 1868. Williamsport, which incorporated itself as a city the year of George's birth, is located on the Susquehanna River in north central Pennsylvania. The city became an important lumbering center in the second half of the nineteenth century. Emil Luks served there as a public health doctor and shared an apothecary shop on Market Street with a druggist named Yetter.5 The Luks family was among the most cultured in town. The six children performed at home musicales. (Fig. 2) George's father was a good draftsman, while his mother was a competent amateur painter who imparted to her children a love of art, music and literature in a very supportive family circle. Emil gave George the precepts he followed all his life: "Be honest with yourself. Remember, you have good When George was about six years old the family moved to Shenandoah from Williamsport around the time of the "Sawdust War." Put down by the militia, it had erupted in Williamsport in 1872 when its lumbermen sought a ten-hour working day. in contrast to Williamsport, Shenandoah was a large coal mining town with schools, a newspaper, volunteer fire companies and a number of ethnic churches to serve the various immigrant groups who lived in the town and whose livelihood largely depended on the local coal companies. At that time the anthracite coal fields in Pennsylvania were home to the Molly Maguires, secret Irish organization who sought to redress the miners substandard working and living conditions. They engaged in strikes and violence, but were often the victims as well as the victimizers. The Lukses sympathized with the Mollies and aided their widows. When making house calls at night the Mollies advised Emil to drive a white horse with his buggy so that they would know it was him and would not attack him. His wife, Bertha, was friendly with the Mollies' widows and children. The sympathy and support shown the Mollies by George's parents formed his social consciousness at an early age and helps to explain why he later eschewed painting the more popular drawing room subjects in favor of New York street scenes and neighborhood characters. In her husband's waiting room at Shenandoah, Bertha Luks kept a large parrot who spoke both English and German. To the surprise and delight of Dr. Luks' patients the bird would say from its unobtrusive comer perch, "Please come in. The doctor will be with you in a moment." Shenandoah also provides a glimpse of George's first artistic efforts: ", . . He painted signs, houses, wagons — everything that he could lay a brush on. His chalk drawings on the school blackboards were the amazement of all who saw them, and people came many miles to look at them."" The Lukses also resided for a time in Pottsville Pennsylvania, where George worked at Clemens Drug Store on Centre Street. He later recalled that his greatest amusement in those days was to put on �is t When George was about six years old the family moved to Shenandoah from Williamsport around the time of the "Sawdust War." Put down by the militia, it had erupted in Williamsport in 1872 when its lumbermen sought a ten-hour working day. In contrast to Williamsport, Shenandoah was a large coal mining town with schools, a newspaper, volunteer fire companies and a number of ethnic churches to serve the various immigrant groups who lived in the town and whose livelihood largely depended on the local coal companies. At that time the anthracite coal fields in Pennsylvania were home to the Molly Maguires, a secret Irish organization who sought to redress the miners substandard working and living conditions. They engaged in strikes and violence, but were often the victims as well as the victimizers. The Lukses sympathized with the Mollies and aided their widows. When making house calls at night the Mollies advised Emil to drive a white horse with his buggy so that they would know it was him and would not attack him. His wife, Bertha, was friendly with the Mollies' widows and children. The sympathy and support shown the Mollies by George's parents formed his social consciousness at an early age and helps to explain why he later eschewed painting the more popular drawing room subjects in favor of New York street scenes and neighborhood characters. In her husband's waiting room at Shenandoah, Bertha Luks kept a large parrot who spoke both English and German. To the surprise and delight of Dr. Luks' patients the bird would say from its unobtrusive corner perch, "Please come in. The doctor will be with you in a moment." Shenandoah also provides a glimpse of George's first artistic efforts: "... He painted signs, houses, wagons — everything that he could lay a brush on. His chalk drawings on the school blackboards were the amazement of all who saw them, and people came many miles to look at them."” The Lukses also resided for a time in Pottsville, Pennsylvania, where George worked at Clemens Drug Store on Centre Street. He later recalled that his greatest amusement in those days was to put on F^.l !’• -■ r.'’l-mii I uk I , GwrgeLuU WI»(oil’v can’.panted tn Reading, [’a. Courtesy. I FC 9 �riugtnMi J < Fig. 2. The Luks family performing at home about 1875. George Luks second from left (?). Courtesy, LFC. his little 'Fried Egg Hat' and stroll down to the old Atkins Homestead on South Centre Street and 'stick my pug nose through the iron fence and watch the fountain play."7 During a brief period when the Luks family lived in Vineland, New Jersey, George worked as a delivery boy in a small local store and gained experience sketching the customers. The owner, who would leave the shop in George's care, would ask him upon her return who had been in. His answer was a sketch on wrapping paper of a procession of customers whom the store owner easily recognized.8 Luks would perfect his quick-sketch talent as a staff artist on several Philadelphia newspapers in the 1890's and later in depicting a variety of human types on the streets of New York. One of the few extant pieces from his youth is a sketch with an artist's palette signed "Shenandoah March 1883." It was done the year before he enrolled at the Pennsylvania Academy of Fine Arts in Philadelphia. George remained there only for the month of April, 1884 during which he took the night antique class.’ His temperament was ill-suited to the restrictive academic art environment against which he would rail throughout his professional career. For several years after his stint at the Pennsylvania Academy of Fine Arts Luks teamed up with his brother, Will, in the traveling act of Buzzey and Anstock (Fig. 3). George and Will toured the areas of northeastern Pennsylvania and New Jersey with minstrel show entertainment. They sang, played the guitar and told jokes. Their lighthearted presentation was enhanced by their "Mutt and Jeff" appearance. George later drew on his vaudeville circuit experiences when producing illustrations and vignettes for the theater review in The Verdict, a satirical weekly published in New York at the turn of the century.10 In 1889 Luks set sail for Dusseldorf, Germany, where he enrolled at the Staatliche, Kunstakademie. It was one of several trips to Europe he would make over the next fifteen years.11 Luks may have traveled to Dusseldorf with Louis (Lewis) Herzog (1868-?) ’lin of the landscapist, Herman Herzog, since both young men enrolled in October 1889 in the elementary class 10 conducted by Professor Heinrich Lauenstein (1835-1910) at the Dusseldorf Academy.13 As at the Pennsylvania Academy in Philadelphia several years earlier, Luks did not stay the semester at Dusseldorf. He quickly tired of the hierarchical academic system and did not particularly care for his professor, who was a religious history painter and church decorator. Luks later summed up the training he received on this trip to Europe — the extent of his formal art instruction — by saying that he had studied under "Lowenstein, Jensen, Gambrinus and some Frenchmen, from whom I never learned anything, always excepting Renoir, who is great any wav you look at him."'3 From Dusseldorf Luks went to Paris and London where he stayed with his father's family. In both European capitals he derived the most benefit from wandering on his own through the museums and galleries. Apart from Renoir, he fell in love with the works of Rembrandt, van Steen, and Frans Hals whose influences are apparent in his painting after 1900. Luks nevertheless observed that many of the palette classics were overrated and he did not hesitate to declare that "50 per cent of the master canvases in the collections of the world are fakes."11 Luks returned to the United States sometime in 1890 or in early 1891 when he produced drawings for Puck and did a number of others in both black-and-white and color for Truth, a satirical magazine published at that time in New York. These early pieces not only demonstrate Luks' skill as a comic draughtsman, they also are precursors of the "Yellow Kid" comic strip he would do for the NeuYork World and of the political cartoons he would publish in The Verdict at the turn of the century. In late May 1892 Luks headed back to Europe for another visit which lasted approximately a year. Luks' second trip to Europe included a visit to Spain and the Prado in Madrid. There he saw firsthand the works of Velasquez and Goya, two artists — apart from the Dutch and French painters — whom he came to admire. He traveled via the Azores to Spain on the steamship "Fulda." In early lune in sight of the Azores he executed a series of ink and pencil sketches of some of his fellow passengers from Philadelphia, �I ji r8e his little 'Fried Egg Hat' and stroll down to the old Atkins Homestead on South Centre Street and 'stick my pug nose through the iron fence and watch the fountain play."' During a brief period when the Luks family lived in Vineland, New Jersey, George worked as a delivery' boy in a small local store and gained experience sketching the customers. The owner, who would leave the shop in George's care, would ask him upon her return who had been in. His answer was a sketch on wrapping paper of a procession of customers whom the store owner easily recognized.’ Luks would perfect his quick-sketch talent as a staff artist on several Philadelphia newspapers in the 1890's and later in depicting a variety of human types on the streets of New York. One of the few extant pieces from his youth is a sketch with an artist's palette signed "Shenandoah March 1883." It was done the year before he enrolled at the Pennsylvania Academy of Fine Arts in Philadelphia. George remained there only for the month of April, 1884 during which he took the night antique class/ His temperament was ill-suited to the restrictive academic art environment against which he would rail throughout his professional career. For several vears after his stint at the Pennsvlvania Academy of Fine Arts Luks teamed up with his brother, Will, in the traveling act of Buzzey and Anstock (Fig. 3). George and Will toured the areas of northeastern Pennsylvania and New Jersey with minstrel show entertainment. They sang, played the guitar and told jokes. Their lighthearted presentation was enhanced by their "Mutt and Jeff" appearance. George later drew on his vaudeville circuit experiences when producing illustrations and vignettes for the theater review’ in The Verdict, a satirical weekly published in New York at the turn of the century'?In 1889 Luks set sail for Dusseldorf, Germany; where he enrolled at the Staatliche, Kunstakademie. It was one of several trips to Europe he would make over the next fifteen years.Luks may have traveled to Dusseldorf with Louis (Lewis) Herzog (1868-?), son of the landscapist, Herman Herzog, since both young men enrolled in October 1889 in the elementary class conducted by Professor Heinrich Lauenstein (1835-1910) at the Dusseldorf Academy.As at the Pennsylvania Academy in Philadelphia several years earlier. Luks did not stay the semester at Dusseldorf. He quickly tired of the hierarchical academic system and did not particularly care for his professor, who was a religious history painter and church decorator. Luks later summed up the training he received on this trip to Europe — the extent of his formal art instruction — by saying that he had studied under •'Lowenstein, Jensen, Gambrinus and some Frenchmen, from whom I never learned anything, always excepting Renoir, who is great any way you look at him."13 From Dusseldorf Luks went to Paris and London where he stayed with his father's family. In both European capitals he derived the most benefit from wandering on his own through the museums and galleries. Apart from Renoir, he fell in love with the works of Rembrandt, van Steen, and Frans Hals whose influences are apparent in his painting after 1900. Luks nevertheless observed that many of the palette classics were overrated and he did not hesitate to declare that "50 per cent of the master canvases in the collections of the world are fakes."” Luks returned to the United States sometime in 1890 or in early 1891 when he produced drawings for Puck and did a number of others in both black-and-white and color for Truth, a satirical magazine published at that time in New York. These early pieces not only demonstrate Luks' skill as a comic draughtsman, they also are precursors of the "Yellow Kid" comic strip he would do for the New York World and of the political cartoons he would publish in The Verdict at the turn of the century. In late May 1892 Luks headed back to Europe for another visit which lasted approximately a year. Luks' second trip to Europe included a visit to Spain and the Prado in Madrid. There he saw firsthand the works of Velasquez and Goya, two artists — apart from the Dutch and French painters — whom he came to admire. He traveled via the Azores to Spain on the steamship "Fulda." In early June in sight of the Azores he executed a series of ink and pencil sketches of some of his fellow passengers from Philadelphia, I f Fig. 3. George and Will as the comic team of "Buzzy and Anstock." Courtesy, LFC. 7 11 �New York. Boston and A'-bum. . Nine si:.vfl and Women including Cvm Uuknour: Party, fl Bruce, and .Mrs Muns. 1892 The Corcoran bfl Art, Washington, DC.)■ fl Enroute back to the United States in 1893 ffl second trip to Europe Luks painted a watercifl Penta [Ponta/ Delgada, one of his earliest extarfl in this medium I Luks Family Collections) It fl done on the island of Ponta Delgada, the maifl the archipelago of the Portugese Azores, posfl the fertile area between the chief town of the fl name and Caldeira das Sete Cidades a large fl crater. In July 1894 the artist Robert Henri, whose H influence on. his own work Luks was reluctarfl acknowledge, wrote enroute to Gibraltar to tlfl mutual friend, John Sloan, in Philadelphia: "fl Azores seemed to have entirely recovered trofl ravages of Luks and [William] Walsh. We arri’fl Gibraltar at about ten o'clock .... My next lefl be written in Spanish."'' Following his second trip to Europe Luks jcfl Philadelphia Press as a newspaper artist shortlfl the beginning of 1894. Over the next year he fl Robert Henri. John Sloan. William Glackens, H Everett Shinn who together formed the nucleH "The Eight" a decade later in New York. The fl of their work as newspaper artists "gave thenfl an eye for significant gesture in transitory evtfl an interest in the modem American city and fl human variety as subjects of value equal to, ifl greater than, what were commonly held to beB proper subjects of artistic contemplation." ’ Efl Henri. Glackens, Luks. Shinn and Sloan all wfl as artist correspondents for various Philadelpfl newspapers in the 1890’s. I During this decade the artist-reporter was ifl until replaced bv the photograph and the haltfl process used to produce it. "The artist-reportfl assigned to translate into drawings what the fl reporter put into words. He was called upon fl sketch every type of event that made news, ffl coal-mine disaster to a holiday parade. His wfl to be factually accurate, yet executed with the I demanded bv newspaper work."14 �I b? New York, Boston and Albany. (Nine sketches: Men and Women including Dari, Unknown Party, The Rev. Bruce, and Mrs. Minis, 1892. The Corcoran Gallery of Art, Washington, DC.)15 Enroute back to the United States in 1893 from his second trip to Europe Luks painted a watercolor, Penta [Ponta] Delgada, one of his earliest extant works in this medium (Luks Family Collections). It was done on the island of Ponta Delgada, the main one in the archipelago of the Portugese Azores, possibly in the fertile area between the chief town of the same name and Caldeira das Sete Cidades, a large volcanic crater. In July 1894 the artist Robert Henri, whose influence on his own work Luks was reluctant to acknowledge, wrote enroute to Gibraltar to their mutual friend, John Sloan, in Philadelphia: "The Azores seemed to have entirely recovered from the ravages of Luks and [William] Walsh. We arrive in Gibraltar at about ten o'clock .... My next letter will be written in Spanish."16 Following his second trip to Europe Luks joined the Philadelphia Press as a newspaper artist shortly after the beginning of 1894. Over the next year he met Robert Henri, John Sloan, William Glackens, and Everett Shinn who together formed the nucleus of "The Eight" a decade later in New York. The nature of their work as newspaper artists "gave them both an eye for significant gesture in transitory events and an interest in the modem American city and its human variety as subjects of value equal to, if not greater than, what were commonly held to be more proper subjects of artistic contemplation."17 Except for Henri, Glackens, Luks, Shinn and Sloan all worked as artist correspondents for various Philadelphia newspapers in the 1890's. During this decade the artist-reporter was in vogue p until replaced by the photograph and the halftone process used to produce it. "The artist-reporter was assigned to translate into drawings what the news reporter put into words. He was called upon to I sketch every type of event that made news, from a I coal-mine disaster to a holiday parade. His work had I to be factually accurate, yet executed with the speed demanded by newspaper work."18 Everett Shinn summarized the importance of Philadelphia newspaper work for himself and his colleagues: The art department of a newspaper of 1900 was a school far more important in the initial training of the mind for quick perception than the combined instruction of the nation's art schools .... The four mentioned men [Glackens, Luks, Shinn and Sloan] and many others who had the schooling of newspaper pictorial reporting have been forever grateful for the rigid requirements that compelled them to observe, select and get the job done. Day by day and year by year they accumulated a valuable library of reference, not catalogued in cumbersome cabinets and files but in readiness in the lighter and more easily transported compact cells of the mind. They carried envelopes, menu cards, scraps of paper, laundry check rendered bills or frequently nothing to their work.” Soon after Luks joined the Press he approached Shinn about sharing the latter's one-room flat at Eighth and Chestnut, accommodations only two blocks away — they would learn — from the companionship at Henri's studio. Shinn readily accepted, but his life of solitude was permanently disrupted by Luks' antics. Shinn recalled that: One morning ... I was awakened by a bellowing voice. Heavy-eyed, I staggered to the bathroom door. Luks' silky blond head was slowly emerging from the depths of the tub. Gripping the bathtub rim, he yelled, "Captain Rufus Mizzen, you mistook your man this time. Little did you know when you read the burial service over me that I was alive. Ha ha, alive! Ha ha, for the past month I have lived on the barnacles on the hull of this slave ship. I have come up to tell you that I have fastened the rudder so that you will sail in a circle to the end of your days. Ha ha!" and he went under again ....“ Although Luks stood under 5Vz feet tall, his style of dress more than compensated for his lack of height. 13 I �While his clothes were no more blatantly loud in their revolt against the mode than those of most of his associates at the Philadelphia Press, admittedly he was responsible for the shearing away of all trousers below the knees in conformity with the "peg tops" of the Latin Quarter of the Parisian capital. His were shadow plaids of huge dimension, the latest word in suburban reality maps. Little alteration was attempted on his coats. Vests, however, were featured, cream-colored corduroy, like door mats laid out in strips of a hawser's thickness or bark-stripped logs on a frontier fort stockade. A flowering black tie like a soot-dyed palm tree splayed out under his high and immaculately clean minstrel collar. A bowler, usually black, tilted in a cocky slant over his blond hair. Once he wore a white one with a black band; this one he might have found at a race track.21 At the Philadelphia Press Luks and Shinn got to know Glackens, who was also employed there. When Shinn moved over to the Inquirer he met John Sloan, who already was on its art staff. Through Sloan, Luks and Shinn began attending the informal Tuesday evening discussion group inaugurated by Robert Henri at his studio at 806 Walnut Street. This group was the successor to the short-lived Charcoal Club established in the Spring in 1893 by Henri and Sloan, due to their dissatisfaction with the Sketch Class at the Pennsylvania Academy of Fine Arts. The club actually was an evening sketch class held at a photographer's rented studio on 9th Street in Philadelphia. The club offered a model and camaraderie for one-half the tuition charged by the Pennsylvania Academy. Sloan served as the club's secretary and Henri, its president, offered free critique. However, the club fell victim to the financial Panic of 1893.22 At the Tuesday discussion group Henri, a born teacher, urged his listeners to follow Walt Whitman's dictum to "see America" as a place and a country of personalities. Henri likewise encouraged his students to be interested in the dignity of man and the wonder 14 of life. According to Sloan, these informal weeklies at Henri's studio at which their participants sat around to smoke and to talk also "gave numbers of men who had gotten into newspaper and illustrative work the beginning of a desire to express themselves in paint."23 Luks, however, never admitted that Henri influenced him in this respect. Although Luks and Shinn did not regularly attend the Tuesday evenings at Henri's studio, they never missed the parties. Luks became an instant success at them and assumed the role of a type of mascot eager to perform at the drop of a hat. No evening would be complete without Luks' mimicking each man in the room. "On one occasion . . . mounted on a chairatop a table with a frying pan over a gas jet, [Luks] mader Welsh rarebit, carrying on a stream of farcical remarks while a dozen of us w'aited our turn to be served."’-* One of Luks' favorite performances was that of a pugilist, which enjoyed wide currency even after his death. The "legend" began as a mock encounter staged around 1895 at one of the parties at 806 Walnut Street for the benefit of a photographer (Fig. 4). Stripped to the waist, Luks crouched in a sparring pose. Over the years he used a number of boxing aliases such as "Chicago Whitey," "Lame-em-Luks," "Socko-Sam," "Curtain-Conway" and " Monk-the-Morgue." Once [Luks] tapped a light jab to Sloan's shoulder and queried, "Did I ever tell you about the time I licked Fitzsimmons?" Sloan then smiled, then sought the twinkle in Luks' eyes. "Since when have they put Fitzsimmons on a postage stamp?" Sloan quipped .... Luks wasn't really anything of a fighter. He would often pick a fight in a saloon, say something nasty and get things going and then leave the place, with people who had nothing to do with the argument left to finish Philadelphia, Luks did a caricature of Glackens with rhymed text by Sloan which hung on the wall in the Press's Art Department (Fig. 5). In December 1895 Luks left Philadelphia for Cuba in the company of writer Maurice O'Leary of the Evening Bulletin. Employed by the same Philadelphia newspaper as a staff artist, Luks was to illustrate O'Leary's stories for publication about the Cuban revolt against Spanish rule, which has broken out in February of that same year and was a prelude to the Spanish-American War in 1898. Like the other reporters sent by American and European newspapers and magazines to cover the rebellion and thereby boost the circulation of their respective publications, Luks and O'Leary’ were restricted to Havana by' the Spanish authorities who censored all outgoing reports. As Luks wrote to Everett Shinn, "Half my sketches have been taken by officials. Consequently ... I have to smuggle them out in order to insure myself of their safe arrival." Those sketches which did get through took ten to fifteen days to reach Philadelphia and appear in print.2’ Because of the restrictions imposed by the Spanish authorities in Cuba, Luks' illustrations necessarily were "pieced together from official government reports and rumors received from insurgents in the field. These limitations did not stop Luks and others from fabricating stories and exaggerating actual events. This practice is reflected in the captions on some of Luks’ illustrations such as 'An insurgent scout. . . overtaken by Spanish troops . fire upon him and the Bulletin artist. . . sketches him as he falls from the saddle." ” Luks' illustrations, while fresh and livelv. nonetheless show a certain comic exaggeration, recalling his earlier work tor Puck and Truth; but thev lack the authentic quality of personal experience. Possessing a viv id imagination and an enormous ego, Luks lived to boast in Cuba that he ' was the onlv man here w ho's got the sand to go out with the the fracas.25 at 806 806 Wamui Walnut » J soldiers." However, he demonstrated his tidity in the By June 1895 the Tuesday evenings at Philadelphia underwent a change with the departun' company of war correspondents Stephen Crane and of Henn and Glackens for Paris where Henri would Richard Harding Davis, who were also in Cuba to cover the uprising Along with other observe the faults of the academic svstem in France. On the occasion of their bon voyage party in �Hf life. According to Sloan, these informal weeklies at Hlenri's studio at which their participants sat around Ho smoke and to talk also "gave numbers of men who ^Rad gotten into newspaper and illustrative work the Beginning of a desire to express themselves in Hafnt."- Luks, however, never admitted that Henri ^mfluenced him in this respect. H Although Luks and Shinn did not regularly attend Hie Tuesday evenings at Henri's studio, they never Hiissed the parties. Luks became an instant success at Hiem and assumed the role of a type of mascot eager H perform at the drop of a hat. No evening would be Himplete without Luks' mimicking each man in the Hom. "0° one occasion • • • mounted on a chair atop ■table with a frying pan over a gas jet, [Luks] made' H’elsh rarebit, earning on a stream of farcical remarks Hhile a dozen of us waited our turn to be served.”--1 ■ one of Luks' favorite performances was that of a ■ugilist, which enjoyed wide currency even after his Hath. The "legend" began as a mock encounter ■aged around 1895 at one of the parties at S06 Walnut ■reet for the benefit of a photographer (Fig. 4). ■ripped to the waist, Luks crouched in a sparring ■se. Over the years he used a number of boxing Jiases such as "Chicago Whitey," "Lame-em-Luks," ■ocko-Sam," "Curtain-Comvay" and ■vlonk-the-Morgue.” H Once [Luks] tapped a light jab to Sloan's ■ shoulder and queried, "Did I ever tell vou I about the time I licked Fitzsimmons?" Sloan I then smiled, then sought the twinkle in Luks' I eyes. "Since when have they put I Fitzsimmons on a postage stamp?" Sloan B quipped.... ■ Luks wasn't really anything of a fighter. He I would often pick a fight in a saloon, say I something nasty and get things going and I then leave the place, with people who had I nothing to do with the argument left to finish I the fracas.5 feyJune 1895 the Tuesday evenings at 806 Walnut in ■liladelphia underwent a change with the departure ■ Henri and Glackens for Paris where Henri would ■serve the faults of the academic system in France. In the occasion of their bon voyage party in Philadelphia, Luks did a caricature of Glackens with rhymed text by Sloan which hung on the wall in the Press's Art Department (Fig. 5). In December 1895 Luks left Philadelphia for Cuba in the company of writer Maurice O’Leary of the Etwiing Bulletin. Employed by the same Philadelphia newspaper as a staff artist, Luks was to illustrate O'Leary's stories for publication about the Cuban revolt against Spanish rule, which has broken out in February of that same year and was a prelude to the Spanish-American War in 1898. Like the other reporters sent by American and European newspapers and magazines to cover the rebellion and thereby boost the circulation of their respective publications, Luks and O'Leary were restricted to Havana by the Spanish authorities who | censored all outgoing reports. As Luks wrote to Everett Shinn, "Half my sketches have been taken by [ officials. Consequently ... I have to smuggle them out in order to insure myself of their safe arrival." Those sketches which did get through took ten to fifteen days to reach Philadelphia and appear in print.5 Because of the restrictions imposed by the Spanish authorities in Cuba, Luks' illustrations necessarily were "pieced together from official government reports and rumors received from insurgents in the field. These limitations did not stop Luks and others from fabricating stories and exaggerating actual events. This practice is reflected in the captions on some of Luks' illustrations such as 'An insurgent scout... overtaken by Spanish troops . . . fire upon him and the Bulletin artist. . . sketches him as he falls from the saddle."'27 Luks' illustrations, while fresh and lively, nonetheless show a certain comic exaggeration, recalling his earlier work for Puck and Truth; but they lack the authentic quality of personal experience. Possessing a vivid imagination and an enormous ego, Luks lived to boast in Cuba that he "was the only man here who's got the sand to go out with the soldiers." However, he demonstrated his tidity in the company of war correspondents Stephen Crane and Richard Harding Davis, who were also in Cuba to cover the uprising. "Along with other .-.' zisthtw. . unqsu.>5 n» i.Tht heaving Htlanfit shall rodt htm ujjon its broad treacherous bosom, Spurious dinners compel him tall oft'en ti>_gase on its. uiateri; The huge jaws of Paris shall Snaf at This Tcndercat* ar mortals. But a mind full oFTtrfand a ChicKuSau* collar shall save him, Kmd Father Time shall at last bring him hom? to his friend. S - 15 J �1. Boysivith Dog, Cuba, 1896 newspapermen, they had been rickety train when an abrupt vo out far in the distance. Luks real diving under his seat, then look others unmoved. 'You fellows s challenged. I have a future.' Although Luks and his fellowspent most of their time in Have bordellos. George did paint son watercolors of street tvpes in th< extant example of this is Boys wi (Cat. no. 1). By March 1896 Luks drawing ceased to appear in the Philadelp reportedly was fired on account failure to regularly submit his w Bulletin reported b'Learv's capt following month. Luks circulate of his supposed imprisonment i in order to explain his exit from Spiggoties slammed me in the c with the rats and the Cubans, ar whether to shoot me at daw n or Luks arrived back in New Yorl 1896 wearing a linen suit and a I Cold, hungry and broke he sper park bench. The next day he joii -Veto tert herlii as an illustrator, through the newspaper's mana; Brisbane, whom he had met sev board ship enroute back to the I Europe. Luks reminded Bnsban him at that time to do illustrate livelihood instead ot existing as Luks soon became the Ucr/d s artist for his comic strip The 1 debuted in the paper in the Fall 3“ 38). The comic strip had beer staft artist. Richard Fenton Outc ot Mr. Pulitzer While single cart published in American newspaj days The fellow kid ' represei the modern comic strip and con Despite the immediact and pc caricatures and illustrations whi �newspapermen, they had been rolling along in a rickety train when an abrupt volley of gunfire burst out far in the distance. Luks reacted automatically by diving under his seat, then looked up to see the others unmoved. 'You fellows sit up there,' he challenged. 'I have a future.'"28 Although Luks and his fellow correspondents spent most of their time in Havana enjoying bars and bordellos, George did paint some good oils and watercolors of street types in the Cuban capital. An extant example of this is Boys with Dog, Cuba, 1896 (Cat. no. 1). By March 1896 Luks' drawings sent from Cuba ceased to appear in the Philadelphia Bulletin. He reportedly was fired on account of drunkenness and failure to regularly submit his work. When the Bulletin reported O'Leary's capture in Cuba the following month, Luks circulated a fabricated version of his supposed imprisonment and brush with death in order to explain his exit from Cuba: "The Spiggoties slammed me in the cooler, put me away with the rats and the Cubans, and deliberated whether to shoot me at dawn or sundown."29 Luks arrived back in New York one evening in April 1896 wearing a linen suit and a battered straw hat. Cold, hungry and broke he spent a chilly night on a park bench. The next day he joined Joseph Pulitzer's New York World as an illustrator. Luks got the job through the newspaper's managing editor, Arthur Brisbane, whom he had met several years earlier on board ship enroute back to the United States from Europe. Luks reminded Brisbane that he had advised him at that time to do illustration work to earn his livelihood instead of existing as a starving artist. Luks soon became the World's "premiere humorist artist" for his comic strip "The Yellow Kid," which debuted in the paper in the Fall of 1896 (See Cat. nos. 37, 38). The comic strip had been originated by fellow staff artist, Richard Fenton Outcault, at the direction of Mr. Pulitzer. While single cartoons had been published in American newspapers from the earliest days, "The Yellow Kid" represents the beginning of the modern comic strip and comic-strip characters. Despite the immediacy and popularity of his caricatures and illustrations which provided him with a comfortable income, around 1900 Luks began to enjoy some commercial success from the sale of his canvases. It was "at Glackens' suggestion that Luks started painting in 1898, although George would never acknowledge that such was the case."30 In 1896 Glackens had returned from his trip to Europe. Through Luks he got a job doing comic drawings for the Sunday supplement of the New York World. After about six weeks he left the World and worked exclusively for the rival Herald through September 1897?' For a time he and Luks shared a studio in an old Manhattan brownstone. The floor below them was occupied by a dealer in ladies' trimmings. The tenants' names were posted on a series of signs in the entry and callers on the artists read with pleasure: LUKS & GLACKENS FURS & FEATHERS. Glackens recorded their studio in an oil painting, The Artist Luks at Work. Luks later sold it to William Preston Harrison, who had visited George's New York studio and selected one of his paintings. When Mr. Preston mentioned that he also intended to call on Glackens and acquire one of that artist's canvases, "I have a Glackens!" Luks said, produced it and successfully concluded the sale.32 Like Glackens, Shinn also worked briefly at the New York World as a result of Hearst's raids on the staffs of rival papers. Luks' suggestion to his superiors at the World of Shinn's availability if additional pay was forthcoming served to lure him away from the Philadelphia Press. In 1900 Shinn left the World to pursue illustration work for Harper's Weekly and The Critic. One snowy night, on his way to his Manhattan studio, Shinn met Luks on a Lexington Avenue street corner. The chance encounter remained memorable for Shinn and illustrates Luks' general love of the comic. The instant we were close enough for recognition, [Luks] started one of his hilariously amusing impromptu melodramas. I braced myself against the wind and snow and felt the tears that came from laughing freeze on my cheeks. Luks, in the full flight of 17 �his exciting presentation, was frantically lashing an imaginary string of straining wallowing huskies while he held fast to a careening dog sled. Under his power of suggestion Lexington Avenue took on the endless waste of the Yukon. Northern Lights blinked from a baker's window and a passing snow plough swirled out the realism of an avalanche. Luks, with exaggerated desperation, pushed ahead, cracking his whip, answering its stinging lash with the huskies' growl of servile resentment. He rode his sled, guided it through narrow defiles, lost its security and caught up with it again. "Mush, Mush! he yelled. Suddenly he stopped, whirled about and knocked an imaginary hand from his shoulder. "What? You here, Pierre La Tooth?" Then in the patois of a Canadian woodsman, Luks hissed, "Some mistake, me fren. I am Pere Gaspan, ze mission Padre." Luks waved the snow aside and peered closer. "Liar, I shall know you for the thief you are, Pierre La Tooth, when the storm clears." Anger flashed from his eyes, there was a sudden splintering of Luks' cane across the lamp post. He staggered under a heavy blow and went to his knees, then, on his feet again, a vicious uppercut and Luks peered over the gutter's edge looking down. He shuddered, then whispered, "Two thousand feet, poor devil," then leaped across the sidewalk and pressed his nose close to a fish market's window where huge salmon flashed their silver sides. He cried, "The seal fisheries! Puget Sound. I must be getting close to the post." He then shifted his gaze to another window that held a boulder of roast beef. "Ha, at last! The stockyards. I'm on the outskirts of Chicago." Then, on his feet again, thrashing the floundering dogs, he staggered' across the sidewalk and straightened his body in a stiff salute in front of a dentist's sign where an electric bulb in a black velvet 18 cavern illuminated the gleaming whiteness of a gigantic set of false teeth, "Captain Lancaster, Sergeant Hawkins reporting." Luks then slumped in a rubbery quiver, a travesty of superhumanly sustained endeavor. Quickly he turned his back on the dentist sign and quietly stroked a mustache that seemed to have suddenly grown from his clean upper lip. Then, in another voice, precise in an English accent sharp with authority, "Sergeant Hawkins, the Northwest Mounted Police can well be proud of you. Wounded and alone you have brought back the stolen pelts." Luks staggered and clutched his side. "I'm done in, Captain Lancaster. Done ... done. . done . . . diddy done ..He sung the last and fell on his face in the gutter . ...” When Luks established himself of New York in 1896 — and prior to the time he roomed with Glackens he lived in a boarding house at 13 Charles Street in Greenwich Village. Run by a Mrs. Delanoy, it was popular with young journalist and newspaper artists like Luks. Mrs. Delanoy's daughter, Anabelle, became engaged to George, that is, until his younger brother, Will, came up for a visit during summer vacation from Baltimore where he was in his last year of medical school at Johns Hopkins University. Anabelle quickly transferred her affections to Will Luks and the two were married shortly thereafter. This precluded Will's completion of his studies and necessitated his taking a permanent position at the Northern Dispensary, a pie-wedge-shaped building at Waverly Place and Grove Street in Greenwich Village. In 1905 Will became superintendent of the Dispensary (at which Edgar Allen Poe had once been treated for a cold) and remained there for more than forty years until his retirement in 1939.’* Despite the loss of his fiancee, George maintained good relations with his brother and sister-in-la" He treated their children as his own, often taking them :• dinner at old New York gourmet establishments like Delmonico's, Brevoort's and the Holland House where he relentlessly sketched on menus and tablecloths to the annoyance of the waiters. On « 62. Street, East Side, Xeu- York. n d. �cavern illuminated the gleaming whiteness of a gigantic set of false teeth, "Captain Lancaster, Sergeant Hawkins reporting." Luks then slumped in a rubbery quiver, a travesty of superhumanly sustained endeavor. Quickly he turned his back on the dentist sign and quietly stroked a mustache that seemed to have suddenly grown from his clean upper lip. Then, in another voice, precise in an English accent sharp with authority, "Sergeant Hawkins, the Northwest Mounted Police can well be proud of you. Wounded and alone you have brought back the stolen pelts." Luks staggered and clutched his side. "I'm done in, Captain Lancaster. Done . . . done . done .. . diddy done . . ." He sung the last and fell on his face in the gutter . . . .” When Luks established himself of New York in 1896 — and prior to the time he roomed with Glackens — he lived in a boarding house at 13 Charles Street in Greenwich Village. Run by a Mrs. Delanoy, it was popular with young journalist and newspaper artists like Luks. Mrs. Delanoy's daughter, Anabelle, became engaged to George, that is, until his younger brother, Will, came up for a visit during summer vacation from Baltimore where he was in his last year of medical school at Johns Hopkins University. Anabelle quickly transferred her affections to Will Luks and the two were married shortly thereafter. This precluded Will's completion of his studies and necessitated his taking a permanent position at the Northern Dispensary, a pie-wedge-shaped building at Waverly Place and Grove Street in Greenwich Village. In 1905 Will became superintendent of the Dispensary (at which Edgar Allen Poe had once been treated for a cold) and remained there for more than forty years until his retirement in 1939.14 Despite the loss of his fiancee, George maintained good relations with his brother and sister-in-law. He treated their children as his own, often taking them to dinner at old New York gourmet establishments hke Delmonico's, Brevoort's and the Holland House where he relentlessly sketched on menus and tablecloths to the annoyance of the waiters. On wa SHI■ yU? i) i f W q/ I h ,f 1 ■■ i ji rj i 62. Street, East Side, New York, n.d. 19 �he felt he wasn't "Going any place in particular, except to hell" - Luks would mimic passers-by on the sidewalk and do humorous sketches of them based on his first impression of them. After losing his fiancee, Anabelle, to his younger brother, George rebounded and married at the turn o the century. Lois, the first of his three wives, was the daughter of one of Luks' Philadelphia newspaper colleagues; she later became Mrs. Frank Crane. Apparently George was not quite ready to give up his freewheeling bachelor ways for a respectable, settled existence. While Lois was pregnant with their son, Kent, Luks walked out on her and went to Europe in 1902 to seek a respite from the pressures of married life. In later years Kent, Luks' only child, took the name of his stepfather and had almost no contact with his natural father because of the way George had treated his mother. Luks' desire to go to Europe — chiefly France — in 1902 was reinforced by Shinn's presence in Paris. The titles of Luks' paintings serve to document his itinerary: The Louvre, Paris, Evening and the Luxembourg Gardens (Cat. nos. 3, 4). At the suggestion of Robert Henri, who had visited France several years earlier, Luks also traveled and painted along the Marne River. This is confirmed by Luks' oil, On the Marne, in the collection of the Munson-WilliamsProctor Institute in Utica, New York. This work, plus Luks' familiarity with boating pictures of La Grenouille redone by Renoir and Monet on the Seine River near Paris, later found expression in George's Holiday on the Hudson (Cleveland Museum of Art). Luks traveled through the Champagne region and went as far as Verdun in northeastern France. There he did a watercolor showing the town which during World War I became a national symbol of French resistance under the command of General Petain. (The Phillips Collection, Washington, D.C.) According to American artist, Eugene Higgins, Luks' sojourn in France in 1902-03 was not without incident. "... Luks' gusty, untamed spirit led him into all sort of incredible exploits. He and [John] Noble once brought on half of Paris' police 20 department when they decided to shoot out the electric lights in a boulevard cafe. This was .. . Luks' method of showing the Parisians what American life was like, cowboys and all."’-’ Luks used Noble as the model for his portrait, Whiskey Bill, now in the Phoenix Art Museum. According to James Huneker, Noble was a "once well-known personage in the American Parisian colony ... a great violinist and also a profound alcoholic Luks also sampled the delights of the Parisian "boulevardienes." He recorded one such encounter in a large drawing in which he is shown boldly exposing himself to two female onlookers (Cat. no. 40). Luks belonged to the generation of painters who were in Paris in the days when the Left Bank meant something. These were men who used to see Whistler and Wilde and Verlaine in the cafes; who talked all night over their absinthes; who returned to America full of ambition and bombast and intolerance and Impressionism and talent.16 Luks returned to New York from France via England in 1903, since he sent Henri an illustrated postcard inscribed: "Dear Henri. Greetings from London. The Fag Artist on the Street. George." 'The following year Luks made a brief trip to Paris, perhaps to arrange his marriage to John Noble's sister, Emma Louise, who became George's second wife when he came back to the United States from France. Luks' 1904 trip is documented by a fine little painting, Closing the Cafe, Paris. "The Gilder" in Town Topics observed that: Surely anyone with any degree of sensibility must see in . . . [this painting]. . . the kind of beauty which Keats reminded us abides in melancholy. There is something so ineffably tender and exquisite in this picture as a piece of color as to make enjoyment poignant to the point of pain. This was the Paris Conrad Warrener sought for in his quest of his youth in Leonard Merrick's story, the place where the roses of youth bloom as nowhere else. Luks and his second wife settled in a combination apartment and studio on West 56th Street in New 40. Paris Seme, c. 1902 York. On Sunday afternoons Will Luks and his v< family would come uptown for a visit via the old Sixth Avenue El. Will remained George's best an greatest critic to w horn he seriously listened. Get would change something in a painting if Will did like it. Will's critical eve derived from his multipli of artistic interests — poetrv, music and theater ■ the same time, he had a gift for painting which, i had been equally det eloped, might have made h as famous as George. "But. as Will observed in < interview in Parnassus after George's death. 1 .. painter in a family is plenty." �]ient when they decided to shoot out the lights in a boulevard cafe. This was . . . Luks' 1 of showing the Parisians what American life cowboys and all."35 Luks used Noble as the 'or his portrait, Whiskey Bill, now in the x Art Museum. According to James Huneker, vas a "once well-known personage in the an Parisian colony ... a great violinist and rofound alcoholic . . . ." also sampled the delights of the Parisian rardienes." He recorded one such encounter ;e drawing in which he is shown boldly ig himself to two female onlookers (Cat. no. <s belonged to the eration of painters who were in Paris in days when the Left Bank meant lething. These were men who used to see istler and Wilde and Verlaine in the cafes; □ talked all night over their absinthes; o returned to America full of ambition and nbast and intolerance and Impressionism I talent.56 returned to New York from France via 1 in 1903, since he sent Henri an illustrated d inscribed: "Dear Henri. Greetings from i. The Fag Artist on the Street. George."37 The ig year Luks made a brief trip to Paris, s to arrange his marriage to John Noble's mma Louise, who became George's second len he came back to the United States from Luks' 1904 trip is documented by a fine little g, Closing the Cafe, Paris. "The Gilder" in Town bserved that: ely anyone with any degree of sensibility st see in .. . [this painting] . . - the kind of uty which Keats reminded us abides in lancholy. There is something so ineffably der and exquisite in this picture as a piece olor as to make enjoyment poignant to the nt of pain. This was the Paris Conrad rrener sought for in his quest of his youth .eonard Merrick's story, the place where roses of youth bloom as nowhere else, and his second wife settled in a combination ent and studio on W'est 56th Street in New 40. Paris Scene, c. 1902 York. On Sunday afternoons Will Luks and his young family would come uptown for a visit via the old Sixth Avenue El. Will remained George's best and greatest critic to whom he seriously listened. George would change something in a painting if Will didn't like it. Will's critical eye derived from his multiplicity of artistic interests — poetry, music and theater. At the same time, he had a gift for painting which, if it had been equally developed, might have made him as famous as George. "But," as Will observed in an interview in Parnassus after George's death, "... one painter in a family is plenty.''” After his trip to Paris in 1904 George became more visible in the artistic cafe life of New York. Much of it was centered in and around Greenwich Village, which at the turn of the century had started to become a focal point for all manner of artists seeking an American renaissance. One of the most popular gathering places for the nucleus of the future "Eight" was Mouquin's, a red-plush French restaurant under the Sixth Avenue El near Twenty-Eighth Street in Manhattan.*' Mouquin's became a nightly rendezvous spot for the Henris, Sloans and Glackenses, who lived nearby 21 �and who all had relocated to New \ork from Philadelphia. Often they were joined b-. Luks, Jimmv and May Preston, or Frederic Grueger. all of the old Philadelphia gang. A mj;or attraction at Mouquin's was the lively discussions on art held almost nightlv at John Flanagan's table between critics Charles Fitzgerald and Frederick lames Gregg, both ot w hum wrote tor the Mete Led Tuning Slot and later would champion the "Fight' in print. Fitzgerald, who became Glacken's brother-in-law w as one of the first critics to recognize Luks’ talent as a painter Mouquin's also proc ed a favorite of James Huneker with whom 1 uks engaged in bouts of self-expression on art." With Julian Hawthorne. Brander Matthews and others, 1 luneker and I uks were i harter members of an informal group called " Lhe Friendly Sons of Saint Bacchus." who met at Mana's, a bohemian basement cafe located on MacDougal Street (later on West Twelfth Street) in (.reenwich Village, ’.‘. here they entertained each other with songs, poems, monologues and jokes About 1W8 Benjamin DeCasseres, acntic for the New York Herald Tribune, met Luks for the first tune at Maria's and later published bis recollet tionsof George and his sharp opinions on art gleaned from that discussion. At a table when I entered were seated some painters whom 1 knew. One whom 1 had never seen before was filminating - a somewhat handsome-faced . . fellow, with benignity ironic eyes, a comedian's mouth, a high forehead and black nmmed nose-glasses leashed to a long professorial string which dragged its length in the glass of sauterne in front of him. He caught my name when I was introduced. "Latin — eh? Where do those European guys get off to teach us any thing’ Art' — my slats! . . I can paint with a shoestring dipped in pitch and lard .... Tell th< se bimbos from across the big pond that the future of art lies right here . None of those *!#!!* *1* has got anything tor us'. 44. The Orator, c. 1920 22 �and who all had relocated to New York from Philadelphia. Often they were joined by Luks Jimmy and May Preston, or Frederic Grueger, all of the old Philadelphia gang. A major attraction at Mouquin's was the lively discussions on art held almost nightly at John Flanagan's table between critics Charles 7 Fitzgerald and Frederick James Gregg, both of who:>m wrote for the New York Evening Sun and later would champion the "Eight" in print. Fitzgerald, who became Glacken's brother-in-law, was one of the first critics to recognize Luks' talent as a painter. Mouquin's also proved a favorite of James Huneker, with whom Luks engaged in bouts of self-expression on art.41 With Julian Hawthorne, Brander Matthews, and others, Huneker and Luks were charter members of an informal group called "The Friendly Sons of Saint Bacchus," who met at Maria's, a bohemian basement cafe located on MacDougal Street (later on West Twelfth Street) in Greenwich Village, where they entertained each other with songs, poems, monologues and jokes. About 1908 Benjamin DeCasseres, a critic for the New York Herald Tribune, met Luks for the first time at Maria's and later published his recollections of George and his sharp opinions on art gleaned from that discussion. At a table when I entered were seated some painters whom I knew. One whom I had never seen before was filminating — a somewhat handsome-faced . . . fellow, with benignity ironic eyes, a comedian's mouth, a high forehead and black-rimmed nose-glasses leashed to a long professorial string which dragged its length in the glass of sauterne in front of him. He caught my name when I was introduced. "Latin — eh? Where do those European guys get off to teach us anything? .... Art! — my slats!.... I can paint with a shoestring dipped in pitch and lard .... Tell those bimbos from across the big pond that the future of art lies right here .... None of those *!#!!* *!*has got anything for us! .... Technique, did you say? My slats .... Say, listen, you *!! it's in you or it isn't!" "What phrases these bimbos from the schools use: Static, Dynamic, Abstruse, Abstract — a vaudeville team, the Catch-Phrase Quartet! . . . Man is inoculated at birth with art intelligence or he isn't.... Ha! Ha! He needs a north light? — the nance! .... Say, I can paint in a mole hole . . . ." And he peered at me again — the best-natured, the most human, the most down-to-earth face I've ever looked at. "Like Mozart, I began my art career when 1 was barely out of diapers," George admitted to me with that perfectly simple and naive egoism which makes him the delight of his friends, including 3,000 of the old school bartenders, who used to listen to George until their handle-bar mustachios grew up the sides of their faces like Virginia Creepers. Beneath all this fury there is a master craftsman, a man so consumately sure of himself that he can clown with perfect safety, a robust ego that knows there is only one George Luks . . . He loves his art more passionately than any man, working in any of the arts I have ever met. He sees everything in the world in terms of color, light, composition. He's a human brush. And he can paint the town or a canvas red at a moments notice — or both simultaneously 42 In direct competition to Mouquin's James B. Moore opened the Cafe Francis at 53 West Thirty-Fifth Street, which he advertised as "New York's Most Popular Resort of New Bohemia." Moore was an independently wealthy bachelor for whom the restaurant business was merely a hobby. Moore lured Mouquin's chef to his own establishment, which began to attract the artists — including Luks — who had previously patronized Mouqin's. About 1906 Luks did a large canvas, Ca/e Francis (Cat. no. 6), showing its proprietor with one of his "daughters," as he preferred to call his female companions. The 23 �p,l„BnS represent . seq^ •» Gl“ke“' Mtp.s,. ™™"S kX* T«S »!h Street to evening with Yeats in a watercolor, John Butler Yeats rtt Petitpas (Cat. no. 54). . . In the years between and after Luks trips to Franc in the early 1900's his paintings were included in several group shows in New York and Chicago. His canvases from the first decade of the twentieth century constitute some of his finest work for which he is justly acclaimed. In 1903 Luks showed for the first time with the Society of American Artists in the group's 25th annual exhibition held at the American Fine Arts Society Galleries on West Fifth-Seventh Street in New York. The Society, founded in 1878 to protest the lack of progressive vision by the National Academy of Design, had initially been the most vital art force in its day in America. It featured, for example, Mary Cassat and Whistler in its early exhibitions and encouraged American collectors to extend their patronage to their fellow countrymen instead of to their English, French and German contemporaries. Inclusion in the Society's annuals was important for young artists like Luks, since in the early 1900's New York had only a small number of commercial galleries where artists could exhibit and receive public notice. By the turn of the century the Society of American Artists had become more academic and conservative in its outlook and in 1906 merged with the National Academy. As a result, Luks' East Side, New York, hardly academic in style but accepted for the 1903 exhibition through member Robert Henri's influence shared the "skyhrre" with Glackens' painting of a HoXvanCreT ±d nOt the best v™g light However, Luks entry did not escape the notice of Charles Fitzgerald, art critic for the New York E-, ■t’ening Sun, who wrote: Here is the painter of corner-boys and "toughs," street urchins, ragamuffins, and all kinds of low types employed as a subject that cannot by any possibility be called low, unless indeed we apply that term to the works of God — the waters, the clouded, stormy sky of a winter's day, the drifting snow, the eternal struggle of man against the elements. In his review Fitzgerald also questioned the practice of always hanging the canvases of Luks and others in the darkest corners at exhibitions: Once more the blind leaders of the blind take refuge in their last ditch: "This is not nature as we see it." To the jury of the Society we make a present of this motto from Swift: "When a true genius appears, you may know him by this sign, that the dunces are in confederacy against him.''1’ Following the 25th annual exhibition of the Society of American Artists, Luks showed in a "very refreshing" exhibition of "Paintings by New Men" held in May, 1903 at the Colonial Club in New York. A number of the things showm, the best of them, in fact, would probably not find a place in an Academy or Society exhibition, unfortunately' for said exhibitions, and so the public should be all the more grateful for this chance to see them .... Men like Messrs. Lukes [sic.], Glackens, Lawson, Linden, Perrine, Blashki and Steichen are capable of making contributions that should be welcomed in any exhibition.*1 In 1904 Luks showed with the nucleus of the future Eight at the National Arts Club in New' York in an exhibition arranged by Robert Henri. A review, which billed them as "Six Impressionists," noted the lack of space generally' accorded these non-acader artists: Regular exhibitions must demand certain standards from w’hich they cannot derrogate at the peril of their own existences as �Charles Fitzgerald, art critic for the New York Evening Sun, who wrote: Here is the painter of corner-boys and "toughs," street urchins, ragamuffins, and all kinds of low types employed as a subject that cannot by any possibility be called low, unless indeed we apply that term to the works of God - the waters, the clouded, stormy sky of a winter's day, the drifting snow, the eternal struggle of man against the elements. In his review Fitzgerald also questioned the practice of always hanging the canvases of Luks and others in the darkest comers at exhibitions: Once more the blind leaders of the blind take refuge in their last ditch: "This is not nature as we see it." To the jury of the Society we make a present of this motto from Swift: "When a true genius appears, you may know him by this sign, that the dunces are in confederacy against him."45 Following the 25th annual exhibition of the Society of American Artists, Luks showed in a "very refreshing" exhibition of "Paintings by New Men" held in May, 1903 at the Colonial Club in New York. A number of the things shown, the best of them, in fact, would probably not find a place in an Academy or Society exhibition, unfortunately for said exhibitions, and so the public should be all the more grateful for this chance to see them .... Men like Messrs. Lukes [sic.], Glackens, Lawson, Linden, Perrine, Blashki and Steichen are capable of making contributions that should be welcomed in any exhibition.44 In 1904 Luks showed with the nucleus of the future Eight at the National Arts Club in New York in an exhibition arranged by Robert Henri. A review, which billed them as "Six Impressionists," noted the lack of space generallv accorded these non-academic artists: Regular exhibitions must demand certain standards from which they cannot derrogate at the peril of their own existences as 2 I 31. Child with a Wagon (Snow Kid), n.d‘. 25 �the committees miss. Yet this is> worktha gives a great deal of enjoyment bot who denounce it as the degeneracy of silly minds and those who regard it as the last screech of genius.45 The audacity of Luks' canvases and the rougher side of life they depicted occasioned his rejection from the Spring 1907 exhibition at the National Academy of Design. When his sole entry, Man with Dyed Mustachios, a vigorous, rough-hewn portrait, was placed on the studio easel for the jurymen s consideration Academician Kenyon Cox shouted To hell with it!" Not even the opposition of fellow Academician, Robert Henri, could reverse the vote. Luks took the whole matter in stride: "I don't look on this thing from a personal point of view ... I am trying to do things; if they don't understand them, I don't care anymore for them than I do for a bottle of turpentine. I don't propose to berate them. After all, it's a question for Father Time."16 Word quickly spread about the fate of Luks' painting, which he promptly displayed at the Macbeth Gallery in New York. "There all the other youthful outlaws foregathered to enjoy the picture and also to enjoy the discomfiture of most of Mr. Macbeth's staid customers who ventured down into the cellar [gallery] only to retire in quick confusion." About this time Luks "made a wonderful and much appreciated beau geste. He raised the price upon his pictures $1,000 each. He had not sold any, but he used gravely to tell his intimates that 'Prices were going up' and they as gravely spread to news still further about."17 Luks' rejection by the Academy and the ensuing feud between Henri and some of the conservative academicians was discussed in the New York press and national publications like Harper's Weekly 26 Only once in many years, if memory serves, has the Academy or Society accepted a picture by George Luks — one of the most original and accomplished painters in America, but still, at forty, absolutely unknown to the general art public. Once or twice he has figured in club loan exhibitions, but the man's own studio is the only place, at present, where one may see much of what he has done. Portraits, character studies, dissolute folk of the night, children, cabmen, dock rats, wise old Russian Jews sipping their coffee in dingy restaurants . . . these are some of Luks' subjects. What, then, will be the Academy's future attitude toward Luks and Henri and the ever-growing throng of new painters with inventive powers which they are not afraid to trust? Will the Academy help to shape and publish these most hopeful new elements in American art? Or will it continue hostile, and thus force this unconquerable new expression to seek or make some quicker channel?" The channel sought by The Eight — as James Huneker dubbed them — was a show at the Macbeth Gallery in 1908. It quickly became a benchmark in the history of American painting. The Macbeth Gallery was a logical choice since part of The Eight — Henri. Luks, Davies, Lawson and Prendergast — had already exhibited there. Unlike most of the handful uf private galleries in New York which at that time dealt in European imports, Macbeth's basement gallery on lower Fifth Avenue solely concerned itself with the exhibition and sale of American pictures from the dav it first opened its doors in 1892. Consequently, it "quickly became a haven for the more individual among the American painters."1'' In May 1907 The Eight set their show at Macbeth s for the following spring with a $500 guarantee plus percent of the sales. On May 15, 1907, the N?xV"' Evening Sun broke the news of the forthcoming exhibition: Fig- 6. Sketch by George Luks of ' Henri and His 8,1907/ tink on paper). Collection Mr. and Mrs. Arthur G. Altschul Eight Independent Painters to Give an Exhibition of Their Own Work Winter: A group of eight painters who have been expressing their ideas of life as they see it in quite their own manner, and who therefore have been referred to often as "the apostles of ugliness" by a larger group of brother artists who paint with a T square and plumb line, have formed themselves into a body it was announced last evening without leader president, or formal organization. �once in many years, if memory’ has the Academy or Society accepted e by George Luks — one of the most and accomplished painters in a, but still, at forty, absolutely’ m to the general art public. Once or ? has figured in club loan exhibitions, man's own studio is the only place, at , where one may see much of what he e. Portraits, character studies, e folk of the night, children, cabmen, s, wise old Russian Jews sipping their i dingy restaurants . . . these are some subjects. then, will be the Academy 's future toward Luks and Henri and the wing throng of new painters with ■e powers which they are not afraid, to 111 the Academy help to shape and these most hopeful new elements in in art? Or will it continue hostile, and ce this unconquerable new on to seek or make some quicker ?4" lel sought by The Eight — as James bbed them — was a show at the Macbeth 108. It quickly became a benchmark in the merican painting. The Macbeth Gallery 1 choice since part of The Eight — Henri. s, Lawson and Prendergast — had bited there. Unlike most of the handful of ries in New York which at that time dealt imports, Macbeth's basement gallery on \venue solely concerned itself with the id sale of American pictures from the day ;d its doors in 1892. Consequently, it :ame a haven for the more individual American painters."4' 07 The Eight set their show at Macbeth s ving spring with a 5500 guarantee pju' lesales. On May 15,1907, the Neu r' broke the news of the forthcoming a£^_ 'is -■kfcX<-<-’ij£? *?’ ^Mx, *** ...Z, Hz. 6. Sketch by George Luks of "Henri and His 8,1907," (ink cm paper; CoJlection Mr. and Mrs. Arthur G. Altschul. Eight Independent Painters to Give an Exhibition of Their Own Work Winter: A group of eight painters who have been expressing their ideas of life as they see it in quite their own manner, and who therefore have been referred to often as "the apostles of ugliness" by a larger group of brother artists who paint with a T square and plumb line, have formed themselves into a body, it was announced last evening, without leader, president, or formal organization. " Guy Pene du Bois, Henri's student and recently appointed art critic for the New York American, succinctly referred to The Eight as "a group of men who would say 'sweat' when they meant sweat, anywhere, even in the parlors of people who righteously denied the existence of perspiration." Polemics grew in the New York press as the various art critics chose sides before the opening of the exhibition at Macbeth's. As part of the preparations each of The Eight sat for a publicity portrait at Gertrude Kasebier's photo studio. Prior to the show 27 �J Luks sent Henri a humorous postcard of "The Eight (Fig. o). The Eight are depicted as a chorus. Luks ( < right) sits next to the bottle of rye whiskey, while Sloan, the group's treasurer, is shown beating a drum decorated with dollar signs.51 The exhibit of The Eight opened at the Macbeth Gallery on February 3,1908. An apprehensive William Macbeth began welcoming the first visitors to his domain as both of the 19-by-23 foot rooms rapidly filled. Soon three hundred people an hour were estimated to be filing past the sixty-three works. "The show ... is creating a sensation," observed an elated Henri. "It was packed like an Academy reception from early morning to night...Undeterred by snowy weather, crowds continued to surge through the gallery, and it was estimated that seven thousand people saw the show during its two-week run.52 Luks' work was favorably reviewed in The Script: The most expressive, if not the most impressive, group was that belonging to Mr. Luks whose revelry in strong deep hues gives to his exhibit an effect of sumptuous splendor by the side of which even his brilliant companions somewhat pale. His Macaws is of the richest dye and resembles an Eastern necklace or bracelet set with burning jewels in its most barbaric and altogether superb beauty. The Pigs and The Pet Goose combined a quaint interpretation of animal life with the same magnificence of color.53 While James Huneker, Charles Fitzgerald and Guy Pene du Bois expectedly came out in favor of The Eight, the group, as Glackens had predicted, "got an awful roasting from some of the papers." A review in Town Topics reflected the bitterness of the rival camp: Vulgarity smites one in the face at this exhibition, and I defy you to find anyone in a healthy frame of mind who, for instance wants to hang Luks's posteriors of pigs, or Glackens'sAf Mouquin’s, or John Sloan's 28 Hairdresser's Window in his living rooms or gallery, and not get disgusted two days later Critical furor over Luks' painting of the pigs prompted the pupils at the Art Students League to inset a large, comic illustration of the artist executing the portrait of a pig in the 1908 edition of the Society of American Fakirs catalogue.55 After their landmark show in New York, Sloan scheduled The Eight for month-long displays in eight other cities beginning in the Fall of 1908 — Chicago, Toledo, Detroit, Indianapolis, Cincinnati, Bridgeport, Pittsburgh and Newark. He partially reassembled the paintings from the original Macbeth show, although other pieces had to be substituted for those sold in the interim.56 The traveling show introduced the art of The Eight to audiences outside of New York. As it drew to a close in 1909, Luks and his colleagues were included in a group show of American art, which opened in March of that year at the Royal Academy of Art in Berlin and which later moved to the Art Society in Munich. Luks represented by New Jersey Peonies, which was the first time his work had been sent abroad.57 The American show had been organized by Hugo Reisinger, a German immigrant who had done well financially in the United States and who had previously brought an exhibition of contemporary German pictures to the Metropolitan Museum. Although The Eight were not homogeneous painters and they never exhibited all together again, their show at Macbeth's helped to effect an important change in America's artistic values.55 In a style of briskly-painted realism The Eight nucleus — Henri Luks, Glackens, Shinn and Sloan — demonstrated a sensitivity to ordinary' subjects unsentimentally presented and drawn from the America urban environment, which later earned them the appellation of "The Ash Can School." From the perspective of several generations The Eight emerge as spiritual forerunners of the New York School of the post-World War II era. Through their exhibit The Eight successfully challenged the power structure of the academic art exhibition in America and pointed the wav to a new �indow in his living rooms or it get disgusted two days later Luks' painting of the pigs ils at the Art Students League to : illustration of the artist executing r in the 1908 edition of the Society ; catalogue.55 rark show in New York, Sloan ht for month-long displays in eight ing in the Fall of 1908 — Chicago, dianapolis, Cincinnati, Bridgeport, wark. He partially reassembled the original Macbeth show, although i be substituted for those sold in raveling show introduced the art of nces outside of New fork, ose in 1909, Luks and his eluded in a group show of :h opened in March of that year at y of Art in Berlin and which later Society in Munich. Luks a.’ Jersey Peonies, which was the first been sent abroad/’ The American ;anized by Hugo Reisinger, a it who had done well financially in md who had previously brought an mporary German pictures to the eum. ight were not homogeneous never exhibited all together again Seth's helped to effect an important i's artistic values/ In a style of slism The Eight nucleus — Henri, hinn and Sloan — demonstrated a lary subjects unsentime-n tally iwn from the America urban ch later earned them the te Ash Can School." From the eral generations The Eight emerge nners of the New York School of the era. xhibit The Eight successfully wer structure of the academic art rica and pointed the wav to a new 7. Woman with Goose, 1907 �I direction in American painting ^^SorinXs academicians voted to replace the time-honored Hanging Committee with a single organizer. He was Harrison Morris, former director of the Pennsylvania Academy, who devoted one gallery in the 1908 exhibition to The Eight and a number of Henn s students, which less sympathetic academicians labeled "the freak wall The Eight likewise promoted liberalized exhibition opportunities for less conventional artists which, in turn, "opened the door for a much broader exchange of ideas and tastes." This was manifested in the Independent Show held in April 1910 in New York, which the New York Evening Sun heralded as "the largest opposition exhibition of paintings that has been held since the union of the National Academy and the Society of American Artists The no-jury Independent Show, the first one in New York's history at which the police had to regulate visitors' movements, was a smashing success and later became the annual showing of the Society of Independent Artists formed in 1916 and headed for three decades by John Sloan. Luks was the lone member of The Eight who did not participate in the 1910 Independent Show. Despite the pleading of his colleagues, he did not want to detract from his first one-man show held at the Macbeth Gallery from April 14-27,1910. An outgrowth of the 1910 Independent Show was the Association of American Painters and Sculptors headed by Arthur Davies. The newly-formed association, which numbered Luks and others of The Eight among its twenty-five members, had been organized to present an expanded version of the 1910 Independent Show.5’ The result was the now-famous International Exhibition of Modern Art or the art constituted a microcosm of modem art and on a broad scale introduced contemporary European especially French - art to the American public Luks was represented by six entries, among them Ten Sketches tn the Bronx Zoo and A Philosopher. The latter 30 piece was one of a relatively few works to be reproduced and sold in postcard form at the Armo>n, Show. A Philosopher was inspired by Pissarro's Self-Portrait (1873), which Luks saw at The LouVre during one of his trips to France in the early 19OO's. Nine days after the Armory Show closed Luks' one-man show opened at the Kraushaar Gallen- in New York. It marked the beginning of a decade-long association during which Luks would win some 6 important national prizes and would become an elder statesman of American art. He became affiliated with the gallery through John F. Kraushaar, who occasionally played on a scrub baseball team on Long Island for which Luks was the left fielder. The two men came to know and respect each other because neither of them had any use for affectation.w In reviewing Luks' first one-man show at Kraushaar's, New York critics observed that the "apostle of radicalism in painting" and "art's bad boy who used to frighten timid members of juries at the ' Academy of Design" had mellowed considerably and had become a "poet on canvas" who dropped his boisterous manner to depict the hearts of children.' The reviewer for The Globe noted: "Whatever Mr. Luks was, or is, or will be, one thing is certain, he is invariably entertaining and interesting, and, though you may disagree with him, or question his taste, or wish he would be a trifle more serious at times, you cannot ignore him. He is a factor in our modem art."' The following year Luks had another "stirring one-man show" at Kraushaar's, the focal point of which was the large, striking canvas, The Polo Game, a.k.a. The Stroke. It depicted an exciting moment between the American and British teams at the international polo match held at Meadow Brook, Long Island, in 1913. Although critical opinion differed on the merits of the painting, various reviewers applauded the spontaneity and draughtsmanship of the twenty preliminary­ drawings Luks made of polo ponies and their riders. Some of these sketches also appeared in the July 1911 issue of Vanity Fair and inaugurated Luks' twenty-year association with the popular monthly which published a number of his drawings and watercolors.63 5. Allen Street, �H was one of a relatively few works to be ■duced and sold in postcard form at the Arrno ■ A Philosopher was inspired by Pissarro's ■orfra/f (1873), which Luks saw at The Louvre ■a one of his trips to France in the early 1900's ■e days after the Armory Show' closed Luks' ■nan show opened at the Kraushaar Gallery in ■York. It marked the beginning of a decade-long ■iation during which Luks would win some 8 ■riant national prizes and would become an elder ■man of American art. He became affiliated with ■allery through John F. Kraushaar, w'ho ■onally played on a scrub baseball team on Long ■ for which Luks was the left fielder. The two 8 ■ame to know and respect each other because Ber of them had any use for affectation.*" ■ernewing Luks' first one-man show' at ■haar's, New' York critics observed that the ■tie of radicalism in painting" and "art's bad boy ■used to frighten timid members of juries at the ’ Bemy of Design" had mellow'ed considerably and Become a "poet on canvas" who dropped his ■rous manner to depict the hearts of children.bI ■ reviewer for The Globe noted: "Whatever Mr. ■was, or is, or wdll be, one thing is certain, he is ■ably entertaining and interesting, and, though Bnay disagree with him, or question his taste, or lhe w'ould be a trifle more serious at times, you mt ignore him. He is a factor in our modern art."' ■? following year Luks had another "stirring Inan show'" at Kraushaar's, the focal point of Bi was the large, striking canvas. The Polo Game, I. The Stroke. It depicted an exciting moment leen the American and British teams at the liational polo match held at Meadow' Brook, I Island, in 1913. Although critical opinion led on the merits of the painting, various Iwers applauded the spontaneity' and Ijhtsmanship of the twenty preliminary lings Luks made of polo ponies and their riders, r of these sketches also appeared in the July' 1914 of Vanity Fair and inaugurated Luks' ty-year association with the popular monthly i published a number of his drawings and rcolors. �I____ Fig. 7. Luks' upper Manhattan studio near High Bridge Park which he used from 1912-mid 1920's. Courtesy, LFC. 32 By the time he had his initial one-man show at the Kraushaar Gallery in 1913, George and his second wife had moved from West 56th Street to a spacious studio-residence in the upper part of Manhattan at Edgecombe Road and Jumel Place, one block east of Amsterdam and 170th Street (Fig. 7). The Luks' home was a five-minute walk in one direction to the drives along the Hudson River and in another to High Bridge Park and Washington Bridge spanning the Harlem River. Both of these sites figured prominently in Luks' work in the second decade of this century, James Huneker's Bedouins preserves one of the fewfirsthand descriptions of Luks' Jumel studio-residence: Here are domestic comfort, a north light, and plenty of models across the road in the open air, splashed by sunshine or shadowed by trees; babies, goats, nurse-girls, park loafers, policemen, lazy pedestrians, noisy boys, nice little girls with hoops and the inevitable sparrows. Rocks are in abundance. The landscape "composes" itself. And you are not surprised, when ushered into the great studio on the second floor, to be confronted by canvases registering various phases of the vibrating world hard-by. Since he moved from down-town the painter is becoming more of a plein-artiste.M Luks' Jumel studio proved popular with his niece, Lore. She liked to visit, put Hawaiian records on the phonograph and dance around the room to George's delight. At the studio he gave lessons to Edward W. Root, a quiet young man, an art collector and later professor at Hamilton College. Luks had met him after painting a portrait of his father, Elihu Root (1847-1937), Secretary of State under President Theodore Roosevelt and later one of the American lawyers who helped to set up the Permanent Court of International Justice at The Hague.65 At his Jumel studio in 1917 Luks painted the portrait of John F. Kraushaar's daughter, Antoinette, in her graduation dress (Cat. no. 14). However, the plain white expanse of the unadorned dress was too much for the artist, so from his studio corner he got a piece of old, blue cloth which he draped over Miss 26. Gloucester, Massachusetts, n.d. �e he had his initial one-man show at the Jallery in 1913, George and his second ved from West 56th Street to a spacious snce in the upper part of Manhattan at Road and Jumel Place, one block east of and 170th Street (Fig. 7). The Luks' hom inute walk in one direction to the drives idson River and in another to High and Washington Bridge spanning the r. Both of these sites figured prominentl k in the second decade of this century, leker's Bedouins preserves one of the fe ;criptions of Luks' Jumel mce: re domestic comfort, a north light, ty of models across the road in the splashed by sunshine or shadowed babies, goats, nurse-girls, park jolicemen, lazy pedestrians, noisy :e little girls with hoops and the e sparrows. Rocks are in abundance, scape "composes" itself. And you urprised, when ushered into the dio on the second floor, to be ed by canvases registering various f the vibrating world hard-by. Since d from down-town the painter is g more of a plein-artiste.64 d studio proved popular with his niece, ed to visit, put Hawaiian records on the and dance around the room to George's le studio he gave lessons to Edward W. young man, an art collector and later Hamilton College. Luks had met him j a portrait of his father, Elihu Root Secretary of State under President osevelt and later one of the American helped to set up the Permanent Court of I Justice at The Hague.65 el studio in 1917 Luks painted the hn E Kraushaar's daughter, Antoinette, ation dress (Cat. no. 14). However, the expanse of the unadorned dress was too artist, so from his studio corner he got a blue cloth which he draped over Miss 26. Gloucester, Massachusetts, n.d. 33 �w. Blue Devils on Fifth Avenue, 1917 Kraushaar and the color of which adds a great deal to the portrait." It was part of Luks' one-man show at the Kraushaar Gallery m 1918, w hich American Art News termed "the strongest and most successful of 'one-man' shows thus far of the season." The portrait was described as a". .. beautiful presentment of a young girl whom one would like know, alive and youthful emotion, yet exhaling a charm of restraint and careful breeding .... It speaks eloquently of developing womanhood, and the presence of a thoughtful, growing mind."*7 A few days after the closing of his one-man show at Kraushaar's, Luks participated in a group exhibit of "indigenous" art at the Whitney Studio (the forerunner of The Whitney Museum) where he had first showed in 1916. The pictures were done on the spot on canvases of various sizes and shapes for which the artists drew lots and then painted all at the same time. The marathon came off astonishingly well and no one disgraced himself.“ By 1918 the United States was deeply involved in World War I in Europe. The war effort at home and abroad provided sources of new iconographical material for Luks and his contemporaries, although their work in this genre constitutes only a small part of their creative output and did not change the direction of American art. Premiere among Luks' work done during World War I is Blue Devils On Fifth Avenue (Cat. no. 15). He personally witnessed the parade of this platoon of French veterans in New York on July 10,1917. They had come over to assist in the Liberty Loan Drive and did much to arouse the American fighting spirit. The Blue Devils are shown passing by the comer of 45th Street and Fifth Avenue about 9 a.m. against the background of Delmonico's Restaurant, the Harriman National Bank and the Jewish synagogue." Unlike many of the ceremonial pieces produced during World War I by Luks' contemporaries, Blue Devils transcends the propagandistic requirements of the moment and the need to spur patriotic sentiment. This was the opinion of Henry McBride who reviewed a show of paintings on war subjects held at the Kraushaar Gallery in June 1918. Most of them had been done for the ill-fated patriotic exhibition planned Duncan thoi reac hop Krai Luk that thro occa time cam "Mi To the the Sen.: the back yearL ut Krau~ha version in back. It Geo L’nc deci Loa in ! tren that repi but timi -err, the > and pres that to tl M Stat Rep state �the Kraushaar Gallery in 1918, which American Art News termed "the strongest and most successful of 'one-man' shows thus far of the season." The portrait was described as a ". . . beautiful presentment of a young girl whom one would like know, alive and youthful emotion, yet exhaling a charm of restraint and careful breeding .... It speaks eloquently of developing womanhood, and the presence of a thoughtful, growing mind.'"'7 A few days after the closing of his one-man show at Kraushaar's, Luks participated in a group exhibit of "indigenous" art at the Whitney Studio (the forerunner of The Whitney Museum) where he had first showed in 1916. The pictures were done on the spot on canvases of various sizes and shapes for which the artists drew lots and then painted all at the same time. The marathon came off astonishingly well and no one disgraced himself."1 By 1918 the United States was deeply involved in World War I in Europe. The war effort at home and abroad provided sources of new iconographical material for Luks and his contemporaries, although their work in this genre constitutes only a small part of their creative output and did not change the direction of American art. Premiere among Luks' work done during World War I is Blue Devils On Fifth Avenue (Cat. no. 15). He personally witnessed the parade of this platoon of French veterans in New York on July 10,1917. They had come over to assist in the Liberty Loan Drive and did much to arouse the American fighting spirit. The Blue Devils are shown passing by the corner of 45th Street and Fifth Avenue about 9 a.m. against the background of Delmonico's Restaurant, the Harriman National Bank and the Jewish synagogue.6’ Unlike many of the ceremonial pieces produced during World War I by Luks' contemporaries, Blue Devils transcends the propagandistic requirements of the moment and the need to spur patriotic sentiment. This was the opinion of Henry McBride who reviewed a show of paintings on war subjects held at the Kraushaar Gallery in June 1918. Most of them had been done for the ill-fated patriotic exhibition Duncan Phillips, but ■ . . which was abandoned when it was thought that the contributions had not reached as high ... a standard as had been hoped for ... . The exception in the present Kraushaar collection is provided by George Luks; [Blue Devils].... The electric feeling that seems to float from the crowd and through the crowd on especially sympathetic occasions seems to have got the artist this time, and the Blue Devils march across his canvas as though to the strains of the "Marseillaise."™ To the same exhibition at Kraushaar's Luks lent In the Service, which depicts a Red Cross nurse against the background of the American flag. The following year Luks' contribution to the Library Loan Show at Kraushaar's was Fight to Bin/, which presented a new version of Uncle Sam with a chinbeard and long hair in back. The New York Herald wrote: It was characteristically courageous of George B. Luks to evolve a new conception of Uncle Sam as one of his contributions in the decoration of Fifth Avenue for the Liberty Loan campaign. This painting, now on exhibition in the window of the Kraushaar Galleries, has evoked extraordinary expressions of opinion from the populace. Some seemed to think that the artist had gone too far in representing the old gentleman in anything but his familiar uniform, especially in war time. Of course, the object of the artist was to remind spectators that there are two sides to the character of this symbolical personage, and that he is very much of a businessman at present, seeing that he has to bestir himself that the supplies of all sorts may be kept up to the mark. Mr. Luks' Uncle Sam might be a United States Senator, a member of House of Representatives or the Governor of a Western state. That he is a person of determination 35 �e negative I uks' friendship B. rk;imn < 1871 log;, the sculptor ■. !'.!■wsulte d in Several other wartime paintings on < i h subjects done on Borglum < st.it . . - , Fail of b>|s 1 it. .. L ■ ; .. . when Luks w tote tie pivf.Hr tothe catalog of Borglum's s. ulptim ■ 1(< ,|umbi,i( n,UI>,t. , Avery I tbrary in 1 ■ biu.it. Nil When < zee husioi is 11 i... ,lln. ..., n.j. p,I)t country in MX tin ( '• hs m Aimmc.ioiganizvd some il.tMHI nil'll I' ■ • o In Ip • f. i.'.i.i ft,.. n, .s rvpubiii Prior to their depart tin th. v were t,m.p. d,,n Borglurn's est.it,• v. In tr I id v. L,. . 1 ,itmg .it the tune rhe colorful I ostume < a Pill-. .t the 1. ■ ruit 111 .pit. d Luks' t ' <■< h" tlm al < /" tin.' f I9|‘i) now in the Nt a ark Museum. At the t amp th- arli.t u,. t l.e utenant Frank Damelovsky, who bad just .iinvr 1 fmrn bit»-n. and win>se firsthand de . ripln.n . <1 < ■-, 1 - in fto ('/is hoslovak ar rm th< i<- hirm h< I Itw lol. f. ,1 tinCz<’< hii .hii'nl, Army Enlenn ■ Vluihin mi, foruwrl', in I he Phillips < oil,., tji >n and noy. in the I os Angeles County Museum Beginning in 1919 ,md < onfinuitig through »Fo• 1920 1 .uks 10p. 1 nd. 1 Ii, ■ r !,./•■ of his ■ ub;, .( nialier beyond urban *•!< :: rork to • .It 1. Ho . Maine and the coal mini rig region of \<>r tin astern Pennsylvania where he h id gio., n up I In ‘. c. a S< otia oils and waters, dor. .-. ere the pmdu, t of the summer of 1919 v. hi: h h' urge spent fishing arid hunting in the <• 1.t"rn < anadian pruvuv v They were exhibited at Kraushaar's in January 19?tar,d drew, much favorable comment, which noted the artist's entry into a new field (Fig 8; ( ritic Frederick fame:, f.regg cautioned viewers against typecasting Luks as a painter of waifs and strays m the slums. Those who were in the habit of harking back to his earlier work and discussing Mr Luks, with a sort of implication that the be st part of his career was safelv behind mm. e it.’ 18. Breaker Boy, 1921 36 F'k *. �must be evident to anybody who brings any psychological gifts to the study of the picture We should hate to have Mr. Luks' subject ask "Have you bought a bond?" and have to answer in the negative.71 Luks' friendship with Gutzon Borglum (1871-1941), the sculptor of Mount Rushmore, resulted in several' other wartime paintings on Czech subjects done on Borglum's estate near Stamford, Connecticut, in the Fall of 1918. Their friendship predated World War I when Luks wrote the preface to the catalog of Borglum's sculpture exhibit at Columbia University's Avery Library in February 1914. When Czechoslovakia became an independent country in 1918 the Czechs in America organized some 3,000 men to go help defend the new republi Prior to their departure they were encamped on Borglum's estate where Luks was visiting at the time. The colorful costume of one of the recruits inspired Luks' Czechoslovak Chieftan (1919) now in the Newark Museum. At the camp the artist met Lieutenant Frank Danielovsky, who had just arrived from Siberia and whose firsthand descriptions of service in the Czechoslovak army there furnished the basis for the Czechoslovak Army Entering Vladivostok, formerly in The Phillips Collection and now in the Los Angeles County Museum. Beginning in 1919 and continuing through the early 1920's Luks expanded the range of his subject matter beyond urban New York to Nova Scotia, Boston, Maine and the coal mining region of Northeastern Pennsylvania where he had grown up. The Nova Scotia oils and watercolors were the product of the summer of 1919 which George spent fishing and hunting in the eastern Canadian province. They were exhibited at Kraushaar's in January 1920 and drew much favorable comment, which noted the artist's entry into a new field (Fig. 8). Critic Frederick James Gregg cautioned viewers against typecasting Luks as a painter of waifs and strays in the slums. Those who were in the habit of harking back to his earlier work and discussing Mr. Luks, with a sort of implication that the best part of his career was safely behind him, will Fig. 8. George Luks in Nova Scotia, 1919. Courtesy, Kraushaar Gallery. 37 �find it necessary to recimsid.-i that conclusion. It is now dem.-ns'rat.-dbevi.nd all shadow ot doubt that he has plenty ot surprises up his sleev e for the future and before the time when he joins the ranks of American "old masters " In 1922 Luks became quite ill and had to spend some time in a sanitarium To seek relief from his illness and from the domestic problems that ended his second marriage, Luks also lived and painted in Boston in 1922 and 1923 as the guest of Mr. and Mr-. Q. A. Shaw McKean * Mrs McKean was Margaret Sargent. Luks' patron and a sculptor in her own right. She had studied sculptor with Gutzon Borglum and drawing with I uks of whom she did a bronze bust that was exhibited at the Philadelphia Academy in 1918 and later acquired by the Art Institute of Chicago.' Luks pioduced some half dozen canvases of Boston cityscapes whose titles indicate where he painted: Bullfinch - Beacon Htll. Mount Vemiai Street and Cornmotnvealth Avenue.' In connection with his Boston visit Luks ventured up to the Maine seacoast in 1922 to paint at Pond Cove on C ape Elizabeth He had learned of the area three years earlier when he tool, the ferry from nearby Portland to Nova Scotia Through hiswork at Pond (love Luks joined artists and writers like Winslow I lomer, Robert Henri and Frederick Waugh, who since the turn of the century had been discovering and appreciating the wonderful scenery of Maine. While based at a little old farmhouse in Pond Cove, Luks was interviewed bv Emma W. Moseley for the Portland newspaper She descnbed him as "the only one of his kind and it is safe to say that there will be no infringement of the copyright" In addition to his epigram-laden conversation, Luks also expressed hi­ delight with the new material the Maine seacoast and its inhabitants provided him Talk about the chalk cliffs at Cornish, talk about the "wonderful scenery " anywhere in Europe, Maine has is it over them Here you have that wonderful gray that is found onlyin such a climate as that of Maine and > -ur rocks and shores are so rugged and bold that 30. Hannaford's Cove, n.d. 38 �find it necessary to reconsider that conclusion. It is now demonstrated beyond all shadow of doubt that he has plenty of surprises up his sleeve for the future and before the time when he joins the ranks of American "old masters."77 In 1922 Luks became quite ill and had to spend some time in a sanitarium. To seek relief from his illness and from the domestic problems that ended his second marriage, Luks also lived and painted in Boston in 1922 and 1923 as the guest of Mr. and Mrs. Q. A. Shaw McKean.74 Mrs. McKean was Margaret Sargent, Luks' patron and a sculptor in her own right. She had studied sculptor with Gutzon Borglum and drawing with Luks of whom she did a bronze bust that was exhibited at the Philadelphia Academy in 1918 and later acquired by the Art Institute of Chicago.75 Luks produced some half dozen canvases of Boston cityscapes -whose titles indicate where he painted: Bullfinch Houses — Beacon Hill, Mount Vernon Street and Commonwealth Avenue.76 In connection with his Boston visit Luks ventured up to the Maine seacoast in 1922 to paint at Pond Cove on Cape Elizabeth. He had learned of the area three years earlier when he took the ferry from nearby Portland to Nova Scotia. Through his work at Pond Cove Luks joined artists and writers like Winslow Homer, Robert Henri and Frederick Waugh, who since the turn of the century' had been discovering and appreciating the wonderful scenery of Maine. While based at a little old farmhouse in Pond Cove, Luks was interviewed by' Emma W. Moseley for the Portland newspaper. She described him as "the only one of his kind and it is safe to say that there will be no infringement of the copyright." In addition to his epigram-laden conversation, Luks also expressed his delight with the new material the Maine seacoast and its inhabitants provided him: Talk about the chalk cliffs at Cornish, talk about the "v.'onderful scenery" anywhere in Europe, Maine has is it over them. Here you have that wonderful gray that is found only in such a climate as that of Maine and your rocks and shores are so rugged and bold that they make other rocks and shores seem pretty and puny in comparison; and your characters, there are real American types here — types that you find nowhere else ... I intend to paint them in all their strength and ruggedness and I shall be happy as a king for I shall find plenty of material here with which I can work.77 In October 1922 Luks showed the results of his Maine sojourn at the Kraushaar Gallery. Like his previous Nova Scotia exhibit, this one revealed his ever-varying search for material. The Christian Science Monitor wrote that: Mr. Luks, like other artists, has marveled at the conflict of the giant ledges valiantly withstanding the onslaughts of the sea, but he has, unlike the majority of his confreres, transferred to his canvases the sense of the contrasting forces and the grandeur of these Titans. Sometimes he has set his easel along the quiet shore of some cove or inlet and has transcribed, with a weather eye for color effect, some incident in the fisherman's life, as the beautiful, pale vermillion dory being dragged ashore or the burnt-sienna seaweed clinging to the exposed rocks.78 To mark a decade of Luks' association with the Kraushaar Gallery, he was given a retrospective there in January 1923 which included thirty-nine works and comprised loans from a number of private collections. In his introduction to the catalog Guy Pene du Bois noted that Luks' gusto is not. .. merely a matter of mannerism. His sledge hammer drives spikes that could be driven with no other implement. His style is an invention of necessity. The man is ... a dynamo .... And his art which appears to be an essentially masculine or manly affair has all the instinctive force of a feminine guess. The man will paint the decadent viciousness of a character like the Duchess and the virtue of a blonde girl with equal understanding .... He records the pathos as well as the joy in 39 I i �He will will force force me the eviuc.evidence v. of children .... He reality until it is impossible for those of dulle reactions to miss it.” Town and Country felt that Luks' retrospective at Kraushaar's confirmed his place in American ar history: Mr. Luks' exhibition seems a record ot Mr. Luks' enjoyment of himself. Which is merely to say that he is a man well fitted for his job. Although he is notoriously self-appreciative, it is this confidence in himself which enables him to produce a work of such sheer strength as The Wrestlers, and one of such technical affection as Lollypops. It is confidence founded on experience and much hard work. The man who can range from the monasterial attitude of The Old Dominican to the ornamental bravura of the Czechoslovak Chieftan and at the same time produce such pieces of precious painting as is found in The Little Madonna, the Boy with the Guitar [a portrait of Will and Dan Luks] and The Spielers has a right to some conviction as to his rightful place in our serious art history.“ Luks' last year with the Kraushaar Gallery was 1924. It was marked by a one-man show of twelve pieces in which the artist expressed a preference for "crabbed age and youth." The New York American opined that: Perhaps Luks likes youth and age because they seem to be what they actually are. In middle age we wear masks, but the child has nothing to conceal, and the old man cannot conceal if he would, for what he is has become written indelibly on his countenance.81 In 1925 Luks began an affiliation with the Frank K M. Rehn Gallery in New York that lasted until the artist's death eight years later. Luks' first show there comprised work he had done that same year in the anthracite coal region of Pennsylvania — one of several forays he made in the 1920's back to his childhood haunts.62 In the summer of 1925 Luks set up a temporary studio for two months in Pottsville 40 where as a boy he had worked as a drugstore clerk He produced some thirty oils, watercolors and numerous drawings which were first displayed at th Pottsville Public Library to which he donated a C notable series of drawings before the exhibit moved that November to the Rehn Gallery in New York (Cat nos. 49, 50). Luks' work presented a slice of life unfamiliar to many New York gallery goers. He considered that region of Pennsylvania to be the West of the East” with all the picturesqueness of frontier life or of the Gold Coast of the "Forty-Niners." His Breaker Boy (Cat. no. 18), included in the 1925 show, constitutes the painterly equivalent of Lewis L. Hines' photographic studies of the Pennsylvania mining region, which also date from the early 1920's. Luks culminated his work on coal mining subjects in 1927 with a large mural commissioned by Henrv Sheafer and presented as a gift to the Necho Allen Hotel in Pottsville, Pennsylvania. It hung for many­ years in the hotel's lounge until it was restored some ten years ago and transferred to the Pottsville Bank and Trust Company where it can be seen today. Consisting of a large central_panel flanked by two smaller ones, the mural depicts an eighteenth­ century lumberman, Necho Allen, who is said to have discovered coal in the anthracite region, and later-day miners going to and from work — all against the rich and luminous autumnal colors characteristic of the countryside.83 In addition to seeking new subjects in Nova Scotia Massachusetts, Maine and Pennsylvania in the 1920's, Luks also purchased a farm in the Berkshires at Old Chatham, New York. It was beautifully situated at Irish Hill on some twenty-six orchard-studded acres. Since Luks spent summers painting in the vicinity, he purchased a Ford station wagon and learned how to drive, as he proudlyrelated in a letter to his nephew, Kraemer. Two of that artist's neighbors at Old Chatham appeared in his paintings exhibited at the Twenty-Ninth Carnegie International in Pittsburgh in 1930 where they caused some excited comment. of them, Mrs. Gamely, was 110 when the artist painted her simply dressed, cradling a white �s a boy he had worked as a drugstore clerk luced some thirty oils, watercolors and us drawings which were first displayed at the e Public Library to which he donated a series of drawings before the exhibit moved /ember to the Rehn Gallery in New York (Cat 50). work presented a slice of life unfamiliar to ew York gallery goers. He considered that f Pennsylvania to be the "West of the East," the picturesqueness of frontier life or of the >ast of the "Forty-Niners." His Breaker Boy . 18), included in the 1925 show, constitutes terly equivalent of Lewis L. Hines' aphic studies of the Pennsylvania mining which also date from the early 1920's. Eliminated his work on coal mining subjects vith a large mural commissioned by Henry and presented as a gift to the Necho Allen Pottsville, Pennsylvania. It hung for many the hotel's lounge until it was restored some s ago and transferred to the Pottsville Bank ;t Company where it can be seen today, ng of a large centraLpanel flanked by two anes, the mural depicts an eighteenth­ lumberman, Necho Allen, who is said to covered coal in the anthracite region, and f miners going to and from work — all against and luminous autumnal colors characteristic luntryside.83 ition to seeking new subjects in Nova Scotia, lusetts, Maine and Pennsylvania in the .uks also purchased a farm in the Berkshires hatham, New York. It was beautifully at Irish Hill on some twenty-six ■studded acres. Since Luks spent summers ; in the vicinity, he purchased a Ford station nd learned how to drive, as he proudly n a letter to his nephew, Kraemer. f that artist's neighbors at Old Chatham d m his paintings exhibited at the Ninth Carnegie International in Pittsburgh in ere they caused some excited comment. One Mrs. Gamely, was 110 when the artist her simply dressed, cradling a white 29. Boy with Bugle, n.d. �I 1 Cockerell in her arms. Luks' other subject was Ann Pratt of Malden Bridge (Cat. no. 23), New York, an antique dealer, whom Luks described in a letter to his former student, Edward W. Root, as a great character ... a good, old fashioned New England type and collector of early 'Americana.'"81 From Ann Pratt Luks bought a large number of early American antiques before they were deemed fashionable, as well as Oriental block prints and temple jars. However, if visitors to George's New York studio expressed admiration for a particular antique, he was not above giving it to them because it saved him eventual warehouse costs. By the mid-1920's Luks was divorced from his second wife, who later became Mrs. W. V. Frankenberg and who — much to his dismay — got a number of his works in the settlement. He necessarily gave up his spacious Jumel studio-residence and moved back to midtown Manhattan. In 1927 he married Mercedes Carbonell, a handsome and intelligent Cuban girl almost forty years his junior, whom he inexplicably ignored in his last will, as did his only son, Kent. Beginning in 1920 Luks taught at the Art Students League in New York, but his classroom antics and ribald language in critiquing students' work resulted in his separation from the League four years later. Reaching back into his own artistic experiences, Luks advised his students to "Get away from copying, or, like a liar and a thief, you will be found out. Surround yourself with life, fight and revel, and learn the significance of toil. There is a beauty in a hovel or a grog shop. A child of slums will make a better painting than a drawingroom lady gone over by a beauty shop."85 In the same vein Luks felt that: If painters don't study the period they live in how will they ever show people a thousand years from now that we were people who really did things, too? .... It's up to us to show them and so we can't be too painstaking in observation .... They don't study life, some of these young fellows nowadays, they don t know what people look like. They just know their wives and the 42 Fig. 9. Photography of George Luks with his famous pince-nez. c. 1920s. Courtesy, LFC. elevator boy by sight and that's about all. They need to get out and get kicked round a bit. They need less "sophistication" and more observation of the world around them 86 After leaving the Art Student League Luks started his own school, which was located on the top floor o a dilapidated budding at 7 East 22nd Street in Nei?w York. According to an extant prospectus: The George Luks School of Painting was founded ... in response to the spontaneous demand for a virile school of Living American Art. With the present trend in art to modem forms, more serious artists and students feel a need for a center . .. [of] frank discussion of the view point and philosophy of our present day .... It is George Luks' policy to develop the individuality of the student and to give him a sound knowledge of the craft of painting, building up each student with sympathetic and wise counsel so that they see and think for themselves?7 Hastily daubed signs on cardboard pointed the w. up the dark stairs to the Luks School where the arti< taught in an informal French manner with little attempt to regulate classes, models or working hour "This pays for all my living expenses," Luks said, "and so I don't have to give a damn if my paintings sell or not."88 Colorfully attired and wearing pince-n glasses with a black ribbon, Luks strode among his students "emanating life, personality, vigor and confidence." (Fig. 9) According to Everett Shinn, "Here, in his classroom, there was offered the two opportunities that interested him most: to paint and to have an audience."*' At the end of the school year Luks arranged a shoi of his students' best work in a New York gallery. At the Anderson Galleries in May 1Q26 he anonymousl exhibited as a practical joke his own unsigned work labeled, Still Life by Crow.*’ Somewhat against his inclination, George's brother, Will, was persuaded t< view the exhibit where he purchased the still life for $15.00, although he could not find a signature on it nor could anyone in the gallery tell him the artist's name. Later on George told his brother that he had painted it and signed it for him. '• The same opinionated exuberance Luks displayed at his school continued unabated in the last years ot his life. In 1932 he won the first William A Clark Prize and Corcoran Gold Medal at the Thirteenth Exhibition of Contemporary Amencan Oil Paintings �her subject was Ann i ?3) New York, an scribed in a letter to his iot, as a "great jned New Englan ericana.’"M From Ann ber of early American ned fashionable, as id temple jars, s New York studio ticular antique, he was ause it saved him livorced from his Mrs. W. V. to his dismay-got a lement. He necessarily iio-residence and attan. In 1927 he handsome and rty years his junior, in his last will, as did it at the Art Students ssroom antics and ■dents' work resulted re four years later. Stic experiences, Luks ay from copying, or, ! found out. Surround il, and learn the auty in a hovel or a make a better dy gone overbya Fig. 9. period they live >eople a at we were i, too?.... It's owe can't be too • ■ • They don't mg fellows what people -ir wives and the Photography of George Luks with his famous pmce-n c. 1920s. Courtesy, LFC. elevator boy by sight and that's about all. They need to get out and get kicked round a bit. They need less "sophistication" and more observation of the world around them After leaving the Art Student League Luks started his own school, which was located on the top floor o dilapidated building at 7 East 22nd Street in N<lew York. According to an extant prospectus: The George Luks School of Painting was founded ... in response to the spontaneous demand for a virile school of Living American Art. With the present trend in art to modern forms, more serious artists and students feel a need for a center ... [of] frank discussion of the view point and philosophy of our present day.... It is George Luks' policy to develop the individuality of the student and to give him a sound knowledge of the craft of painting, building up each student with sympathetic and wise counsel so that they see and think for themselves.87 Hastily daubed signs on cardboard pointed the way up the dark stairs to the Luks School where the artist taught in an informal French manner with little attempt to regulate classes, models or working hours. "This pays for all my living expenses," Luks said, "and so I don't have to give a damn if my paintings sell or not."88 Colorfully attired and wearing pince-nez glasses with a black ribbon, Luks strode among his students "emanating life, personality, vigor and confidence." (Fig. 9) According to Everett Shinn, "Here, in his classroom, there was offered the two opportunities that interested him most: to paint and to have an audience."8’ At the end of the school year Luks arranged a show of his students' best work in a New York gallery. At the Anderson Galleries in May 1926 he anonymously exhibited as a practical joke his own unsigned work labeled, Still Life by Crow* Somewhat against his inclination, George's brother, Will, was persuaded to view the exhibit where he purchased the still life for $15.00, although he could not find a signature on it nor could anyone in the gallery tell him the artist's name. Later on George told his brother that he had painted it and signed it for him.” The same opinionated exuberance Luks displayed at his school continued unabated in the last years of his life. In 1932 he won the first William A. Clark Prize and Corcoran Gold Medal at the Thirteenth Exhibition of Contemporary American Oil Paintings in Washington, D.C., for his Woman with Black Cat. It harkens back to the canvases he had done in the early 1900's and depicts an old beggar woman whom he saw on the street in New York and asked to pose for him.” The Corcoran Gold Medal, the last in a long line of honors he received for his art, induced Luks to say, "I've [got] more medals than a swivel-chair Major General." All of them were awarded in this country, for he received none from abroad and was not represented in any European museum or gallery in his lifetime. This was most appropriate for an unflagging champion of American art who wished that ... every American who cares for art would fill his house with American paintings, if for nothing else to show the foreign visitor what we can do instead of boring him with the fourth rate examples of the contemporary art of his own country, as we so often do ... . No country was a success without art. That is one thing we must never forget.” While Luks' work was on display at the Corcoran Gallery in Washington, D.C., he presented an expose of art on December 21,1932, at the Artists Cooperative Market at 16 East 34th Street in New York. Although Luks had been widely advertised to paint a demonstration portrait of ballerina Doris Humphries for charity and give a lecture on "What About American Art?", Luks elected to do neither. Instead, as the Herald Tribune wrote, he "took his colleagues and their profession by the horns and shook them before a horrified audience of 500 guests with the gusto and delight of a child tearing apart his mother's most favored tapestry." Before the evening was over Luks succeeded in driving most of the audience from the hall. Luks refused to don the painter's smock offered him by Milton Gray, secretary of the Market, and plainly advised Miss Humphries to stay off the model's stand. Upon taking the platform, the artist said: I'm George Luks, and I’m a rare bird. You people stick with me and you'll have a good time .... 43 �Emil Siebem, a Greenwich Village sculptor, made a death mask of Luks prior to the simple service held for the artist at 6 p.m. on October 31 at Campbell's Funeral Church at Broadway and 66th Street in New York.’5 More than 300 attended, including fellow artists John Sloan, Ernest Lawson, William Glackens and Everett Shinn of The Eight, Jonas Lie, Leon Dabo and Jerome Myers, dealers John F. and Antoinette Kraushaar, Benjamin DeCasseres and Gene Tunney, as well as collectors, friends and a number of Luks'" former students. At the head of the flower-banked coffin Right Rev. William A. Nicholas, titular Bishop of Washington for the Holy Orthodox Church, read the brief service after which Luks' body was interred the following day in the family plot at Royersford, Pennsylvania. Luks "was buried in an embroidered artist seized him and said, eighteenth-century waistcoat which had been his You can't talk to me like that. .. I'm old pride and joy, and with him went from American art enough to be your father, but I'll lay you cold a certain quality which has not yet returned."* if you don't apologize .... You're not talking Some of Luks' last works — a series of twelve black to George Luks now, you're talking to and white oil sketches called Scenes ofRevelry in Old "Chicago Whitey," the best amateur boxer New York — were reproduced in the January 1934 and barroom fighter in America .... Don't issue of Vanity Fair. They depict some of Manhattan's make any mistake about that. I've lived and old drinking places and document the role played by I'm living. You and the rest of these the saloon in American life at the turn of the century. hypocrites are only w'aiting to die. Stay here Luks' "blithesome and boisterious sketches," which and I'll show you something. If you don't bear such colorful titles as Paddy the Pig's, Siesta Time like my talk get out, and the sooner the more in the Tub of Blood, and High-Tide in Luchow's, were of you that go the better. made as illustrations for Benjamin DeCasseres' book, When most of the scandalized audience had left O Keg, America! It contains tales of the saloons "when Luks painted a "skillful little sketch" for the benefit of Bucchus, Gambrinus and John Barleycorn walked a few adoring disciples and then sat down to chat New- York, lifesized and unshackled."" with them and to laugh at the scene he had created.” The essence of George Luks was perhaps best Luks' abruptness and plain speaking resulted in his death less than a year later in New York. Although captured by Benjamin DeCasseres in a piece, Fantasia De Luks," based on his last visit to the some newspapers romantically reported that he had artist's studio a few weeks before his death.'* suffered a heart attack during an early morning walk on October 29,1933, to observe the dawn on the Sixth He was "Lusty Luks." He was thews and Avenue El for a picture he planned to paint, Luks sinew, mentally, artistically and physically. actually died of injuries sustained in a speakeasy He was bawling, robustious, pithv, gritty. His fight. Patrolman John Ginty found him in a doonvay language smoked and crackled with all the at 1322 Sixth Avenue near 52nd Street. He was 'v ords you will find in Rabelais plus some of identified through letters found on his person and J, e most curious and exotic combinations of later verified by his attorney, Harrison Tweed Luks he lewd and blasphemous that it has ever was clad in his favorite gray suit with a short blue been my pleasure to hear. . . . overcoat, while slightly askew on his head was a large sombrero-like black fedora. I'm here in the interest of a movement that wants to introduce art to the American public .... This country has been imposed upon by French superior salesmanship. It is the victim of cheap little lawyers who become diplomats, and financiers who let their wives buy' pictures from dealers who perfume them w'ith bombast and saddle them with trash. I'm here to tell you that it's time America woke up to the realization that it is the greatest country in common sense and the least in appreciation of its own strength. When the audience refused to listen to Luks and a large-sized man called him a fakir and a braggart, the 44 He invented the most fantastic yams ... You believed him at fust and then disbelieved him; and found that he was most fascinating and companionable when you disbelieved him . . . • Luks was not a liar, he was a dramatic comedian who acted everywhere in his own interminable twenty-minute plays Each one of us is an approximation to his other self, his idea-self, his bovaryzed self. Not so with Luks. He was not split into object and subject. He was Absolute Luks. He was Luks precisely as Luks wanted to be now and in any questionable eternity of time. So he believed, so he acted in life .... Stanley L. Cuba Notes 1 Duncan Phillips, George Luks, in ex. cat.. Exhibition jfpaintin: s George Luks, November 2-29, [1926], Phillip.-. Memorial Gallery Washington, D.C. 2 James Huneker, Bedouins (Nev. York: Charles Scribner's Sons. lq20), p. W8. 3 Photocopy of birth certificate from the Lutheran Church. Williamsport, PA, courtesy Andrew KingGrugan Curator of the John Sloan Memorial Collection, Lock Haven, PA fcri* me unknown reason Luk s later changed the year of his birth to 18b?, the one generally cited in published sources about him �il Siebern, a Greenwich Village sculptor, made a ! mask of Luks prior to the simple service held e artist at 6 p.m- on October 31 at Campbell's •al Church at Broadway and 66th Street in New » More than 300 attended, including fellow : John Sloan, Ernest Lawson, William Glackens verett Shinn of The Eight, Jonas Lie, Leon Dabo srome Myers, dealers John F. and Antoinette ;haar, Benjamin DeCasseres and Gene Tunney, 11 as collectors, friends and a number of Luks' ,r students. At the head of the flower-banked Right Rev. William A. Nicholas, titular Bishop shington for the Holy Orthodox Church, read ief service after which Luks' body was interred Rowing day in the family plot at Royersford, jylvania. Luks "was buried in an embroidered ;enth-century waistcoat which had been his and joy, and with him went from American art ain quality which has not yet returned."96 ne of Luks' last works — a series of twelve black ,'hite oil sketches called Scenes of Revelry in Old 'ork—were reproduced in the January 1934 of Vanity Fair. They depict some of Manhattan's inking places and document the role played by loon in American life at the turn of the century, "blithesome and boisterious sketches," which ,uch colorful titles as Paddy the Pig's, Siesta Time Tub ofBlood, and High-Tide in Luchow's, were as illustrations for Benjamin DeCasseres' book, , America! It contains tales of the saloons "when ins, Gambrinus and John Barleycorn walked fork, lifesized and unshackled."97 essence of George Luks was perhaps best red by Benjamin DeCasseres in a piece, asia De Luks," based on his last visit to the s studio a few weeks before his death.99 He was "Lusty Luks." He was thews and new, mentally, artistically and physically, e was bawling, robustious, pithy, gritty. His nguage smoked and crackled with all the ords you will find in Rabelais plus some of e most curious and exotic combinations of e lewd and blasphemous that it has ever ‘en my pleasure to hear .... He invented the most fantastic yarns .... You believed him at first and then disbelieved him; and found that he was most fascinating and companionable when you disbelieved him .. .. Luks was not a liar; he was a dramatic comedian who acted everywhere in his own interminable twenty-minute plays Each one of us is an approximation to his other self, his idea-self, his bovaryzed self. Not so with Luks. He was not split into object and subject. He was Absolute Luks. He was Luks precisely as Luks wanted to be now and in any questionable eternity of time. So he believed, so he acted in life ... . Stanley L. Cuba I Notes 1 Duncan Phillips, George Luks, in ex. cat., Exhibition of Paintings of George Luks, November 2-29, [1926], Phillips Memorial Gallery, Washington, D.C. 2 James Huneker, Bedouins (New York: Charles Scribner's Sons, 1920), p. 108. 3 Photocopy of birth certificate from the Lutheran Church, Williamsport, PA, courtesy Andrew King Grugan, Curator of the John Sloan Memorial Collection, Lock Haven, PA. For some unknown reason Luks later changed the year of his birth to 1867, the one generally cited in published sources about him. 4 Luks family opinions differ regarding Emil's European origins. Some recall that he was from Konigsberg (now Kaliningrad, USSR), which would account for Lithuanian being one of the languages he spoke. Others in the family maintain the Emil hailed from Gdansk. Per Arthur Lewis, a writer doing research on Luks, Emil's U.S. naturalization papers dated 1892 list Poland" as country of origin. This indicates Emil's ethnic identification, since between 1795 and 1919 the Polish state officially did not exist but was partitioned among Russia, Prussia and Austria. 5 Information courtesy Andrew K. Grugan. Nearby Lock Haven, PA is the birth place of John Sloan whose friendship with Luks began in the early 1890's when both worked as newspaper artists in Philadelphia and lasted until Luks' death in 1933. 6 Quoted in Robert B. Koslosky, "George Benjamin Luks, 1866-1933: 'The Painter of the Anthracite Region'," October 20, 1979, p. 2. At Shenandoah in 1876 George's father purchased a burial plot at the Odd Fellows' Cemetary (Cemetary Deed, Luks Family Collections; hereinafter cited as LFC.) Most of the Luks family is buried at Royerford, PA. 7Ibid„ p. 3. 8 Philip A. Cumin, "A Luks Reminiscence," New York Times, November 12,1933. 9 Information provided by Cheryl Leibold, Archivist, The Pennsylvania Academy of the Fine Arts. 10 Cf. In Vol. I, #17, April 10, 1899, p. 7, Luks' vignette of two clowns for "Last Week at the Theatres." George's brother, Will, continued to perform in other vaudeville troupes as evidenced by a program (LFC) for the City Opera House in Watertown, NY, December3,1892, announcing his appearance on December 8 with Hamilton's Comedians in "Ermine or the Two Thieves." 11 Although various sources note that he was in Europe for a continuous ten year period, evidence indicates that these European trips lasted a year or two at most. 12 Entry 39, Student Record Book 1888/1889, Staatliche Kunstakademie, Hochscule fur Bildende Kunste, Dusseldorf; courtesy, Ingrid Kessel, Librarian, October 30,1985. According to Arthur Strawn, op. cit., Luks stayed in Dusseldorf with a distant relative, a "retired lion-tamer." This may have been his maternal uncle, Eugene Leonhard, who according to his letter to his sister, Bertha, had been employed at the Royal Court Theater in Munich. 13 New York Herald Tribune, October 30,1933. Lowenstein is Henrich Lauenstein and Jensen is Joseph Jansen (1829-1905), a landscape painter: Gambrinus may be Giovacchino Gamberini (1859?). 14 New York Times, October 30,1933. 15 Acc. 1976. 33.5 reproduced as 950 in Linda Crocker Simmons, et. al., American Drawings, Watercolors, Pastels and Collages in the Collection of the Corcoran Gallery of Art, p. 142. 16 Letter postmarked July 19,1894, to John Sloan at 806 Walnut Street, Philadelphia; courtesy, John Sloan Archives, Delaware Art Museum, Wilmington. 45 �„ •! Qipbern, a Greenwich Village sculptor, made a Emu bie . t the Simpie service held deVh X al 6Oclob" 31 at Ca"'Pb'»'> <“'SChurch at Broadway and 66th Street in New 3S£p®”j^2°„tol“lhel’'j’es „* tombast;andAmcrica I"iSp’w tbc “al^X‘“n« the artist seized him and said, rmold you can't talk to me hke tha .1 enough to be your father, bu^ y y JEJuA yon-re t^S >° "Chicago Whitey," the best amateur boxer as well as coUecto, flower.banked forrrXUH Rev William A. Nicholas, titular Bishop a few adoring disciples and then sat down to chat with them and to laugh at the scene he had seated Luks' abruptness and plain speaking resulted in his death less than a year later in New York, Although some newspapers romantically reported that he had suffered a heart attack during an early morning walk on October 29,1933, to observe the dawn on the bixth Avenue El for a picture he planned to paint, Luks actually died of injuries sustained in a speakeasy fight. Patrolman John Ginty found him in a doorway at 1322 Sixth Avenue near 52nd Street. He was identified through letters found on his person and later verified by his attorney, Harrison Tweed. Luks was clad in his favorite gray suit with a short blue overcoat, while slightly askew on his head was a large sombrero-like black fedora. 44 Each one of us is an approximation to his other self, his idea-self, his bovaryzed self. Not so with Luks. He was not split into object and subject. He was Absolute Luks. He was Luks precisely as Luks wanted to be now and in any questionable eternity of time. So he believed, so he acted in life .... Stanley L. Cuba baa bo. y« returned- SeYofThetdeplS sole of lAtonm'r Siun A°rS™ of vou that go the better. He invented the most fantastic yams .... You believed him at first and then disbelieved him; and found that he was most fascinating and companionable when you disbelieved him . . . . Luks was not a liar; he was a dramatic comedian who acted everywhere in his own interminable twenty-minute plays lorn rf the ce’nUny in the Tub of Blood, and High-Tide tn Luchow s, were made as illustrations for Benjamin^eCasseres book O'Keg, America! It contains tales of the saloons whe Bucchus, Gambrinus and John Barleycorn walked New York, lifesized and unshackled. The essence of George Luks was perhaps be Notes artist’s studio a few weeks before his death. He was "Lusty Luks." He was thews and sinew, mentally, artistically and physic y He was bawling, robustious, pithy, grit Ylanguage smoked and crackled with all tne words you will find in Rabelais plus some or the most curious and exotic combinations o the lewd and blasphemous that it has ex er been my pleasure to hear .... Washington. D.C. 2 lames Huneker. BedtHiifis (New Wk: Charles Scnbners bon. 1920). p. 108. 3 Photocopy of birth certificate from the I utheran l Burch- „ Williamsport, PA. courtesy Andrew King;GruganA ata., ■ ■ the John Sloan Memorial Collection Lock Hax en_P£R"t unknown reason Luks later changed the war o ’ 1867. the one generally cited in published sources ate 4 Luks' family Some recall th^H LSSR), which^H languages he hailed trom on Luks, ''Poland" asc-^H identification officially did r^H Prussia and A^H 5 Information c^H PA is the birth^B began in the e^B artists in Phil^H 6 Quoted in Rq^B 1S66-1933: Til 1979. p. 2. AtH bunal plot at ^B Family GiftecJiH family is buri^B 7IhJ..p. 3 8 Philip A. CurH November IZH 9 Information Pennsylvania" 10 Ct In Vol I. B clow ns for' ifl continued to H by a program" December 3. B with HamutcB 11 .Although \aB continuous tB European triB 12 Ewfry 39. SteB Hixh.xT*«V n-rl Librarian, O<1 at.. Luks st al lion-tamer.’ 1 Leonhard wl been employ I 13 N ra'^’x He J Hennch Laul landscape p J ,1859’L I 1? Acc 197b 31 lo Letter po<tiri Street PhiiaJ .Art Museum �hat blic rby :tim ives iem and a art, the old png 't id >re >re left ?nefit of hat ;ated.M id in his mgh lehad g walk ie Sixth uks sy orway and Luks lue sa EmH Siebern, a Greenwich Village sculptor, made a death mask of Luks prior to the simple service held for the artist at 6 p.m. on October 31 at Campbell's Funeral Church at Broadway and 66th Street in New York 95 More than 300 attended, including fellow artists John Sloan, Ernest Lawson, William Glackens and Everett Shinn of The Eight, Jonas Lie, Leon Dabo and Jerome Myers, dealers John F. and Antoinette Kraushaar, Benjamin DeCasseres and Gene Tunnev as well as collectors, friends and a number of Luks' former students. At the head of the flower-banked coffin Right Rev. William A. Nicholas, titular Bishop of Washington for the Holy Orthodox Church, read the brief service after which Luks' body was interred the following day in the family plot at Royersford, Pennsylvania. Luks "was buried in an embroidered eighteenth-century waistcoat which had been his pride and joy, and with him went from American art a certain quality which has not yet returned."96 Some of Luks' last works — a series of twelve black and white oil sketches called Scenes of Revelry in Old New York — were reproduced in the January 1934 issue of Vanity Fair. They depict some of Manhattan's old drinking places and document the role played by the saloon in American life at the turn of the century. Luks' "blithesome and boisterious sketches," which bear such colorful titles as Paddy the Pig's, Siesta Time in the Tub of Blood, and High-Tide in Luchow's, were made as illustrations for Benjamin DeCasseres' book, O'Keg, America! It contains tales of the saloons "when Bucchus, Gambrinus and John Barleycorn walked New York, lifesized and unshackled."97 The essence of George Luks was perhaps best captured by Benjamin DeCasseres in a piece, "Fantasia De Luks," based on his last visit to the artist's studio a few weeks before his death.93 He was "Lusty Luks." He was thews and sinew, mentally, artistically and physically. He was bawling, robustious, pithy, gritty. His language smoked and crackled with all the words you will find in Rabelais plus some of the most curious and exotic combinations of the lewd and blasphemous that it has ever been my pleasure to hear .... I He invented the most fantastic yarns .... You believed him at first and then disbelieved him; and found that he was most fascinating and companionable when you disbelieved him . . • • Luks was not a liar; he was a dramatic comedian who acted everywhere in his own interminable twenty-minute plays Each one of us is an approximation to his other self, his idea-self, his bovaryzed self. Not so with Luks. He was not split into object and subject. He was Absolute Luks. He was Luks precisely as Luks wanted to be now and in any questionable eternity of time. So he believed, so he acted in life .... Stanley L. Cuba Notes 1 Duncan Phillips, George Luks, in ex. cat., Exhibition of Paintings of George Luks, November 2-29, [1926], Phillips Memorial Gallery, Washington, D.C. 2 James Huneker, Bedouins (New York: Charles Scribner's Sons, 1920), p. 108. 3 Photocopy of birth certificate from the Lutheran Church, Williamsport, PA, courtesy Andrew King Grugan, Curator of the John Sloan Memorial Collection, Lock Haven, PA. For some unknown reason Luks later changed the year of his birth to 1867, the one generally cited in published sources about him. 4 Luks family opinions differ regarding Emil's European origins. Some recall that he was from Konigsberg (now Kaliningrad. USSR), which would account for Lithuanian being one of the languages he spoke. Others in the family maintain the Emil hailed from Gdansk. Per Arthur Lewis, a writer doing research on Luks, Emil's U.S. naturalization papers dated 1892 list Poland" as country of origin. This indicates Emil's ethnic identification, since between 1795 and 1919 the Polish state officially did not exist but was partitioned among Russia, Prussia and Austria. 5 Information courtesy Andrew K. Grugan. Nearby Lock Haven, PA is the birth place of John Sloan whose friendship with Luks began in the early 1890's when both worked as newspaper artists in Philadelphia and lasted until Luks' death in 1933. 6 Quoted in Robert B. Koslosky, "George Benjamin Luks, 1866-1933: 'The Painter of the Anthracite Region'," October 20, 1979, p. 2, At Shenandoah in 1876 George's father purchased a burial plot at the Odd Fellows' Cemetary (Cemetary Deed, Luks Family Collections; hereinafter cited as LFC.) Most of the Luks family is buried at Royerford, PA. 7Ibid., p. 3. 8 Philip A. Cumin, "A Luks Reminiscence," New York Times, November 12, 1933. 9 Information provided by Cheryl Leibold, Archivist, The Pennsylvania Academy of the Fine Arts. 10 Cf. In Vol. I, #17, April 10,1899, p, 7, Luks' vignette of two clowns for "Last Week at the Theatres." George's brother, Will, continued to perform in other vaudeville troupes as evidenced by a program (LFC) for the City Opera House in Watertown, NY, December 3, 1892, announcing his appearance on December 8 with Hamilton's Comedians in "Ermine or the Tw o Thieves." 11 Although various sources note that he was tn Europe for a continuous ten year period, evidence indicates that these European trips lasted a year or two at most. 12 Enin/39, Student Record Book 1888'1889, Slaatliche Kunstakademie, Hochscule fur Bildende Kunsle, Dusseldorf; courtesy, Ingrid Kessel, Librarian, October 30,1985. According to Arthur Strawn, op. cit., Luks stayed in Dusseldorf with a distant relative, a "retired lion-tamer." This may have been his maternal uncle, Eugene Leonhard, who according to his letter to his sister, Bertha, had been employed at the Royal Court Theater in Munich. 13 New York Herald Tribune, October 30, 1933. Lowenstein is Henrich Lauenstein and Jensen is Joseph Jansen (1829-1905), a landscape painter; Gambrinus may be Giovacchino Gamberini (1859?). 14 New York Tinies, October 30,1933. 15 Acc. 1976. 33.5 reproduced as 950 in Linda Crocker Simmons, et. al., American Drawings, Watercolors, Pastelsand Collages in the Collection ofthe Corcoran Gallery of Art, p. 142. 16 Letter postmarked July 19, 1894, to John Sloan at 806 Walnut Street, Philadelphia; courtesy, John Sloan Archives, Delaware Art Museum, Wilmington. 45 �17 Bruce W. Chambers, The High Museum of Art: A Bicentennial Catalogue (Atlanta: High Museum of Art, 1975), p. 76. IS Bennard B. Perlman, The Immortal Eight. American Painting from 2870-1913 (Cincinnati: North Light Eakins to the Armory Show, 1S70-1913 Press, 1979), p. 52. 19 Everett Shinn, "Life on the Press, Press,"” "Artists of the Philadelphia Press," Philadelphia Museum Bulletin, Vol. 41, November 1945, p. 9, 20 Everett Shinn on George Luks: An Unpublished Memoir," Arcftizes ofAmerican Art, Vol. 6, no. 2, April 1966, p. 9. 211Hd.,p.5. 22 Bennard B. Perlman, The Immortal Eight and its Influence, The Art Students League of New York, January 9-29,1983, p. 6. 23 John Sloan, "Memorial Tribute for William Glackens Given at the Society of Independent Artists 1939," p. 4; courtesy, John Sloan Collection, op. cit. 24 John Sloan, "Artist of the Press," Philadelphia Museum Bulletin, Vo. 41, op. cit., p. 8. 25 Perlman, The Immortal Eight, op. cit., p. 56. Luks once tried to pick a fight at James J. Corbett's bar in New York with pugilist Mike Gibbon whereupon "Gentleman Jim" himself removed Luks by the seat of his pants and deposited him in a waiting hansom cab. Recounted in "Everett Shinn on George Luks," op. at., p. 10. Luks' obituary notice in the New York Herald Tribune, op. cit., prints an unsubstantiated story that he played professional football in Philadelphia in the 1890's. 26 A total of thirty Luks illustrations appeared in the Philadelphia Evening Bulletin published in scattered issued between January 15 and March 28,1896. Luks also sent Shinn letters from Cuba illustrated with a series of sketches as restitution for his appropriation of Shinn's eight-dollar pipe and velvet case prior to George's departure. In one letter Luks depicted himself with General Garcia, who was smoking Shinn's pipe with the following caption in a balloon of smoke over the rebel leader's head, "Pass George Luks anywhere he wants to go and give him the key to Cuba." Recounted in "Shinn on Luks," op. cit., p. 27 Perlman, The Eight (1979), p. 63. 23 Ibid. 29 Ibid., p. 64. 30 Perlman, The Eight (1979), p. 77. However, Huneker in Bedouins op. -..I. p 108, opines: "I believe it was Arthur Brisbane who first ■.uggeried to. [Luks] that he should go in for painting in oils." 31 Glackens, op. cit., p. 16. ibid., pp. 16-17, 97 The museum sold the painting for funds at Sotheby's in New York on Decembers nam<-s, and hi- brought them into the < onverMU™ from “ , timiosothatthes. imagmary pt,..magesbe.am. ’S of George himself... He liked to give an imitation of a wedding. First he made the sound of a deep, rumbling organ, full of emotional quivers, wonderful to hear; and then, in the same rumbling, quivering, emotional tone, the minister’s voice began, 'Augustus Smearcase, do you take this woman ...' etc. The effect was very powerful... Another of [Luks]... favorite names was John W. Beeswax, which he employed as a sort of John Doe." 34 The following is based on the author's interview with Mrs. Lore Vanden Heuvel and Mr. & Mrs. Dan Luks, August 29,1986. "Will Luks," The New Yorker, February 15, 1936, pp. 14-15. 35 "New York Day and Night," unidentified clipping, LFC. Luks did a portrait of Eugene Higgins, which in 1978 was owned by Hirschl & Adler Gallery in New York. 36 Vanity Fair, January 1934. In Paris Luks did a portrait of Paul Verlaine, the French Symbolist poet, which Arthur E. Egner of South Orange, NJ, one of Luks' important collectors, purchased from the artist. The portrait is reproduced in the catalog of Sotheby's sale, October 21,1983, lot #289. 37 Chappellier Galleries, New York. Reproduced in Mahonri Sharp-Young's book on The Eight, p. 122. 38 "Palette and Brush" column, unidentified clipping, Kraushaar Gallery, New York. "Closing of the Cafe" was included in Luks' retrospective at the Kraushaar Gallery in 1923. 39 Marquita Villard, "Dr. Will Luks on the Luks Brothers," Vol. VI, no. iii, March 1934, p. 5. 40 The following discussion is taken from Perlman, The Eight (1962 ed.), p. 131, and Arnold T. Schwab, James Huneker: Critic of the Seven Arts (Stanford: Stanford University Press, 1963), pp. 112-113. 41 Luks and Huneker so enjoyed each other's company because, like Luks, "Huneker loved human nature with the same passion as Walt Whitman. I have stood for hours with him while [like Luks] he talked to bartenders, cabbies, policemen, gamblers and porters. He was curious of everything that God had created... Life was good because it was an adventure." Benjamin DeCasseres, James Gibbons Huneker, (New York: Seven Arts Publishing Co., 1925), p. 33. 42 Benjamin DeCasseres, "The Fantastic George Luks," New York Herald Tribune (Sunday Magazine), September 10,1933. In addition to Luks, Huneker, Hawthorne and Matthews, the other charter members of the 'Friendly Sons of Saint Bacchus" were Henry James, Bob Davis, Henry Tyrrell, Rip Anthony and Ro) McCardell. 43 New York Evening Sun, April 3,1903. Fitzgerald also took exception to the placement of a Henri canvas in the Society s 1902 exhibition; cf. Perlman, ibid., p. 144. Luks exhibited The Spielers (#432) and Portrait (#213) in the Society's 27th annual in 1905, but was not included in the 1906 show. Cf. Society e* American Artists 1905 Exhibition Catalog, pp. 71 and 4n, respectively. In January 1905 Laks also showed A Child >’» - lions in the "Exhibit of American Figure Painting- Arrange- ' the Committee on Art” at the Lotos Club in New York 44 Art Notes Published in th, I-:: •;.... M 1903, p. 347. The collect;., n was formed by Mr C. C Ruthrauti Chairman of the Art Committee 45 New York Art Bulletin, Vol 111 n-> 12. January 23 19(4 p 3 In October 1904 Luks showed Portrait. Bnv with a Statti Wketeu Bill, Prize Fighter, Butcher Beu and East Side. X.-. 1,4 In the 17th Annual Exhibition of Oil Paintings and Sculpture by American Artists at the Art Institute of L hicago. the same institution which awarded him the Logan Medal in 1920 for Ohs Skinner a^ Colonel Bridau (The Phillips Colli c tion) and again in 1926 for TaPlayer (Canajoharie Library and Art Gallery). In January 19(16 Luks and Sloan were included in a "Special Exhibition of Contemporary Art" at the National Arts Club. 46 Perlman, The Eight (19o2 ed.), p. 162. 47 Henry McBride, "Luks, Once 'Outlaw Painter, Now Has Exhibition Here," N'etr York Herald. January 14 1923 48 Undated clipping [1907], p 536. courtesy the Kraushaar Gallery'. New York. 49 Unless otherwise noted, the following is based on Perlman The Eight (1962 ed.). 50 Ira Glackens, op. cil.. p. 78. 51 Sloan also did a pencil sketch. Four of the Eight (Henri Luks, Sloan and Prendergast: 15 by 11 in-he-), which i- reproduced m American Art Selections by the Chapellier Galher. [New York] undated, p. 5. 52 Quoted in Perlman. The Immortal Eight and Its Influent es. op .‘it p. 17. 53 Vol. Ill, no. 6, March 1908. p 203 In 1918 Charles F W Mielatz showed his aquatint. Woman and Mooiti s — After the Fainting Ceorge Lukes [sic], in the Third Annual Exhibition ot The Brooklyn Society of Etchers: cf. exhibition catalog Luks also did a portrait of Mielatz before World War 1. 54 Perlman, The Eight (1962 ed.), p. 179. 55 American Art at Amherst: A Summary Catalogue of the Collection at the Mead Art Gallery (Middletown [CT|: Wesleyan University Press. 1978), p. 129.' 56 Catalogue of an Exhibition of Paintings ba Eight American Artists March 5-31. 1909, Carnegie Institute. Pittsburgh, contains eight Luks' paintings (nos. 28-36): Suter Johnny, Cm'dnn oH’ic afrit Five O'clock. Pagliacci. Feeding Pigs, Girl uith Doll Cx-o:< Ittc! Cafe, Pans, and Consul General Buenz 5/ The painting is reproduced in "Paintings, Wafercolors & Drawings b\ George B. Luks," Parke-Bernet Galleries * York) auction catalog, October 24,1951. p 7. >4wriuJ» Art Vj*. Vol. VIII no. 23, March 19, 1909. P. 1. 58 The follow ing is based on the "Significance of The Eight in An Exhibition of Paintings bv The Eight, Wilkes College Sordoni Art Gallery. March 9-April 1,19/9. pp According to Perlman TheEtgh!. (1962 ed. I, p. 202. the term Ash Can School' first appeared in print in 1934 when Holger Cahill and Alfred H. Barr. Jr., employed it tn their book Art m Ami-rmi ’9 In March 1911 Da participated in th together with Ma >oi Henn student Independent bee who exhibits will E^f(l%2ed . f 60 Guy Pene du Bot no 9 May 7,193; after his brother < Kraushaar] knew honest picture putting it throuet feelings are stron nut afraid ot hisc a diplomatic eng 61' Art 's Bad Boy N March 24 1913,k 62 'Artsand Artists 63 Several ot Luks’ j Jew etl Mather. Ir. Yale University F 64 Op cil p 107. 6? Luks painted the the Macbeth Gall was sent to the S ' it has received r Mr Root's fanuh.' Ybl. \ H no. 32. J 66 Miss Kraushaar t portrait of CW 1 exhibition ot the which Luks was i X«r Ytiri Ewniny 67 'Art and Artists: Luks — aid G» and Lula Memck 15,1918 Krax.-'-a Kraushaar'- iiker 68'' Indigenous Art -x-me ot the othe MaxKuehxu Lu 1921 Mr- Whitni painters at the G< Lemoine writing Luks portraits group is a knack things ’ Quoted i 192 L p 2. 69 Luks File rile I Peril, was used a �elf... He liked to give an imitation of a he made the sound of a deep, rumbling Or J quivers, wonderful to hear; and then in th1' quivering, emotional tone, the minister's v * us Smearcase, do you take this woman ' ■ °Ke ■ery powerful. . . Another of [Luks] . fa’, /c' i W. Beeswax, which he employed as a sort of ^ ; based on the author's interview with Mrs L ■> and Mr. & Mrs. Dan Luks, August 29. 1935 Ore ’New Yorker, February' 15, 1936, pp. 1415. and Night," unidentified clipping, EEC. Luks Eugene Higgins, which in 1978 was owned bv Gallery’ in New York. ary 1934. In Paris Luks did a portrait of Paul meh Symbolist poet, which Arthur E. Egner of NJ, one of Luks' important collectors, purchased Fhe portrait is reproduced in the catalog of October 21,1983, lot #289. leries. New York. Reproduced in Mahonri look on The Eight, p. 122. ish" column, unidentified clipping. Kraushaar irk. "Closing of the Cafe" was included in Luks’ the Kraushaar Gallery in 1923. 1, "Dr. Will Luks on the Luks Brothers,' Vol. IT, 134, p. 5. iscussion is taken from Perlman. The Eight 1962 I Arnold T. Schwab, James Huneker: Critic of the ford: Stanford University Press, 1963), pp. ker so enjoyed each other's company because, leker loved human nature with die same passion n. I have stood for hours with him while [like to bartenders, cabbies, policemen, gamblers and curious of everything that God had created . ecause it was an adventure." Benjamin ics Gibbons Huneker. (New York: Seven Arts 1925), p. 33. sseres, "The Fantastic George Luks," Ner. York Sunday Magazine), September 10, 1933. In >, Huneker, Hawthorne and Matthews, the other s of the 'Friendly Sons of Saint Bacchus" were ob Davis, Henry Tyrrell, Rip Anthony and Roy ; Sun, April 3, 1903. Fitzgerald also took placement of a Henri canvas in the Society s cf. Perlman, ibid., p. 144. Luks exhibited . he hd Portrait (#213) in the Society's 27th annual in pt included in the 1906 show. Cf. Society "* f 7905 Exhibition Catalog, pp. 71 and 46, January 1905 Luks also showed A Child < yhibit of American Figure Paintings A. rrang ion Art” at the Lotos Club in New York Chairman of the Art Committee. ? ■ w. KUthrauff, ^NewYork Art Bulletin, Vol. Ill, no. 12. Ianuary'23,1904 p 3 [n October 1904 Luks showed Portrait, Boy with a Shovel Whiskey Bill. Prize Fighter, Butcher Boy and East Side, New York In the 17th Annual Exhibition of Oil Paintings and Sculpture by American Artists at the Art Institute of Chicago, the same institution which awarded him the Logan Medal in 1920 for Otis Skinner as Colonel Bridau (The Phillips Collection) and again in 1926 for The Player (Canajoharie Library and Art Gallery). In January 1908 Luks and Sloan were included in a "Special Exhibition of Contemporary Art" at the National Arts Club. 46 Perlman. The Eight (1962 ed.), p. 162. 47 Henry McBride, "Luks, Once 'Outlaw' Painter, Now Has Exhibition Here," New York Herald, January 14,1923. 48 Undated clipping [1907], p. 536, courtesy the Kraushaar Gallery, New York. 49 Unless otherwise noted, the following is based on Perlman, The Eight (1962 ed.). 50 Ira Glackens, op. cit., p. 78. 51 Sloan also did a pencil sketch, Fourofthe Eight (Henri, Luks, Sloan and Prendergast; 15 by 11 inches), which is reproduced in American Art Selections by the Chapellier Galliers [New York], undated, p. 5. 52 Quoted in Perlman, The Immortal Eight and Its Influences, op. cit., p. 17. 53 Vol. Hl. no. 6, March 1908, p. 203. In 1918 Charles F. W. Mielatz showed his aquatint. Woman and Macaws — After the Painting by George Lukes [sicj, in the Third Annual Exhibition of The Brooklyn Society of Etchers; cf. exhibition catalog. Luks also did a portrait of Mielatz before World War I. 54 Perlman. The Eight (1962 ed.), p. 179. 55 American Art at Amherst: A Summary Catalogue of the Collection at the Mead Art Gallery (Middletown [CT]: Wesleyan University Press, 1978), p. 129. 56 Catalogue ofan Exhibition of Paintings by Eight American Artists, '■larch5-31,1909, Carnegie Institute, Pittsburgh, contains eight Luks' paintings (nos. 28-36): Suter Johnny, Children of the Street, FweO'Oock, Pagliacci, Feeding Pigs, Girl with Doll, Closing Ithe) Cafe, Paris, and Consul General Buenz. 57The painting is reproduced in "Paintings, Watercolors & Drawings by George B. Luks/' Parke-Bernet Galleries (New York) auction catalog, October 24,1951, p. 7. American Art News, Vol. VIII, no. 23, March 19,1909, p. 1. 58The following is based on the "Significance of The Eight, in "An Exhibition of Paintings by The Eight," Wilkes College Sordoni Art Gallery, March 9-April 1,1979, pp. 3-4. According to Perlman, The Eight, (1962 ed.), p. 202, the term "Ash Can School" first appeared in print in 1934 when I lolger Cahill and Alfred H. Barr, Jr., employed it in their book, Art in America. 59 In March 1911 Davies, Luks and Prendergast of The Eight participated in the Rockwell Kent Independent in New York, together with Marsden Hartley, John Marin, Alfred Maurer and six Henri students. Henri himself rejected the idea of Kent's Independent, because the young artist stipulated that "no one who exhibits with us may show at the Academy." Perlman, The Eight (1962 ed.), pp. 206-207. 60 Guy Pene du Bois, "John Francis Kraushaar," Arts Weekly, Vol. I, no. 9, May 7,1932, p. 197. John took over the gallery business after his brother Charles died in 1917. Du Bois notes that "[John Kraushaar) knew an honest man when he saw one and an honest picture... He takes no new man's work without first putting it through the test [of living with it himself].... His feelings are strong. He likes and dislikes with equal fervor. He is not afraid of his own opinion and cannot invent one even to suit a diplomatic exigency." 61 "Art's Bad Boy Now a Poet a Canvas," unidentified clipping, March 24,1913; Kraushaar Scrapbook 1, p. 21. 62 "Arts and Artists," The Globe [New York], March 25,1913; ibid. 63 Several of Luks' polo drawings were also published in Frank Jewett Mather, Jr., el. al., The American Spirit in Art (New Haven: Yale University Press, 1927), p. 533. 64 Op. cit., p. 107. 65 Luks painted the portrait of Elihu Root in 1909. It was shown at the Macbeth Gallery in New York in May of that year before it was sent to the State Department in Washington, D.C., where "it has received much favorable comment. It is considered by Mr. Root's family an excellent likeness .. ." American Art News, Vol. VII, no. 32, June 12,1909, p. 3. 66 Miss Kraushaar to the author. August 1985. Luks also painted a portrait of C. W. Kraushaar that was included in the 1913 exhibition of the National Association of Portrait Paintes (of which Luks was one of the twenty-three original members). Cf. New York Evening Mail, February 6,1913. 67 "Art and Artists: Exhibition of Oils and Water Colors by George Luks," — and Commercial Advertiser [New York], January 31,1918; and Lula Merrick, "New York Art Galleries," The Spur, February 15,1918; Kraushaar Scrapbook I, pp. 90 and 93, respectively. Miss Kraushaar's likeness is #1. "Portrait" in the catalog. 68 "Indigenous Art is Shown," New York Sun, February 5,1918. Some of the other participants were Glackens, Sloan, du Bois, Max Kuehna, Luis Mora, Stuart Davis and Mahonri Young. In 1921 Mrs. Whitney arranged a show of contemporary American painters at the George Petit Gallery in Paris. Critic Jean Gabriel Lemoine writing in L'lnstransigent was particularly struck by Luks' portraits. "The national trait... [Luks] discerns in this group is a knack for 'signing up' . . . the humorous aspect of things." Quoted in the Santa Fe New Mexican, September 17, 1921, p. 2. 69 "Luks File," The Phillips Collection, Washington, D.C. Blue Devils was used as the frontispiece for A. E. Gallatin's Pictures 47 �I Painted during the Great War and is also reproduced in. Allied War Salon, intro, by A. E. Gallatin (New York: American Art Galleries, 1918). 70 to M Sun, Juno 2.1918; clipping courtesy the Gallerv, New York. Guv Pene du Bois termed Blue Devils a great rich thing of vitality... an inspirational document which „ convinced the observer of its worth almost by main force.. 71 October 13.1918; clipping courtesy the Kraushaar Gallery, New York. In April 1919 Luks traveled to Washington, D C, to paint the portrait of General Peyton Conway March (1864-1955; Cruet of Staff in World War I) for the National Portrait Foundation, .taow Art News. Vol. XVII, no. 29, April 26,1919, p. 5. The portrait is reproduced in "The Kirby Collection of Historical Paintings Located at Lafayette College, Easton, Pennsylvania," n.d., p. 41. General March was an alumnus of Lafayette College. 72 ' George Luks Shows Work of a Year," New York Herald, January 11.1920. 73 His sanitarium stay is noted in a letter dated March 27,1923, from Homer Saint-Gaudens, Director of Fine Arts at the Carnegie Institute in Pittsburgh, to Dwight Clark in Washington, D.C., regarding the possible loan of Sulking Boy from Duncan Phillips, since the artist was too sick to send Saint-Gaudens his picture, Cages. Letter in Luks File, The Phillips Collection, Washington, D.C. 74 This was not Luks' first contact with Boston, for in 1921 he had exhibited with fellow honorary members of the Boston Art Club — Kroll, Lie, Hassam, Beal, Henri and Lawson. Cf. Boston Evening Transcript, November 30,1921. 75 Katherine K. Crosby, "Painting by Margaret Sargent, Boston Artist, to be Shown in New York Soon ...," ibid., December 20, 1929: "Seeing some of... [Mrs. Sargent's] earlier work, George Luks remarked on their quality of color and line and urged upon her the career of a painter." Mrs. Sargent's drawing of Luks was reproduced in ibid., c. 1923; undated clipping courtesy the Kraushaar Gallery. In 1926 she had a one-woman show at Kraushaar's. 76 They are reproduced in Cary, George Luks, op. cit., pp. 35, 39 and 43 respectively. 77 George Luks, Noted Artist and Philosopher, Says Maine Leads Them All in Scenery," unidentified clipping from Portland, Maine, newspaper; courtesy the Kraushaar Gallery. 73 "George Luks and his New Marines — a Rubens Sketch," October 9,1922. 79 "Retrospective Exhibition of Paintings by George Luks," C. W. Art GaIleries- 680 Fifth Avenue, New York, January 80 February 1923 (?), Kraushaar Scrapbook I, p. 219. 1,1 Ex. cat., Recent Paintings, Water-Colors and Drawings Done in the Anthracite Coal Regions of Pennsylvania by George Luks," I rank Y. M. Pehn Galleries, New York, November 7-28 197S' IALLA, Vol. 242, No. 13, September 28,1979, pp. 1338 & 1393' 48 One of Luks' Most Famous," Pottsville Republican, March 19. 1970 p 16. The center panel of the mural measures 9 x7> 2' While the two flanking panels are 7'x40 84 Letter courtesy LFC. The following is largely based on interviews with members of the Luks family and on an unidentified clipping, "Luks Pictures Tell of Rural Contacts, ' LFC. 85 Some of Luks' antics are described in Glackens, op. tit., p. ioy 86 Helen McCloy, "Color and George Luks," Parnassus, Vol. VI, 111, March 1934. 87 Prospectus, LFC. 88 Strawn, op. cit., p. 34. 89 "Shinn on Luks," op. cit., p. 6. 90 The following is based on The New Yorker, July 24, 1926, and on Mariquita Villard, op. cit., p. 4. 91 Will half suspected that George had painted the still life — one of the relatively few he produced — because he "noticed it hadn't been touched up like the rest... I imagined him in class just showing 'em how to paint a still-life, picking up somebody’s handy wet brushes and without stopping to mix fresh paint, simply wiping them off on the canvas and producing this thing in about five minutes." Villard, p. 4. 92 Dorothy W. Phillips, A Catalogue of the Collection of American Paintings in The Corcoran Gallery ofArt (Washington, D.C.: The Corcoran Gallery of Art, 1973; Vol. 2, Painters Bom from 1850 to 1910). 93 Parnassus, op. cit., March 1934, p. 3. 94 "Luks Speaks Up," The Art Digest, Vol. VII, No. 7, lanuary 1, 1933, pp. 12 & 29. 95 The Luks death mask whose present location is unknown is reproduced in the January 1934 issue of Vanity Fair. Cf., too. "Friend Makes Death Mask of Luks," New York Im mol, October 30.1933. 96 The foregoing is based on Glackens, op. cit., p. 101; Schwab, op. cit., p. 112; obits dated October 30, 1933, in the New York Times and the New York World Telegram; Dorothy Graflv, "American Art Parade. George Luks: Paint's Bad Bov," unidentified clipping, LFC. 97 "Luks' Last Work," The Art Digest, April 1,1934. p. 12. These twelve sketches are reproduced in "The Old Swinging Door.’ Nugget, February 1958, pp. 21-23. These sketches were later acquired by Renfield Ltd., a Manhattan Liquor importing firm, which in 1958 planned a traveling show of them: cf. Time September 4,1950, p. 49. An inveterate tavern-goer and the champion seidel-holder of his time, Luks illustrated the right and wrong way to quaff beer in the Neu1 Wrk American. March 22.1933. See also, Norman Klein, "Purist Thumbs Down Art ot Seidel 'Side-Wheeling'," New ¥trk Evening Post. March IS I0** 98 Panorama. May 1934, p. 7. gf 9 �BE ■ 3 ■ '•I- George Luks: An American Ar c "2; 20. j nree l.y Sergeants, 1925 50 With characteristic egotism, Luks once said, "Like Mozart, I began my art career when I was barely out of my diapers."’ He was fond of saying that an artist was born, not taught and you either had it in you or you didn't. George Luks was a natural artist — his talent came easily to him. Luks made pictures from the time he was a young boy when he reportedly painted everything he could get his hands on. These early impulses to draw whenever he could and on any improvised surface with any available implement continued throughout his life. Later, as a teenager in New Jersey, he put his work to more purposeful results while working as a clerk in a drugstore. When the proprietor w as out he would sketch the customers who came in st > he could show her who had called. Luks was also a practical man. Everett Shinn remembered that Luks drew continuously using anything within his reach — to the dismay of waiters when he used tablecloths, menus and napkins. The masses of sketches which cluttered his studio were a visual diary of his daily routine. Drawing was as easy for him as writing was for others. "He chuckled as he worked, winked and drew an audience about his flying pencil point He was ambidexterous and once demonstrated this to a friend on the staff of the Neu' York World by drawing an illustration for " the Yellow Kid with both hands simultaneously: While h building u page draw barrel afte margin in signs Bar reaching t and down more barr mere serai good enol When the shifted hr right ham Kid Later, Forbe in Luks' style him from wor that when an on his gift am Although Luk prolific, he !a« accept formal continuous w A hinderan the elaborate fantastic stori and more He �George Luks: An American Artist With characteristic egotism, Luks once said, “Like Mozart, I began my art career when I was barely out of my diapers."’ He was fond of saying that an artist was bom, not taught and you either had it in you or vou didn't. George Luks was a natural artist — his talent came easily to him. Luks made pictures from the time he was a young boy when he reportedly painted everything he could get his hands on. These early impulses to draw whenever he could and on any improvised surface with any available implement continued throughout his life. Later, as a teenager in New Jersey, he put his work to more purposeful results while working as a clerk in a drugstore. When the proprietor was out he would sketch the customers who came in so he could show her who had called. Luks was also a practical man. Everett Shinn remembered that Luks drew continuously using anything within his reach — to the dismay of waiters when he used tablecloths, menus and napkins. The masses of sketches which duttered his studio were a visual diary of his daily routine. Drawing was as easy for him as writing was for others. “He chuckled as he worked, winked and drew an audience about his flying pencil point."2 He was ambidexterous and once demonstrated this to a friend on the staff of the New York World by drawing an illustration for "the Yellow Kid" with both hands simultaneously: While his right hand was busily engaged building up one of the characters in the full page drawing, his left hand drew accurately barrel after barrel piled high up the left margin in pyrdmidal form labeled with dollar signs. Barrel upon barrel piled higher reaching the top edge of the paper. Then over and down as his arms crossed while still more barrels fell on the right margin. Not mere scratches of his pencil but any of them good enough for a Bock Beer advertisement. When the barrels could fall no further he shifted his hand and signed his name as the right hand traced a plaid vest on the Yellow Kid.3 Later, Forbes Watson observed that one of the flaws in Luks' style was that his natural gift discouraged him from working toward improvement. Watson felt that when an artist's talent came too easily he relied on his gift and fell short of achieving his best work.1 Although Luks was not a lazy painter, indeed he was prolific, he lacked the patience and discipline to accept formal training, feeling instead that continuous work would be his teacher. A hinderance in any study of Luks' life and work is the elaborate screen he built around himself with fantastic stories of being a boxer, pro-football player, and more. He was an artist who liked to strike poses. 51 �A rep„rt.. once noted the. h» »Peeeh "sp.rkles »M> Baron Munchausen in Luks. German tale-teller who to town in past centuries. He needed but a word, a hint, a memory, a name, and he was off, riding on a twinkle in his eye to some adventure that was made out of the legend-patterned Luks-cloth . . . Dramatic in his dress, bearing, and manner of speech, he strode around New York wearing a broad-brimmed black hat, a stray curl of hair dangling on his forehead, and a pince-nez with a black ribbon perched on his nose. In short, he enjoyed playing to the crowds both in the studio and out. Again, Forbes Watson noted that a younger artist often feels the need to hide his insecurity behind a pose, but that by maturity an artist should drop the charade so it will not pull energy away from his work.7 George Luks never quit being an actor and therefore opened himself up to the criticism that his popularity was due in part to his character role. He so immensely enjoyed the egotism of his act that he risked making his art secondary. However, while the work of an artist of weaker ability would fade after his death and likewise after the end of his "performance," Luks' work has continued to stand in quality. While his personality might have put at risk his being taken seriously as an artist, it was also responsible for the incredible dynamism and emotion communicated through his work. "In Luks' work is the same spirit that flowers forth from the speech of a great preacher and the stage presence of a great actor."8 Luks' character was the source of his arts' strength. Similarly, Luks responded to character in his subject matter. Like Sloan and Henri, he was bored by the typically placid interiors, still-lifes, and whnSCapel°f the ImPressi°nists and academicians vho were his contemporaries. Instead, he looked for people and p aces that had what he called "edge " In particular he looked for people who could express an individual view of life and so subjected everyOnpll met to an intense visual analysis. “His keen' earth-level eyes took in everything. He looked Vn, and down in an eye-shot. He caricatured you in h Up brain instantly. You were a busted bubble, and he knew that you knew that he knew it..He wanted to portray the immense comedy and tragedy of life ° with as much primitive energy as he could find in himself and in his subjects. When he found an imaEe that moved him he responded with his best work As John Sloan said, “His finest works were produced bv strong emotion driving the paint before it to the end his heart desired... In all this Luks avoided the pitfalls of trite sentimentality. His pictures are never dependent on anecdote because they tell a story that is as global as it is specific. His subjects manage to be both straightforward and complex, blunt and subtle in their psychological revelations. They have the ability to grasp the viewer at first glance yet maintain interest beyond the first impact. As one critic noted: He sees life and paints it. It is not a life without vulgarity, it may be, but it is the vulgarity of ordinary mankind . .. sane and healthy and beautiful for all those who can see beauty in what is generally classified as ugliness." Today, however, his subjects and those of the rest of the so-called “Ash Can School," do not shock us. We have since seen the bitter social satire of artists like Jack Levine and Paul Cadmus and by comparison can recognize the underlying optimism and gentle humor in the work of Luks, Sloan, and Bellows, which their contemporary' audiences could not. Once Luks began painting he quickly fell into a style which would change very' little over the next thirty-five odd years. He was not an artist who, like Arthur B. Davies, went through a sequence of stylistic experimentation and change. A general > exception to be discussed later in this essay is that Luks later canvases became brighter in palette an more substantially defined in form. (Compare-.ai nos. 7 and 23.) This overall continuity is deceptive, however, because Luks did have stylistic variations in his "1 5 i �■w of life and so subjected evervo nse visual analysis. “His keen * he es took in everything. He looked v m eye-shot. He caricatured you ?? UP y You were a busted bubble, and fi S i knew that he knew it. . ."’ He wae immense comedy and tragedy Of primitive energy as he could find inS i his subjects. When he found an im m he responded with his best Work^ d, "His finest works were produced b $ n driving the paint before it to the pn/ ■ed .Q iks avoided the pitfalls of trite : His pictures are never dependent on use they tell a story that is as global as it subjects manage to be both d and complex, blunt and subtle in gical revelations. They have the ability ewer at first glance yet maintain d the first impact. As one critic noted: life and paints it. It is not a life ilgarity, it may be, but it is the if ordinary mankind . . . sane and d beautiful for all those who can in what is generally classified as ver, his subjects and those of the rest of Ash Can School," do not shock us. We r the bitter social satire of artists like d Paul Cadmus and by comparison can mderlying optimism and gentle humor Luks, Sloan, and Bellows, which their audiences could not. egan painting he quickly fell into a mid change very little over the next years. He was not an artist who, like es, went through a sequence of mentation and change. A gener ! discussed later in this essay is t a vases became brighter in palette a ally defined in form. (Compare c i 8. Beggar Woman in Moonlight, 1907 nntinuity is deceptive, however, lid have stylistic variations in 53 �I I However, these appear to be the results of stimuli generated from the subject matter rather than from a conscious reaction to new aesthetic theories or painterly techniques. In his portrait of Antoinette Kraushaar (cat. no. 14) his brush work has the same civilized flourish that characterized the portraits of John Singer Sargent or William Merrit Chase because his subject is the personification of youthful innocence and delicacy. In contrast, the roughly drawn areas of color and mosaic-like treatment of form in Allen Street (cat. no. 5) are appropriate to the optical movement evoked by a bustling street scene. When it suited his purpose, Luks experimented with style. In 1910 a review'er for the New York Evening Post noted that: George Luks is nothing if not versatile. Such a raw and drastic study as "The Wrestlers" would cause a shudder at every tea-pouring in Manhattan. On the other hand, long-haired lecturers will some day pounce upon the Whistlerian mystery and loveliness of the "Little Gray Girl" ... He makes all methods [of paint] his as he needs them.. ,12 Driven by an urgent need to make images of life around him, Luks believed that the artist was a "sensitized plate, gathering impressions from an environment, from the voice of a people and a place and giving them out again ..He never intended his work to be a social commentary; like Sloan he felt that was not the role of an artist. He sought out the bums and street characters because they were real to him and provided a more vibrant subject than any other. Above all he wanted his work to truthfully reflect life so that subsequent generations would be moved. Luks had essentially no formal training in art. In fact, after lasting only one month at the Pennsylvania Academy of Fine Arts (PAFA) in Philadelphia in 1884, it seemed that he had given up the visual arts in favor of the theater. He teamed up with his brother Will (who later became a physician) and toured Pennsylvania and New Jersey’ as the minstrel act, "Buzzey and Anstock." 54 Later, when Luks won the Temple Gold Medal at the PAFA in 1918, he poignantly recalled in an acceptance letter to the then secretary, John Meyers, that Anshutz had been a great teacher. ' This must have been a polite lie or a convenient fabrication since Luks could not have had much exposure to Anshutz in a month of evening classes at the Academy. In another light, though, the statement could have been an acknowledgement of Anshutz's indirect impact on his style through Henri. Certainly there is much of Anshutz in Luks' work — the dark palette, painterly technique, and emotional introspection —but this ' came to Luks second-hand from his Philadelphia comrades and first-hand from his own interaction with the paintings of the Dutch masters. In 1888, four years after his brief stay at the PAFA, Luks tried once more to study art, this time at the Staatliche Kunstakademie in Dusseldorf, Germany. But it appears that Luks' temperament was completely unsuited to the regimen of the academy Both in Philadelphia and Dusseldorf, Luks was enrolled in beginners' classes which consisted of copying from antique plaster casts, a tedious course of study necessary to develop good draftsmanship and familiarity with the human figure but which had nothing to do with creativity'. Luks lacked the discipline and the patience to follow through. However, Luks is not entirely' to blame: the academic program also had its critics. James Huneker later noted that the instruction at Dusseldorf would have stifled the creative impulses even of a Manet! In the late nineteenth century in Germany Luks would have encountered the prevailing style of academic genre painting also popular in the United States. However, he would have also seen the more realistic paintings of a new school whose followers painted anecdotal scenes of the petit-bourgeois which had comic and sometimes moral overtures. The proponents of these realistic vingnettes of everyday life were in direct contrast to the "official" style which dealt in historic generalities, favoring heroic legend above ordinary’ life. This conflict foreshadows Luk? ow n dissension with the academic communitv of his own country in 1907. 52. Red Bam, Berkshire Hills, c. 1930 �er, when Luks won the Temple Gold Medal at XFA in 1918, he poignantly recalled in an lance letter to the then secretary, John Meyers inshutz had been a great teacher.» This must been a polite lie or a convenient fabrication sin could not have had much exposure to Anshutz & lonth of evening classes at the Academy. In er light, though, the statement could have been mowledgement of Anshutz's indirect impact on de through Henri. Certainly there is much of itz in Luks' work — the dark palette, painterly ique, and emotional introspection — but this 7 to Luks second-hand from his Philadelphia des and first-hand from his own interaction he paintings of the Dutch masters. 388, four years after his brief stay at the PAFA, ried once more to study art, this time at the che Kunstakademie in Dusseldorf, Germany, ippears that Luks' temperament was etely unsuited to the regimen of the academy, r Philadelphia and Dusseldorf, Luks was ;d in beginners' classes which consisted of g from antique plaster casts, a tedious course ly necessary to develop good draftsmanship niliarity with the human figure but which had g to do with creativity. Luks lacked the ine and the patience to follow through. •er, Luks is not entirely to blame: the academic m also had its critics. James Huneker later hat the instruction at Dusseldorf would have the creative impulses even of a Manet! e late nineteenth century in Germany Luks have encountered the prevailing style of lie genre painting also popular in the United However, he would have also seen the more : paintings of a new school whose followers 1 anecdotal scenes of the petit-bourgeois which nic and sometimes moral overtures. The ents of these realistic vingnettes of everyday e in direct contrast to the "official" style which historic generalities, favoring heroic legend, ordinary life. This conflict foreshadows Luks tension with the academic community of his untry in 1907. I. V I J 52. Red Bam, Berkshire Hills, c. 1930 55 �27. Laughing Nude, n.d. Luks used hi* tin;. "n this rintj subsequent trips) r< I. ., ■• -il.->f other art><ls and learn his technique the^e eloquent examples- Know mg I uks' pa-Montorsketchme it would seem likely that he made studies from those canvases which parti .tiLirly interested him Though no sketchbooks have survived, a photograph ot a painting made bv 1 uk- UterGvvj * T‘ir bi'vitc Murgaref has survived to prove that Luk'- did indeed copy the old masters Although he complaim d .if disappointment in the work ot many ot art history* great artist* he later talked about those who had impressed him, foremost among these was the Bukhman. Frans Hals (1581/5-16(>6). I uks w a* e xtremely fond of telling people that there weo- only two great artist* otthe world — himself and Fran* Hals' Hals, like Luk* in his later year*, waspnmank a protraitist 1 Io was j, live it a time v. hen Hutch artists were beginning to paint genre scenes subjects taken from ordinary life. In fact, the subjects thoM'n by the artists of the " Ash (. an' school were verv similar to those of the Duh h I ittle Mastets in their century. As one of the first artists of Europe to paint direr th on the canvas without elaborate underpainting or preparation, I lai's brushwork sparkled with spontaneity loose, lush, and painterly He attempted to capture a partic ular moment through expressions which would ordinarily pas* in an instant (Fig. ]<)).< onsequently, the particular effects and impressions of the exact moment in which he looked from sitter to canvas were of utmost importance and were captured spontaneously. His subjects are apparitions of real life with whom we can interact even now. The same quality is an important park of Luks' work. Two late canvases, Laughing Xudc (cat. no. 27) and 7he Hy Weight (cat. no I1*) are good examples. Hals also shunned an elaborate backdrop or stage set for his sitters. Instead, he used a plain roughly painted background (which w as usually dark; and relied on his subjects' personality to create interest therefore his canvases do not have a ' story une but are sagacious character studies and lively �Luks used his time in Europe (both on this and subsequent trips) to look at the work of other artists and learn his techniques from these eloquent examples. Knowing Luks' passion for sketching it would seem likely that he made studies from those canvases which particularly interested him. Though no sketchbooks have survived, a photograph of a painting made by Luks after Goya's The Infanta Margaret has survived to prove that Luks did indeed copy the old masters.15 Although he complained of disappointment in the work of many of art history's great artists, he later talked about those who had impressed him; foremost among these was the Dutchman, Frans Hals (1581/5-1666). Luks was extremely fond of telling people that there were only two great artists of the world — himself and Frans Hals! Hals, like Luks in his later years, was primarily a protraitist. He was active at a time when Dutch artists were beginning to paint genre scenes — subjects taken from ordinary life. In fact, the subjects chosen by the artists of the "Ash Can" school were very similar to those of the Dutch Little Masters in their century. As one of the first artists of Europe to paint directly on the canvas without elaborate underpainting or preparation, Hal's brushwork sparkled with spontaneity — loose, lush, and painterly. He attempted to capture a particular moment through expressions which would ordinarily pass in an instant (Fig. 10). Consequently, the particular effects and impressions of the exact moment in which he looked from sitter to canvas were of utmost importance and were captured spontaneously. His subjects are apparitions of real life with whom we can interact even now. The same quality is an important park of Luks' work. Two late canvases, Laughing Nude (cat. no, 27) and The Fly Weight (cat. no. 19) are good I F'g- 10. Frans Hals, Portrait of a Gentleman, c. 1650 1652 (oil on canvas). Courtesy, National Gallery of Art, Widener Collection. �nunn’h’giH- lheg. . mtimateconfronnrn. expression.!1 nii”o I ■ •-. . ,._ ue JJ’Pr,"'e ,tu' ‘‘ ' ■ must be said I uks ,k_ ejptured m G wnp-. n i . ■ .. ..Irn.,.n„.l|;tlji lessons culled from. VMofhardbva through t»»v expn • • .■ md >i>.- .;.-.p, his shoulders | uks also looked t th. I (t Rembrandt v in , (1606 6^) whose subb I e intr wpe< m, as those of Hals were < ■. ,rs,| [Vcpite the dazzling pv rotes hush, Hals fell short of his greater < onti mporarv in th.- area of ptychokigK al insight Luks' paintings sornbmt the animation of I lais w ith the deep, r sympathy toward human nature of Rembrandt I ills' portraits of ■.!.■->< h >• t,-,.. su, f, JS in M' ’hl i. ,it - 8) nil.. tthe limited palette .md dr.Hii.ifi. . biari m uro I. hruque of Rembrandt I be li ',iio i>t the bvggarwoman steps forward to '.t-p.ir.ifi In r , Jl Io-<i> .i ru.ndi-sc ript background, the triiui al1 d'-h.id-m , .,-,t bv her crippled figure j rovidin,. ti'e .uh hot and .en-. i if griHind 1 he l,i' I i-t f'.s l>;roi.ind detail eliminates peri phi tai di .11sh tun r • .md ‘he of ten detrimental, sentimentalizing eft. ■ > .. Ie a.ibln bir.g a srenano tori Illg the rib' erver n . • orc. entr.ite oi. the solitary ton e of the figun . hi f bi. p liu'Hig ttie rraltsm ut I lais and the psyr hologl< al it. .■ 'e m ,ruit k< Hibiar.dt combine to evoke an image wbn h isdtost to ;.>• When viewi-d by the audien. cs oi the painting was deemed ugly by the majonty of society who were used to the romantized, and therefore prettified versions of peasant' is depa led f". the then popular Italian s< hcxil Guy I’ene du Boe. - et forth an inten stmg theerry '•'•'hen he c. | J masters of the I >ut< L Baroque rather those of theItalian. As du Bois pointed out, they are toff flamfx.yant - the term du Bi >is felt also epitomized Luks. Holland, however; was a republic and ftaiy was an aristocracy. Therefore thi dvriamK technique of Italian masters, • reated tor an ' extravagant arist<xaracy/’ appears hollow when i ompared v.> the 2. Gramps, c. 1900 58 �monologues. The genius of Hals is his ability to create ■intimate confrontations" and capture "the minute expressional movements by which, in everyday life we appraise the man across from us.",f The same ' must be said of Luks. The old gentleman Luks captured in Gramps (cat. no. 2) can communicate the lessons culled from an entire lifetime of hard living through the expression of his eyes and the slope of his shoulders. Luks also looked at the work at Rembrandt van Ryn (1600-69) whose subjects were often as introspective as those of Hals were extroverted. Despite the dazzling pyrotechnics of his brush, Hals fell short of his greater contemporary in the area of psychological insight. Luks’ paintings combine the animation of Hals with the deeper sympathy toward human nature of Rembrandt. Luks' portraits of street characters, such as Beggarawnazi in Moonlight (cat. no. 8), reflect the limited palette and dramatic, chiaroscuro technique cf Rembrandt. The figure of the beggarwoman steps forward to separate herself from a nondescript background, the truncated shadow cast by her crippled figure providing the only anchor and sense of ground. The lack of background detail eliminates peripheral distractions and the often detrimental, sentimentalizing effects of establishing a scenario, forcing the observer to concentrate on the solitary force of the figure. In this painting the realism of Hals and the psychological investigation of Rembrandt combine to evoke an image which is close to life. IVhen viewed by the audiences of 1907, the painting • as deemed ugly by the majority of society who were used to the romantized, and therefore prettified, versions of peasants as depicted by the then popular Italian school. Guy Pene du Bois set forth an interesting theory •■hen he explained why Luks was moved by the masters cf the Dutch Baroque rather those of the Italian. As du Bois pointed out, they are both camboyant — the term du Bois felt also epitomized Luks. Holland, however, was a republic and Italy was “U aristocracy. Therefore the dynamic technique of Italian masters, created for an "extravagant tocaracy," appears hollow when compared to the class T tL'e Dutch, inspired by the middle . purely stylistic, a thing which takes no account of economy in language or of simplicity in idea, a thing made for a sophisticated upper class requiring the bizarre to pull it out of its boredom. The republican brand of flamboyance, you will find it in Swift, and in Sterne's "Tristram Shandy, is fatter, richer and more fluid. No stylistic ruffles are added to the body of the dress unless they may be shown to have a definite economic utility.17 Another artist in whom Luks found inspiration during his several trips to Europe was Francisco Goya (1746-1828). The carefully composed, deeply disturbing psychological portraits of this Spanish master make those of Frans Hals look superficial. Goya's sitters are exposed in a tragic/comic manner that makes them epical. In portraits like Ann of Malden Bridge (cat. no. 23), Luks has evoked this same element by combining pathos with absurdity. The huge woman sits in her Sunday best, grinning before an unseen audience, "so true to a strongly accentuated personality eloquent of shrewd sophistication, as to verge upon the surcharged truth of caricature."’8 Luks' work championed the basic goodness of human nature even when he sometimes revealed its frailties, whereas the cynicism of Goya pointed to the cold, dreary banality of the human condition. The balance Luks achieved in his combined attitudes of sincere optimism and stark realism reinforced his style and kept it from degenerating to the production of weak and sentimental images. Goya's work deeply inspired that of the Frenchman Edouard Manet (1832-83), a true poet of modem life, who in turn influenced Henri and his circle. Though Luks does not mention him, there are similarities in their work. Manet is now the subject of controversy among scholars who are debating the amount of symbolic content in his work. Manet, like Goya, used subjects from life around him to create universal equivalents. Though the sitters come from modern 59 �8 23. Ann ofMalden Bridge, 1930 60 France, they too take on a heroic quality This characteristic is responsible in part tor the eloquence with which the subjects of Manet and Luks speak to modern audience. F Manet's brushwork w as not as loose and heavily weighted with paint as some ot his contemporaries His compositions were carefully arranged and his sitters deliberately posed. He was an artist of contrasts in his use of rich darks against brilliant lights, bold areas of color against sections of duller tone. He worked with strong sure masses of color to create a stark, frontal and distinctly two-dimensional image. He was not interested in the tricks of perspective and shading to create a convincing, three-dimensional illusion. Nor did he care to render each minute and insignificant detail of a subject Instead he selected elements for their pictorial properties and their symbolic relevance to the subject. This is also an important factor in Luks' work. In summary', Luks' work embodies Hals' painterly technique and subject matter drawn from everyday life (usually embued with a Rabelasian character); from Rembrandt he learned the impact of dramatic lighting and the versatility of a limited palette; Goya taught him to look beyond the surface for a more complex psychological impact; and Manet taught hi to be direct and forceful with form and color and to think about the universal in the specific. This leaves only one other artist whom Luks often talked about as someone whose work he always like — Pierre Auguste Renoir (1841-1919). It would have helped if Luks had been one to elaborate in this case because a comparison between the canvases of thesi two artists is difficult. Renoir painted life around hii to be sure, but with a shimmerv, often pastel palette which has little to do with Luks. The brush stroke, typically Impressionist, is flickering and light while that of Luks is heavy and bold albeit painterly Renoir's subjects were of the middle class and reflected a secure, contented, and almost always, leisurely lifestvle (although Renoir himself was quit poor). The people Luks choose to paint were the idiosyncratic, often wretched characters who reflected the uneasiness of the Industrial age The �France, they too take on a heroic quality. This characteristic is responsible in part for the eloquence with which the subjects of Manet and Luks speak to a modern audience. Manet's brushwork was not as loose and heavily weighted with paint as some of his contemporaries His compositions were carefully arranged and his sitters deliberately posed. He was an artist of contrasts in his use of rich darks against brilliant lights, bold areas of color against sections of duller tone. He worked with strong sure masses of color to create a stark, frontal and distinctly two-dimensional image. He was not interested in the tricks of perspective and shading to create a convincing, three-dimensional illusion. Nor did he care to render each minute and insignificant detail of a subject. Instead he selected elements for their pictorial properties and their symbolic relevance to the subject. Ibis is also an important factor in Luks' work. In summary’, Luks' work embodies Hals' painterly technique and subject matter drawn from everyday life (usually embued with a Rabelasian character); from Rembrandt he learned the impact of dramatic lighting and the versatility of a limited palette; Goya taught him to look beyond the surface for a more complex psychological impact; and Manet taught him to be direct and forceful with form and color and to think about the universal in the specific. This leaves only one other artist whom Luks often talked about as someone whose work he always liked — Pierre Auguste Renoir (1841-1919). It would have helped if Luks had been one to elaborate in this case, because a comparison between the canvases of these two artists is difficult. Renoir painted life around him, to be sure, but with a shimmery, often pastel palette which has little to do with Luks. The brush stroke, typically Impressionist, is flickering and light while that of Luks is heavy and bold albeit painterly. Renoir's subjects were of the middle class and reflected a secure, contented, and almost always, leisurely lifestyle (although Renoir himself was quite poor). The people Luks choose to paint were the II Fig. 11. William Glackens, Chez Mouquin, 1905 (oil on canvas). Courtesy, The Art Institute of Chicago, Friends of American Art Collection. �I common link between the two men's images could be and fellow painter. Glackens was one who encouraged Luks to paint and would have s enthusiasms with the other artist. Interesting y, a. painting by Luks which can be compared to Renoir is The Cafe Francis (cat. no. 6) which in turn has been called a response to Glackens' earlier canvas of another New York night spot, Chez Mouquin, 1905 (The Art Institute of Chicago, fig. 11). The two restaurants were rivals for the patronage of New York's artistic set. . . Both canvases show a well-dressed couple enjoying an evening's frivolity, a subject reflective of the cafe-concert theme so popular with the French Impressionists. Other Impressionist devices Luks employed are the brushwork in the woman s fur piece and bodice which dissolves into flickering touches of luminous paint and the figure of a man to the far right cut off by the edge of the canvas so he seems to intrude upon the scene like an unwanted observer (an element used frequently by Lautrec and Degas). Luks' palette, as usual, tends more to the monochromatic than either Glackens or Renoir with the brilliant exception of the scarlet and pink plume of the woman's hat. Another Impressionist subject is that of Pavlova's First Appearance in New York (cat. no. 10) which shows none of that movement's techniques, even as translated by Glackens and Everett Shinn in their theater pictures. The figure of Pavlova is a diminuitive sketch on the darkened stage which conveys none of the drama of a spectacular debut. The scene is recorded in an ordinary manner as if through the eyes of a newspaper reporter. (Luks' years as a newspaper artist and illustrator are discussed in a separate essay in this catalog, therefore commentary on them here will be restricted to a cursory examination of their impact on Luks as a painter.) The results of his early years of work for various newspapers in Philadelphia and New York are 62 obvious. They accentuated his powers of observati and made him aware of necessary and unnecessary detail. He learned to work quickly and accurately ' whether from pressure on the scene or under deadline at the office. His impatient nature was compatible with this. In both his news illustrations and his comic drawings, Luks learned to adopt a generic style which was flexible according to subject. In fact he scoffed at artists who felt that commercial work would taint their style: I have utterly no patience with the fellows whose "style is ruined" if they must make drawings for newspapers or advertisements, whose "art is prostituted" if they must use it to get daily bread. Any style that can be hurt, any art that can be smirched by such experience is not worth keeping clean. Making commercial drawings, and especially doing newspaper work, gives an artist unlimited experience, teaches him life, brings him out. It is doesn't, there was nothing to bring out, that's all.1’ Another important effect of the newspaper years was one for which the seeds had already been planted in Luks' childhood. Luks' compassionate empathy for the common man and even for the underdog, instilled in him by his parents, was further developed during these years. He brought a humanist approach to the streets when recording his daily news assignments and later used it when he chose his subjects for easel painting. Further, Luks was a lover of action. He enjoyed the excitement and turmoil of the streets and was bored by any subject that was refined and therefore non-emotional. If there were not enough action, then Luks would often provide it either by getting involved at the scene or by enhancing the details later. His need for drama made him well suited to become a reporter/illustrator and subsequently a keen observer of life through his paintings. „ f°ur artist/reporters who were a part of the Philadelphia Five," Luks, Everett Shinn, John Sloaiin William Glackens, had what many of them considered to be their most important artistic trainin? b- The Cafe Francis, c. 1906 �; They accentuated his powers of observation de him aware of necessary and unnecessary de learned to work quickly and accurately r from pressure on the scene or under e at the office. His impatient nature was ible with this. h his news illustrations and his comic gs, Luks learned to adopt a generic style vas flexible according to subject. In fact he at artists who felt that commercial work aint their style: iaVe utterly no patience with the fellows >se "style is ruined" if they must make wings for newspapers or advertisements, 3se "art is prostituted" if they must use it et daily bread. Any style that can be hurt, art that can be smirched by such erience is not worth keeping clean. dng commercial drawings, and especially ig newspaper work, gives an artist mited experience, teaches him life, brings out. It is doesn't, there was nothing to gout, that's all." let important effect of the newspaper years : for which the seeds had already been in Luks' childhood. Luks' compassionate y for the common man and even for the >g, instilled in him by his parents, was further ed during these years. He brought a st approach to the streets when recording his ws assignments and later used it when he s subjects for easel painting. :r, Luks was a lover of action. He enjoyed the ent and turmoil of the streets and was bored ubject that was refined and therefore otional. If there were not enough action, then >uld often provide it either by getting 1 at the scene or by enhancing the details s need for drama made him well suited to a reporter/illustrator and subsequently a server of life through his paintings. iur artist/reporters who were a part of the elphia Five," Luks, Everett Shinn, John Sloan, Glackens, had what many of them ■ed to be their most important artistic training o- The Cafe Francis, c. 1906 �14. Portrait of Antoinette Kraushaar, 1917 64 in the early years tocythw Philadelphia Pre»- VI'.c v got together again at Sloan’s studio when ’ t hed from the model and painted. I lenri the fifth member w ho sometimes joined thee itb. rings. and Sloan encouraged their friends to o IP1| life Wlth truth and emotional perception as it m.untested itself m ordinary scenes and common people This was something that Sloan and the others had learned first-hand through the newspapers. Luks |omed the evenings at 806 Walnut Street after Henn had Lett for Europe and Sloan had taken over the apartment, so his contact with the older artist and chansmatic teacher was indirect. Sources give three people who first encouraged L.uks to paint Robot t I lenri. William t,l,i. kens, and Arthur Brisbane (managing editor of the lurk World). Henri's influence came through Sloan and the others after Luks (oined the studio group in Philadelphia in 1894 n I le ugh Luk > did not attend regularly, this w<i his first contact with a group of serious young painters, and as .uch it must have had an effect. Glackens shared a studio bnefly with Luks when the latter returned from ( uba and settled in New York. Brisbane hired him at that time and may have seen his talent as a painter and encouraged him to pursue it. Luks never ai knowledged a debt to Henri in his art As Sloan noted later, this may have been because Henri's influence on Lui wu-. more indirect than with the others in the group They were men of similar spirit in many ways Both had strong personalities and enjoyed being the focus of attention. I lenri was the more serious and had a charismatic presence that made him an extremely effective teacher. Luks disliked ponderou-, "art talk; he preferred making art to talking about it. * Henri and Luks were passionate humanitarians When Henri spoke of painting from the heart first and organizing with the mind second. Luks agreed, do him, art was for communicating the human condition with a basic sense of optimism and sympathy. Later, when Luks spoke of having contributed to the making of a 'truly American art, it a a with Of who Hem relat man "ultr tosli Impr Luks thev in ar with W1 Spin exan H I fig. ria) mfi had �I in the early years together at the art rooms of the Philadelphia Press. After hours, they got together again at Sloan's studio where they sketched from the model and painted. Henn, the fifth member who sometimes joined their gatherings, and Sloan encouraged their friends to paint life with truth and emotional perception as it manifested itself in ordinary scenes and common people. This was something that Sloan and the others had learned first-hand through the newspapers. Luks joined the evenings at 806 Walnut Street after Henri had left for Europe and Sloan had taken over the apartment, so his contact with the older artist and charismatic teacher was indirect. Sources give three people who first encouraged Luks to paint — Robert Henri, William Glackens, and Arthur Brisbane (managing editor of the New York World). Henri's influence came through Sloan and the others after Luks joined the studio group in Philadelphia in 1894-5. Though Luks did not attend regularly, this was his first contact with a group of serious young painters, and as such it must have had an effect. Glackens shared a studio briefly with Luks when the latter returned from Cuba and settled in New York. Brisbane hired him at that time and may have seen his talent as a painter and encouraged him to pursue it. Luks never acknowledged a debt to Henri in his art. As Sloan noted later, this may have been because Henri's influence on Luks was more indirect than with the others in the group.2" They were men of similar spirit in many ways. Both had strong personalities and enjoyed being the focus of attention. Henri was the more serious and had a charismatic presence that made him an extremely effective teacher. Luks disliked ponderous "art talk; he preferred making art to talking about it. Henri and Luks were passionate humanitarians. When Henri spoke of painting from the heart first and organizing with the mind second, Luks agreed. To him, art was for communicating the human condition with a basic sense of optimism and sympathy. Later, when Luks spoke of having contributed to the making of a "truly American art, b™1^' “ With w?f ,au the "PhiladelPhia Five" Luks was the one ho throughout his life most consistently followed Henn s ideas. Sloan began to work with the relationship of line and mass in a non-traditional manner as a concession to what he called the u tra-moderns;" Shinn's later work was given over to slick formula; Glackens was always more the Impressionist, both in palette and subject. Although uks and 1 lenri considered themselves rebels, and they were to a certain extent, their art was also based in art history and came from a tradition that began with the Dutch masters. When Henri spoke about technique in The Art Spirit, many of Luks' canvases can be evoked as examples: Insist then, on the beauty of form and color to be obtained from the composition of the largest masses, the four or five masses which cover your canvas. Let these above all things have fine shapes, have line colors. Let them be as meaningful of your subjects as they possibly can be.21 When later you come to the painting of the features of the face, consider well the feature's part in the relation to the idea you have to express. It will not be so much a question of painting that nose as it will be painting the expression of that nose. All the features are concerned in one expression which manifests the state of mind or the condition of the sitter. Work with great speed. Have your energies alert, up and active. Finish as quickly as you can. There is no virtue in delaying .... Do it all in one sitting if you can. In one minute if you can.21 Henri's portrait of a young Irish boy, Cori Laughing (fig 12) is an excellent example of this last directive. It is also a portrait similar in spirit to those of Luks and, in fact, to those of Frans Hals. Interestingly, Henri made the portrait in Haarlem, Holland where Hals had worked in the seventeenth century. 65 �In 1*2 1 uk- pamtc. older m.in -adv kit. ot -hurt, active bru-b _ 4 v irtuoso perform ri ■ ,.;1, . expression is stern vet " .4,;> himself in the act <<t an. ' ■ i,.t!i•, ,rp Shoulders and collar .if > ..i,, ;.r.vii u large shapes to suggest form rather than dexnbe’ detail. Ilenri returned the >•< -ihir,, ■>: G c.ni.hn^ | „yxportrait two vi arslatei m what i, ,< v tx-cn one of his subjei t's favorite positions standing ma dramatic full length p •-■ . • irniga p mUer - sm.x i or dressing robe (tin • m • r. <• • .ils a. < jt ,lnd tie underneath), right ells.w w ting on mantle. I. fl ---- hand holding a cigarette, right ftiot thrust forward 19. The Fly Weight, 1925 (fig. 13). 1 uks' i liIi i i ii- hairline with a center lock Oiltrageoil lv »tilled s - it thrusts up and nut like a rock's r omb, frame the h-.ilun-. ot an elfin raconteur. I le seems to be pausing between stories, perhaps c aught in a rare m inu nt ot li.ft ning to siinierme else while worl ing >>n his i»wt oration It is difficult to say when I uks Is g.inti take painting seriously At sixteen lie knee, enough ut technique to mimic tin - bu< oli< l.indst ape of the 1 ludson River School but In v. > not vet thinking of creating his own imagi s 1 hs mother a- an amateur painter pnividing 1 uk- with an early knowledge oi materials whii h, < oupled w ith a natural talent, made creating images easy. I he first signs ot 1 uks'd.-■.eloping per-onal -tde appear in 1889 when he -.,a . in I nndon with ho father's family and painted l.t>ndi<n Hu- Driver (Memorial Art Gallery of I . . • 3 Rixhester! whir h already exhibits Luk s' mature strength as a portraitist and his inte rest in personality. The image of the good-natured driver as captured by L uks was later described as ''florid, assertive, rake-h. friend!. • ■ • |a| symbol of a now vanished London. Tht critic went on to talk about Luk' style "enriched bv his distinc five sympathy with 'p iwerful •jra-ducated persons,' a vast brood hovering unseen behind this picturesque representative and lending mass support h> his image, a brood to which Luks never has ‘'tome indifferent." A sketch of the :abt " ■ '• F» �In 1902 Luks painted Henri's portrait following the older man's advice for technique * The face is a mass of short, active brush strokes left unblended and raw a virtuoso performance in paint. Henri's Expression is stern yet introspective as if Luks caught himself in the act of analyzing a student's work. Shoulders and collar are roughly mapped in using large shapes to suggest form rather than describe detail. Henri returned the compliment by painting Luks' portrait two years later in what must have been one of his subject's favorite positions — standing in a dramatic, full-length pose, wearing a painter's smock or dressing robe (the neck reveals a coat and tie underneath), right elbow resting on a mantle, left hand holding a cigarette, right foot thrust forward (fig. 13). Luks' characteristic hairline, with a center lock outrageously curled so it thrusts up and out like a cock's comb, frames the features of an elfin raconteur. He seems to be pausing between stories, perhaps caught in a rare moment of listening to someone else while working on his next oration. It is difficult to say when Luks began to take painting seriously. At sixteen he knew enough of technique to mimic the bucolic landscape of the Hudson River School but he was not yet thinking of creating his own images.25 His mother was an amateur painter providing Luks with an early knowledge of materials which, coupled with a natural talent, made creating images easy. The first signs of Luks' developing personal style appear in 1889 when he was in London with his father's family and painted London Bus Driver (Memorial Art Gallery of the University of Rochester) which already exhibits Luks' mature strength as a portraitist and his interest in personality. The image of the good-natured driver as captured by Luks was later described as "florid, assertive, rakish, friendly • ■ • [a] symbol of a now vanished London." The critic went on to talk about Luks' style "enriched by his distinctive sympathy with 'powerful uneducated persons,' a vast brood hovering unseen behind this picturesque representative and lending mass support to his image; a brood to which Luks never has become indifferent."26 A sketch of the cabby, Man with Fig. 12. Robert Henri, Cori Laughing, 1907 (oil on canvas). Courtesy, Berry-Hill Galleries, Inc. �Basket (cat. no. 39) shows a less self-assured side o the driver's personality perhaps because he has stepped down from the comfortable perch of his rig. Among Luks' earliest paintings were those made in Cuba where he had been sent to cover that country s rebellion against Spain. Apparently unable to go on assignment where the battles were being fought, e filled his time by making oil sketches and watercolors of Cuban peasants. There are no landscapes or even cityscapes from this period, further emphasizing Luks' interest in people and the stories they had to tell. The dating of Luks' European and Cuban pictures is complicated by the fact that he often made watercolors after sketches (and oils after watercolors) several years following the original experience. Therefore paintings such as Boys with Dog, Cuba 1896 (cat. no. 1), although an accurate record of Cuban life, may have been painted later in Luks' New York studio. The rough, hurried handling of the paint and the "stop action" poses of the two boys and their dog all indicate a painting made in situ. But Luks had been trained to remember detail and recall emotion from a few pencil scrawls in a notebook, all of which he later reassembled on canvas. Luks' move to New York in 1896 was a new beginning which included an increased interest in easel painting as opposed to illustration. He continued the latter to support himself but gradually withdrew as soon as his canvases began to sell. Some of his earliest canvases reflect the philosophy of the Ash Can School. When Luks went back to Europe in 1902 and made oil sketches of Parisian cafes and gardens (cat. no. 4) he used the dark palette of the "Black Gang" for subjects associated with the bright pastels and primary colors of the Impressionists. His brushwork, though an unrefined shorthand, was also not the abbreviated dot-and-dash method of Monet and his followers. Returning to the United States Luks painted some of his finest city scenes in the decade between 1900 and 1910. The Butcher Cat, 1901 (The Art Institute of Chicago) makes use of rich earth tones for the overall image, punctuated by the bright green of wagon slats 68 and the deep red bellies of slaughtered hogs. Buildings and people in the background are indicated bv rectangular marks and the texture of opposing brush strokes. Hester Street, 1905 (The Brooklyn Museum) and Allen Street, c. 1905 (cat. no. 5) are rougher and more schematic than any of Sloan's paintings of similar subjects. Sloan paid more attention to detail and spent more time on the modelling of his figures. The same year, 1905, Luks created The Spielers (Addison Gallery of American Art, Phillips Academy), a painting of two dancing street urchins which has become one of his most popular works (fig. 14). It was chosen by Alexander Eliot, a critic for Time magazine, when he was asked in 1952 to name his ten favorite American paintings of the twentieth century. An uncanny representation of a specific moment of childish exhuberance, Everett Shinn called it Luks' "masterpiece of gamin' life" — a work even Frans Hals would have to saluteP When is was exhibited in 1908 at the National Arts Club it was described as follows: . . . the color warm, bright bodices, dingy skirts, boots down at the heel, mouths distended in the unbridled laughter that from time immemorial has heralded youth, red hair and yellow hair flying, and all about these joyous dancers, embracing them, caressing them, a dim floating atmosphere lending to the total effect a mystery not to be found in the work of other men ... ,3 By 1904 the last member of the "Philadelphia Five," John Sloan, had moved to New York. With Henri now a member of the National Academy and a respected teacher, the friends were optimistic about their future. These were the years leading up to the storm of 1907 resulting from the academic jury's rejection of Luks paintings and the subsequent formation of The Eight" and the "Independents" as alternate groups through which artists could organize non-juried exhibitions. As noted by a later critic, the original Ash Can chool was relatively mild despite the great public mss made over their inappropriate subject matter. ey were dreamers, Impressionists, poets, and �and the deep red bellies of slaughtered hogs. mX and thedexLe o/oppXg*^ brush strokes. Hester Street, 1905 (The Brooklyn 8 Museum) and Allen Street, c. 1905 (cat. no. 5) are rougher and more schematic than any of Sloan's paintings of similar subjects. Sloan paid more attention to detail and spent more time on the modelling of his figures. The same year, 1905, Luks created The Spielers (Addison Gallery of American Art, Phillips Academy), a painting of two dancing street urchins which has become one of his most popular works (fig. 14). It was chosen by Alexander Ehot, a critic for Time magazine, when he was asked in 1952 to name ais ten favorite American paintings of the twentieth zentury. An uncanny representation of a specific noment of childish exhuberance, Everett Shinn railed it Luks' "masterpiece of gamin' life" — a work wen Frans Hals would have to salute!27 When is was exhibited in 1908 at the National Arts Club it was lescribed as follows: ... the color warm, bright bodices, dingy skirts, boots down at the heel, mouths distended in the unbridled laughter that from time immemorial has heralded youth, red hair and yellow hair flying, and all about these joyous dancers, embracing them, caressing them, a dim floating atmosphere lending to the total effect a mystery not to be found in the work of other men . .. By 1904 the last member of the "Philadelphia Five," )hn Sloan, had moved to New York. With Henri now member of the National Academy and a respected 'acher, the friends were optimistic about their iture. These were the years leading up to the storm ' 1907 resulting from the academic jury's rejection of aks' paintings and the subsequent formation of the Eight" and the "Independents" as alternate oups through which artists could organize m-juried exhibitions. As noted by a later critic, the original Ash Can bool was relatively mild despite the great public ss made over their inappropriate subject matter, bey were dreamers, Impressionists, poets, and Fig. 14. George Luks. The Spielers, 1905 (oil on canvas). Courtesy, the Addison Gallery of American Art, Phillips Academy. �22. The Polka Dot Dress, 1927 eocid painters. Liketm- ry, wo, tse. Inct in fhe evenings at local bar, and restaurants A record of these nights is shown in Luks watervoiog /ohn Butler Yeats at Petitpa^' (cat.no S. >.m-.Iso painted Wats a -charming conversationalist, artist, and philosopher." who w as th, ».,rh, of the Irish poet V\ B. Yeats. I’etitpas’ w as a pi-ision and restaurant run bv three French sisters on West Twenty-ninth Street where Yeats staved and gathered around him a crowd of "young poets, painter,, write rs and actor, who eagerly enjoyed his talk Sloan and his group encouraged Romany Marie, the "gypsy queen" of < ireenwnh Village and former business manager of the Ferrer Art School to open a cafe to accommodate the artists, which she did Luk,, who enjoyed his drinking, was thrown out of this establishment for rowdy behaviiir his first visit there He was allowed to return only after promising good behavior. Marie later complained that artists have since become too "grimly literary" and that Sloan's group had "found gaiety and even humor in the worst of our slums." Luks saw his world through the lens ut his belief in humanity. He cast a soft, sympathetic light on his subjects rather than holding them up to a harsh, hare light bulb so as to shock the rest of humanity George I .uks' art was an expression of a robust love of life f hs work affirmed hi, enjoyment of the world and his delight in translating it into paint. 1 lum.mity was the center of his art, fie was interested m men and women more than he was in his own emotions. A spontaneous human sympathy pervaded everything he did, and gave esen his meanest subjects a warmth and glow that were entirely personal He loved character more than formal beauty, and enjoyed painting the least conventional aspects of the life around him, finding something picturesque in the crudest and commonest themes. A pioneer of realism in this country he helped to introduce into the somewhat genteel art world of his youth a more frank and masculine attitude tow ards lite 1 ■J! I.-. j?' to p'.'J Mt tl 30 u ob FK* an SO v,. or lit > .■ -a! a! co A th i’. sy �$ •_ nOd painters."20 Like the Impressionists, they met in fhe evenings at local bars and restaurants. A record of hese nights is shown in Luks' watercolor, John Butler Petitpas' (cat. no. 54). Sloan also painted Yeats "charming conversationalist, artist, and philosopher," who was the father of the Irish poet W. g Yeats. Petitpas' was a pension and restaurant run gv three French sisters on West Twenty-ninth Street here Yeats stayed and gathered around him a crowd of "young poets, painters, writers and actors who eagerly enjoyed his talk."30 ‘Sloan and his group encouraged Romany Marie, the "gyPsy queen" of Greenwich Village and former business manager of the Ferrer Art School, to open a cafe to accommodate the artists, which she did. Luks, who enjoyed his drinking, was thrown out of this establishment for rowdy behavior his first visit there. He was allowed to return only after promising good behavior. Marie later complained that artists have since become too "grimly literary" and that Sloan's group had "found gaiety and even humor in the worst of our slums."” Luks saw his world through the lens of his belief in humanity. He cast a soft, sympathetic light on his subjects rather than holding them up to a harsh, bare lightbulb so as to shock the rest of humanity. George Luks' art was an expression of a robust love of life. His work affirmed his enjoyment of the world and his delight in translating it into paint. Humanity was the center of his art; he was interested in men and women more than he was in his own emotions. A spontaneous human sympathy pervaded everything he did, and gave even his meanest subjects a warmth and glow that were entirely personal. He loved character more than formal beauty, and enjoyed painting the least conventional aspects of the life around him, finding something picturesque in the crudest and commonest themes. A pioneer of realism in this country, he helped to introduce into the somewhat genteel art world of his youth a more frank and masculine attitude towards life.32 aS'.S.™"* Lnkc I si™ h.d with the n y an arfet had for Showing his work The. ProP°nents of the Academy felt Luks' subjects to be.inappropriate for easel painting, while Luks' painted his gutsy, American topics because he felt it urn , urd t0 follow the academicians in recreating Millet s peasants in the middle of New York City the result is doomed to failure."33 Mistakenly accused of being socialist painters, none of the Ash Can School chose their subjects because they felt an obligation to society — "The idea that art is propaganda and should serve the contemporary generation is a fallacy."54 They painted what they saw around them because it was real and it was something they knew about, not because they wanted to promote a certain social cause. More than once they stated that their intention was to put real life back into art. Even before the highly publicized dismissal of his canvas from the National Academy's exhibition in the fall of 1907, Luks had been accustomed to rejection.” Maurice Prendergast wrote to a patron in 1904 about a Luks which had been removed from the competition, remarking upon its "superiority over a Sargent which was accepted."36 When Luks' canvases were accepted they were hung near the ceiling where they could neither by well lit nor easily seen. Guy Pene du Bois provided this summation of the jury system and Luks' relationship to it: Art is too generally confused with artisanship by the conception that it is made in three parts of good taste .... This is true to a nearly intolerable extent in the prize-winning examples, and in their case is an evidence which cannot be taken lightly, for prizes are usually awarded by a consensus of opinion. George Luks begins by having the bad taste of the braggard and goes on with a mad ■ I �extravagance in untempered garrulousness and the impertinence, quite unconsidered on his part, to exhibit canvases fat in form and luscious in color to a people accustomed to the cramped works of painters with whom good taste is a dominating idol.37 In 1905 Luks began a canvas which he told Sloan would "vindicate Henri in his fight for my work on the National Academy juries."® But he refused to include The Wrestlers (Museum of Fine Arts, Boston, fig. 15) in the famous Macbeth show of 1908, which would have provided a perfect occasion for Luks retort to the Academy. Luks intended the ambitious canvas to demonstrate his knowledge of anatomy, the lack of which he had been criticized for earlier. The challenging, straight-on view from the mat of two contorted and entangled bodies does display a knowledge of human masculature and an accurate sense of perspective. However, when the painting was finally shown in 1915 at the Kraushaar Gallery, the disturbing reality of the powerful scene overwhelmed audiences to a point where Luks' triumphant technical abilities were overlooked and his point missed. Guy Pene du Bois pinpointed the cause for objection when he noted that this was not a classical, idealized painting of two athletes engaged in a battle over good and evil: "The conqueror in this bout will not stand up and crow. His great strength will be exhausted for the moment.3’ Luks first tried to exhibit The Wrestlers in London at the Anglo-American Exposition of 1914. A polite letter from the chairman, Hugo Reisinger explained why he would rather it not be included: While I admit that this picture represents you splendidly and while I agree with you that it is one of the finest things you ever did, I feel somewhat timid about exhibiting it in London, where, you know, they are not as far advanced in art as we or the German or the French are. Would it not under the circumstances be better if you would give smaller pictures, which will be less startling to the English people than your "Wrestlers" surely would be. 72 Should you, however, after due consideration, think the "Wrestlers" should be shown, I am quite willing to do so.4 Luks has been called a "guts" painter, not only because of his gritty subject matter and vigorous painting style but also because he resisted formal training. His dismay with traditional art and instruction was that it lacked life, but Luks understood the formal aspects of composition and the foundation of his paintings was solid draughtsmanship and sound modeling. Shinn wrote that you could turn a canvas by Luks on its head and its "color alone will free your mind to evolve fantasies in the rush of those sweeping color blends."41 The decision to have a show at the Macbeth Gallei!ry in 1908 was made after Luks' Man with Dyed Mustachios (whereabouts unknown) was one of the works by colleagues and students of Henri rejected from the National Academy's exhibition of 1907. The "Philadelphia Five" — Henri, Luks, Sloan, Shinn, and Glackens — invited Maurice Prendergast, Arthur B. Davies, and Ernest Lawson to join them. The fun and camaraderie shared during the planning for the show is reflected in Luks' postcard to Henri showing their mentor as a conductor with Sloan providing percussion and the others forming a chorus (fig. 6). Luks is seated next to a jug of rye. Luks exhibited six paintings at Macbeth's: Street Scene, Macaws, The Duchess, Pigs (a.k.a. Feeding the Pigs, cat. no. 9), The Pet Goose (a.k.a. Woman with Goose, cat. no. 7), and Mammy Groody. In Feeding the Pigs, Luks noted that he "was an allegorist for once in my life," meaning, perhaps, that the consumers of art were no better than these rotund barnyard animals.47 An accurate picture of the surprisingly provincial, critical attitude prevailing at the time is provided by the fact that audiences were as disturbed by the "vulgarity" of Glackens' Chez Mouquin, a pleasant cafe-concert theme, and Sloan's humorous street scene, Hairdresser's Window, as they were by Luks' painting of pigs' posteriors.43 Gertrude Vanderbilt Whitney purchased four paintings from the exhibition, including Woman with Goose by Luks. The painting in reminiscent of Rembrandt both in character and technique. Three Fig. 15. George Luks, The Wrestlers, 1905 (oil on canvas; Courtesy, Museum of Fine Arts, Boston. Charles Henn Hayden Fund. �ledgarr5Ss°n Ite uncons’ae , ifeSK rCTd*e ambitious Kes display a Le and an accuse [when the painjng |eKraushaarGallenLerful scene fe‘e"SS»4 I Rois pinpointed th .. Ved that thisengaged was not Lo athletes (The conqueror in L His great strength tiers in London at Vofl9U.Apoite IReisinger explained deluded: Iturerepresents (agree with you lings you ever did, It exhibiting it in I they are not as I the German or cumstances be aller pictures, o the English s" surely would Should you, however, after due consideration, think the "Wrestlers" should be shown, I am quite willing to do so.*> Luks has been called a guts painter, not only because of his gritty subject matter and vigorous painting style but also because he resisted formal Lining His dismay with traditional art and instruction was that it lacked life, but Luks understood the formal aspects of composition and the foundation of his paintings was solid draughtsmanship and sound modeling. Shinn wrote that you could turn a canvas by Luks on its head and its "color alone will free your mind to evolve fantasies in the rush of those sweeping color blends."41 The decision to have a show at the Macbeth Gallery in 1908 was made after Luks' Matt with Dyed Mustachios (whereabouts unknown) was one of the works by colleagues and students of Henri rejected from the National Academy's exhibition of 1907. The "Philadelphia Five" — Henri, Luks, Sloan, Shinn, and Slackens — invited Maurice Prendergast, Arthur B. Davies, and Ernest Lawson to join them. The fun and camaraderie shared during the planning for the show is reflected in Luks' postcard to Henri showing their mentor as a conductor with Sloan providing percussion and the others forming a chorus (fig. 6). Luks is seated next to a jug of rye. Luks exhibited six paintings at Macbeth's: Street Scene, Macaws, The Duchess, Pigs (a.k.a. Feeding the Pigs, cat. no. 9), The Pet Goose (a.k.a. Woman with Goose, cat. no. 7), and Mammy Groody. In Feeding the Pigs, Luks noted that he "was an allegorist for once in my life," meaning, perhaps, that the consumers of art were no better than these rotund barnyard animals.47 An accurate picture of the surprisingly provincial, critical attitude prevailing at the time is provided by the fact that audiences were as disturbed by the "vulgarity" of Glackens' Chez Moutjuin, a pleasant cafe-concert theme, and Sloan s humorous street scene, Hairdresser's Window, as they were by Luks' painting of pigs' posteriors.” Gertrude Vanderbilt Whitney purchased four paintings from the exhibition, including Woman with Goose by Luks. The painting in reminiscent of Rembrandt both in character and technique. Three F'g. 15. George Luks, The Wrestlers, 1905 (oil on canvas). Courtesy, Museum of Fine Arts, Boston. Charles Henri Hayden Fund. �16. Trout Fishing, 1919 thewrmklea arm s,, net gcnrsi’ which *^1 cy ' .n _• m the u, ,,y. t.t perelbovs and in the o.•,.,.. J water dish .Economy '■’.!■-J. s. surprising amount "i. • J ' ; < ;ui demonstrating Luks ■" .-puun , subject — a feeble old ,„d _ without coy sentimt iiiabty. A quality much talked about in Luks work, both bv himself and later critics is the ,i,pv. t a "Americanism." What c > tic d<„ this teon mean when applied to ait' Ih.it it is not derived from European sourc es' li! . favorite artist was the Dutchman. Frans H.il 1 hat the ■■ub|e-,i matter is purely American’ I hr. Would apply too generally to many groups ol artists by the time of the earlv 1900s. The i ritic Arm on b'.l, mi raised these questions in 1920 when there were numerous other jrf movements beginning t<> call themselves ' truly American."’' I or I uks it must have meant the >pmt of democratic humanism, as defined earlier, but it also had to do with a c ertain amount ol ianket Doodle bravado, pride, and forthrightness. As early as IbtHloiowritic c citing for Hi.- B.h • nun identified the com ept of Americans ni in tin work j live young artists inc hiding I.uk ., Shinn, and dar kens by commenting th.it the ' sincerity and ac tuality'that Messrs Gki'kens, Shinn and Luks impose in the vibrant ■ a positions of the masses ut hie arc- truly' American in their original,tv and treatment The obviousness • if a native .: rt i-. -urelv beginning be recognized."* I le attributed this in part to the fact that artists were beginning to rid themselves ot foreign dominance and talk about an Amencan Sc hool ot Art in which the influence nt Europe - and especially of Paris would no longer be the automatic ticket to success. An article written in 1907 during the National Academy's annual exhibition — for which Luks' canvases had not been accepted - remarked that the exhibition suffered from the artist\ absence and praised him, as the title of the arte le states An American Painter of Great Originality and Force' It went on to quote Luks: �hrieht spots in an otherwise darkened canvas show the wrinkled and smiling face of an old woman her net goose which she carries with care in the crook of her elbow, and, in the lower left corner, the goose's ,eater dish. Economy of information still relays a surprising amount of emotion and detail while again demonstrating Luks' ability to paint a picturesque subject — a feeble old woman and her cherished pet without coy sentimentality. A quality much talked about in Luks' work, both by himself and later critics, is the aspect of ■'Americanism." What exactly does this term mean when applied to art? That it is not derived from European sources? — Luks' favorite artist was the Dutchman, Frans Hals. That the subject matter is purely American? ■— This would apply too generally to many groups of artists by the time of the early 1900s. The critic Ameen Rihani raised these questions in 1920 when there were numerous other art movements beginning to call themselves "truly American.''41 For Luks it must have meant the spirit of democratic humanism, as defined earlier, but it also had to do with a certain amount of "Yankee Doodle" bravado, pride, and forthrightness. As early as 1900 one critic writing for The Bookman identified the concept of Americanism in the work of five young artists including Luks, Shinn, and Glackens by commenting that the "sincerity and actuality that Messrs. Glackens, Shinn and Luks impose in the vibrant expositions of the masses of life are truly American in their originality and treatment. The obviousness of a native art is surely beginning to be recognized."45 He attributed this in part to the fact that artists were beginning to rid themselves of foreign dominance and talk about an American School of Art in which the influence of Europe — and especially of Paris — would no longer be the automatic ticket to success. An article written in 1907 during the National Academy's annual exhibition — for which Luks' canvases had not been accepted — remarked that the exhibition suffered from the artist's absence and praised him, as the title of the article states, "An American Painter of Great Originality and Force." It 'venton to quote Luks: siiO-p°T a"' Luks is American. He believes A Xi ly' p®ss.ior,ately in the future of America and American art. "Our young woTklns? pJTse should stayat home and wo k,nstead of going abroad Letthem go to Europe if they must to study the originals of great masters not otherwise aCCeSiAm e t0 them' but let them work here ■ • • • What need of going to other lands in quest of subjects to paint? In a single city block, a mile of New Jersey or New England, a 1 ittsburgh factory, or a single Western landscape, the true artist will find enough material for a lifetime, enough to fill a hundred years."46 On the occasion of Luks' first one-man show in 1910 at the Macbeth Gallery, the comparison between Luks, the American," and artists of European derivation came up again: Luks is a reflection of our American life as it is today, crude, vehement, inconsiderate though not without tenderness at times. Yet the people who buy pictures can not see it that way .... They want an art for their drawing rooms, daintily and knowingly made. They do not want to be reminded of the bitterness of life, and have not yet learned to see beauty in the common and the modern — in the expression of vulgar and vagrom life. Better than anyone Luks has discerned this inadequacy of our art and he has painted it in a dozen pictures — pictures so powerful and true that I can not believe the world will willingly let them die.47 At the meeting of the Association of American Artists in May, 1914, three members of "The Eight." Luks, Sloan, and Henri, resigned over issues raised by the famous Armory Show of 1913. Among other things, Luks and his associates felt that the group should not have sponsored an exhibition of international art at a time when the three felt it was important to establish an American school. To them it had reinforced the notion that an artist must take his lessons from Europe and that collectors should continue buying the work of modern European 75 �artists. Eventually, this widened the rift between the realist painters of the Henn circle and Steiglitz’s modernists who were clearly linked to European abstraction. 21. Coal Miner. 1926 Luks worked from a model whenever he could arrange it. He once brough an entire fruit cart and its vendor into his studio to paint what he called "the Great Experiment." One of Luks' favorite stories was when a truck driver from the Art Institute of Chicago showed up at his door to pick up a painting for exhibition. Luks, having forgotten about the show, invited the truck driver to have a seat and quickly dashed off his portrait which was then carted off wet to Illinois. Luks boasted that the canvas won the Logan Medal but the painting which was given that award was Of is Skinner in "The Honor of The Family " (The Phillips Collection) thereby neatly disproving Luks' fabricated, though colorful, version of the incident. Nonetheless, in an article by the Herald Tribune in 1932, Luks repeated the story and it was published under the headline, "Sit Down Mug.' “ Luks w'ent back to his boyhood home in Pennsylvania during the early and late 1920s, where he drew prodigiously from local models. However, a revealing article in the Pottsville paper told how Luks had borrowed clothes from a miner but the sitter for some of the sketches was actuallv a janitor from the public library'. A reason for this was not given but it must be that Luks liked the janitor's face and thought it looked more like that of a miner than other available models. Therefore we know that Luks was capable of manipulating his images to fit his own preconception. Coal Miner(cat. no. 21)and its preliminary' sketch (cat. no. 49) are two of the works he completed in Pottsville. W hen James Huneker visited the artist's studio on Jumel Place near High Bridge Park he noted that there was a profusion of models right outside the oor. Luks often painted the nannies and their wards n°’ ’n bright sunlit colors. He also painted e drab industrialism of Roundhouses at High Bridge IMunson-Williams-Procter Institute, Utica) in an ?. mospheric, Whistlerian manner which, in the dawn *ght, transformed the pinks and greys of billowing Stm pm 1 of l stu she kt wit I fill, im: ini av th W In ba de �rtists. Eventually, this widened the rift between the realist painters of the Henri circle and Steiglitz's modernists who were clearly linked to European abstraction. Luks worked from a model whenever he could arrange it. He once brough an entire fruit cart and its vendor into his studio to paint what he called "the Great Experiment." One of Luks' favorite stories was when a truck driver from the Art Institute of Chicago showed up at his door to pick up a painting for exhibition. Luks, having forgotten about the show, invited the truck driver to have a seat and quickly ' dashed off his portrait which was then carted off wet to Illinois. Luks boasted that the canvas won the Logan Medal but the painting which was given that award was Otis Skinner in "The Honor of The Family" (The Phillips Collection) thereby neatly disproving Luks' fabricated, though colorful, version of the incident. Nonetheless, in an article by the Herald Tribune in 1932, Luks repeated the story and it was published under the headline, "Sit Down Mug.''48 Luks went back to his boyhood home in Pennsylvania during the early and late 1920s, where he drew prodigiously from local models. However, a revealing article in the Pottsville paper told how Luks had borrowed clothes from a miner but the sitter for some of the sketches was actually a janitor from the public library. A reason for this was not given but it must be that Luks liked the janitor's face and thought it looked more like that of a miner than other available models. Therefore we know that Luks was capable of manipulating his images to fit his own preconception. Coal Miner (cat. no. 21) and its preliminary sketch (cat. no. 49) are two of the works he completed in Pottsville. When James Huneker visited the artist's studio on Jumel Place near High Bridge Park he noted that there was a profusion of models right outside the door. Luks often painted the nannies and their wards teat. no. 41) in bright sunlit colors. He also painted the drab industrialism of Roundhouses at High Bridge tMunson-Williams-Procter Institute, Utica) in an atmospheric, Whistlerian manner which, in the dawn ‘'?ht, transformed the pinks and greys of billowing pow. lnt° 3 romantic evocation of technology's studio' is nr Kn Old hag Luks invited his shmX thp r brutally revealmg portraits is both iron P1S? Of the City's lower dass- The htle with svm symPathe«c - the portrait is done with sympathy and compassion. fiiiZTS als° Painted from the copius sketchbooks he tied everyday, a more convenient method if less immediate. A critic for Harper's Weekly wrote: Who else joins so closely the observation of his themes with realization in note-book and on canvas? Mr. Luks get his material first-hand. In the crooked and the dark streets, in the bright sunlight of a windswept Hudson River dock, in the drawing-rooms, in theatres, everywhere he goes, this artist never tires of studying living creatures and their surroundings. His powers as a draughtsman are something more than remarkable, as his sketch-books and his paintings testify. His pictures are the personification of creative energy, tempered to the mood of the subject.... Humor, keen analysis, fearless good nature and a genuine tenderness on occasion help make George Luks' painting about as vital an art as one can imagine.4’ When a reporter for the Portland Evening Express interviewed Luks in his studio in 1922, she came away and wrote, "He talks in headlines and works in the same breezy, energetic, forceful, manner."50 Watching Luks work was like taking in a stage show. In fact, he was glad to perform both on an impromptu basis and, later, on the lecture circuit. Many people described the way he worked: [he] took a broad and lust[y] swing at the canvas with his brush. The canvas quivered, as if life had been breathed into it, and the homunculus of paint seemed to breathfe].51 He painted with broad, sure strokes, holding the brushes in his left hand, dancing and jumping about the canvas while it quivered under his thrusts. To him terms like �Fig. 16. George Luks, George Bellows Painting a Landscape, 1925 (pencil drawing). Courtesy, Mead Art Museum, Amherst College. Gift of Anne Bellows Kearney and Jean Bellows Booth. "dynamic symmetry" were bunk. So were school and theories of art. Either one could paint or one couldn't; that was all.52 A portrait of Luks in action (whereabout unknown) by one of his students, A. Z. Kruse, shows him lunging toward the easel, legs spread wide, with his left hand raised and armed with a brush. Clenched in his right hand are more brushes. His distinctive, broad brimmed hat suggests the costume of a rugged frontiersman fighting for survival. Kruse's painting was made for the Golden Jubilee of the Art Student's League in 1925, an event at which Luks was asked to paint a model dressed as a Hawaiian dancer for an audience of about five hundred people.53 Luks' sketch of George Bellows at work in 1925 (fig. 16) looks much like a self-portrait. 78 Luks' early disgust with rigid academic formulae was reflected in his work. He attacked the canvas in anv way he could get the desired results. His famous statement regarding process and theory was often repeated: "Art my slats! I can paint with a shoestring dipped in pitch and lard .... Technique did you say? Mv slats! Say, listen you - it's in you or it isn't. Who taught Shakespeare technique? Guts! Life! Life! That's my technique."54 Luks' great strength was this sense of spontaneity and a good, natural eye for formal elements such as color and composition. Sometimes insecure despite his bravado, Luks got his spectators to participate in the work. "He asks your opinion continually — 'Don't you like that line? Out she comes!' He puts another in — 'Like that?"' Pene du Bois frequently watched Luks paint and noted that he could be indecisive in his work style, perhaps due to his lack of schooled discipline and dependance on artistic "inspiration." He will go to a great canvas with an enormous brush loaded with color and make and unmake numberless starts in one day. He will fight himself; wipe out a moment of timidity with a house painter's brush or the boast of a Gascon. Human, all too human. He will be sloppy' and he will be strong. A magnificent picture will be born in his studio one day and a puerile one the next. His worst is the worst of all bad pictures: mighty strokes brushed around a non-existent structure, a braggard's castle in Spain.5" Shinn disagreed that Luks' canvases ever lacked structure even when they were hastily executed or overworked. But he also acknowledged that sometimes Luks could fail: he "could make very bad pictures .... However, there were no signs of the amateur even in these unworthy products, for dexterity was there without a purpose."57 Luks believed that by working too long on a canvas you could kill the life in it. He once said that Leonardo was not a great artist because "any man who takes twelve years to paint a picture is cuckoo. But he did not always take his own advice, therefore, an unfinished canvas by Luks can often be a w ork of tremendous power and beauty'. Society Ludii (cat. no. �earlv disgust with rigid academic formulae ected in his work. He attacked the canvas in , he could get the desired results. His famous nt regarding process and theory' was often d: "Art my slats! I can paint with a shoestring in pitch and lard .... Technique did you say? ;! Say, listen you — it's in you or it isn't. Who Shakespeare technique? Guts! Life! Life! iy technique."51 Luks' great strength was this spontaneity and a good, natural eye for dements such as color and composition. times insecure despite his bravado, Luks got tators to participate in the work. "He asks inion continually — 'Don't you like that line? comes!' He puts another in — 'Like that?'"55 iu Bois frequently watched Luks paint and tat he could be indecisive in his work style, ; due to his lack of schooled discipline and ance on artistic "inspiration." e will go to a great canvas with an rmous brush loaded with color and make unmake numberless starts in one day. He fight himself; wipe out a moment of dity with a house painter's brush or the st of a Gascon. Human, all too human. will be sloppy and he will be strong. A piificent picture will be bom in his studio day and a puerile one the next. His worst le worst of all bad pictures: mighty kes brushed around a non-existent dure, abraggard's castle in Spain.” i disagreed that Luks' canvases ever lacked e even when they were hastily executed or rked. But he also acknowledged that ties Luks could fail: he "could make very' bad > ■ •.. However, there were no signs of the r even in these unworthy products, for y was there without a purpose."37 believed that by working too long on a canvas ild kill the life in it. He once said that io was not a great artist because "any man ;es twelve years to paint a picture is cuckoo, lid not always take his own advice, therefore, nished canvas by Luks can often be a work of dous power and beauty. Society Lady (cat. no. 24. Society Lady, c. 1932 �i4) is a late painting which Luk m.o not have been "ntirely finished with a* ■tHr..-t -cned rr.,_ r)v> ensation of color — vi\ id i Sue c Id ar-d red - ;a;.j on in wide. strong bru'-r it. k-.-> :s remarkable modern. One notices individual points, the deep sockets ot her eyes, the delicate tracery of her fingers ihe abstract pattern of wrinkled cloth across her rib cage, and the impetuous mark with bisects her nght elbow. The painting is fresh, powerful, and monumental. James Huneker may have been exaggerating v. hen he said that Luks seldom finished a <anvas but did note seeing hundreds of half-begun paintings stowe away in Luks' studio near High Bridge Park. He [Luks] displays an infernal impatience, that chief sin of heresiarchs . . And the corollary' of impatience i haste in execution.” Anther writer shed a more positive light on the disorder of Luks' studio by describing it as ‘‘not a decorative imse en bccne, but a mental workshop where the anvil is hot and the sparks fly ' ‘ Luks would have accepted this account as high praise not only because he would have liked the comparison to rugged, menial labor, but because he thought the impeccably decorated studios of society painters like William Merritt Chase and Ke nyon Cox ridiculous When Luks stopped teaching at the Art Student League, he began to take students privately in his studio and later developed the George Luks School Art. He taught in the "French, informal manner wit no attempt to regulate classes, models, or working hours"'-' Student paid for the opportunitv to paint ir Luks' studio, watch him work, and accept his criticism. Luks was an enthusiastic instructor in part becaus it gave him the opportunity to paint in front of an audience — a situation he thrived upon. Often his criticism or instruction would be in the form of a demonstration on the student's own canvas "He seizes a brush from a timid hand and with a broad svv ish' puts life and art on an otherwise pallid canvas." - Shinn recorded a comic instance when he '■ atched Luks, "his long handled paintbrush held ■ arm's length, dart[ing] and parr|ying] hkea tencmg 01' about to touch up the features of a student s �,n is a late painting which Luks may not have been tirelv finished with as it is not signed. The raw Lnsation of color - vivid blue, gold, and red - laid n in wide, strong brush strokes is remarkably modern. One notices individual points, the deep sockets of her eyes, the delicate tracery of her fingers the abstract pattern of wrinkled cloth across her rib ge and the impetuous mark with bisects her right elhn'v. The painting is fresh, powerful, and monumental. James Huneker may have been exaggerating when he said that Luks seldom finished a canvas but did note seeing hundreds of half-begun paintings stowed away in Luks' studio near High Bridge Park. "He [Luks] displays an infernal impatience, that chief sin ofheresiarchs .... And the corollary of impatience is haste in execution."5’ Anther writer shed a more positive light on the disorder of Luks' studio by describing it as "not a decorative mise en scene, but a mental workshop where the anvil is hot and the sparks fly"60 Luks would have accepted this account as high praise not only because he would have liked the comparison to rugged, menial labor, but because he thought the impeccably decorated studios of society painters like William Merritt Chase and Kenyon Cox ridiculous. When Luks stopped teaching at the Art Student League, he began to take students privately in his studio and later developed the George Luks School of Art. He taught in the "French, informal manner, with no attempt to regulate classes, models, or working hours."61 Student paid for the opportunity to paint in Luks' studio, watch him work, and accept his criticism. Luks was an enthusiastic instructor in part because it gave him the opportunity to paint in front of an audience — a situation he thrived upon. Often his criticism or instruction would be in the form of a demonstration on the student's own canvas: "He seizes a brush from a timid hand and with a broad swish' puts life and art on an otherwise pallid canvas."62 Shinn recorded a comic instance when he patched Luks, "his long handled paintbrush, held at 5 length, dart[ing] and parr[ying] like a fencing navel "yenSg'lshe snipped b 6 ent instead t0 *e canvas/'Son, always star?n^-bHCk ten feet from the impatiencebelShT WaS * reSult of his own you were noT Hp tn v \atI°U Were born t0 Paint or having non i’ H ‘ k students because he loved teUoS ' k°^d him and s‘ncerely wanted to wanted h 7 he feIt ab°Ut art He lived art and - tn ndtr’S aw ~ not )ust hlS Pamtir>gs but his ideas the weak1^ * qU‘te P°SsibIe that a number of the weaker canvases attributed to Luks, which show h>s gemus ln the face but nothing of his hand in the rest of the picture, are products of his classroom demonstrations. So far this discussion has concerned George Luks as a oil painter because that is how he is better known. But he also worked in watercolors and produced some of his finest work in this medium."1 His early watercolors were no more than cartoon line drawings, such as an episode for the "Yellow Kid" (cat. nos. 37, 38) which was executed in pen and ink and filled in later, color-book style. When he made the gradual transition from newspaper work to easel painting, he continued to use watercolor as a sketching medium. Several watercolors from his early travels in Spain, France, and Cuba indicate that he was comfortable with producing finished images in this medium before he became involved with oils. (See Havana, Cuba, 1896, The Brooklyn Museum; and Verdun, France, 1902, The Phillips Collection as examples.) Luks became a member of the American Watercolor Society in 1911 with this first exhibition there. The first award Luks ever received in any medium was the Hudnut Award for Watercolors for On the Marne, (whereabouts unknown) an impressionistic work dated 1902 65 By 1918, when Luks was exhibiting at the Kraushaar Gallery in New York, he mounted a show with sixteen watercolors and fourteen oils, further indicating his seriousness about the medium. �41. Highbridge Park, c. 1912 Luks' watercolors were often made after penal sketches which had been done in situ. Th* watercolors themselves might later become an oi painting as in the case of Holiday m the Hudson (T Cleveland Museum) and Mu/tanoy City (whereab unknown). In watercolor, Luks took every advantage of th versatility of the medium. They could be atmosp with a dark, subdued palette as in Daughter of the Mines (cat. no. 48) or tightly controlled and high] colored as in Highbridge Park (cat. no. 41) which shows the influence of Maurice Prendergast. As Talcott remarks in his thesis on the watercolors: In his watercolors Luks was an experimenter. He worked with the clear washes of tradition, with opaque colors, anc these combined with pastels and with ink. h technique he ranged from pseudo-oil to expressive, two-dimensional patterns of the most modem simplicity.1* Again, Luks seemed to let his subject speak to h and dictate technique. It is appropriate to the su that Daughter of the Mines should be executed in washes of earth tones, creating a mood of stublx reliability' and dreary realism. In this he used a traditional oil technique of laying down dark col first and building forms with an overlay of bngh highlights. He may have been looking at the watercolors of such masters as Winslow Homer (1836-1910) and Thomas Eakins (1844-1916) whc used a more traditional approach. More cheerful subjects like the nursemaids of Highbridge Park were more suited to an airy, staccato-brush technique using dashes of pure c in a mosaic-like effect. These, like those of Prendergast, create a rich, two-dimensional des which is modern in feeling. Luks, more than hi; fellow member of The Eight, was apt to interject passages of wash to indicate three-dimensional He would also go back into a watercolor after it dried and add stronger daubs of color over the original strokes, again to create depth. I i c,ritic f°r ^6 Christian Science Monitor noted uks watercolors of Maine were summary ’oppressions "dashed down with repertonal zes �I i Luks' watercolors were often made after pencil -ketches which had been done in situ. The watercolors themselves might later become an oil painting as in the case of Holiday on the Hudson (The Cleveland Museum) and Mahanoy City (whereabouts unknotr n). In watercolor, Luks took every advantage of the versatility of the medium. They could be atmospheric with a dark, subdued palette as in Daughter of the Mines (cat. no. 48) or tightly controlled and highly colored as in Highbridge Park (cat. no. 41) which shows the influence of Maurice Prendergast. As Talcott remarks in his thesis on the watercolors: In his watercolors Luks was an experimenter. He worked with the clear washes of tradition, with opaque colors, and these combined with pastels and with ink. In technique he ranged from pseudo-oil to expressive, two-dimensional patterns of the most modern simplicity.66 Again, Luks seemed to let his subject speak to him and dictate technique. It is appropriate to the subject that Daughter of the Mines should be executed in -washes of earth tones, creating a mood of stubborn reliability' and dreary realism. In this he used a traditional oil technique of laying down dark colors first and building forms with an overlay of brighter highlights. He may have been looking at the watercolors of such masters as Winslow Homer (1836-1910) and Thomas Eakins (1844-1916) who also used a more traditional approach. More cheerful subjects like the nursemaids of Highbridge Park were more suited to an airy, staccato-brush technique using dashes of pure color in a mosaic-like effect. These, like those of Prendergast, create a rich, two-dimensional design which is modem in feeling. Luks, more than his fellow member of The Eight, was apt to interject a few passages of wash to indicate three-dimensional form. He would also go back into a watercolor after it had dried and add stronger daubs of color over the -riginal strokes, again to create depth. , A critic for the Christian Science Monitor noted that -u^s’ watercolors of Maine were summary mpressions "dashed down with repertorial zest and ^ChieoHhp316 thePainter's happiest vein."67 whereof* reas°uns for the success of the over-workfaCt that he COuld not The transit evenwhen he went back into them, serious ± enCy °f the medium did not allow any SDOn^anen IPaUi^S S° 376 fresh and Y sornptim US Luks at his best. His insecurity, which mes marred his oils, could not affect these. As ^ anonymous critic for The New York Times noted hen he compared the watercolors of Luks to those t the Fauvist painter, Maurice Vlaminck, "the lighter medium invites a franker color and a livelier touch."68 Luks produced both oils and watercolors of Nova bcotia. A review in the New York Tribune called them souvenirs of Nova Scotia, reflecting their ability to recreate the feeling of his subject but perhaps also noting that they have less of an emphatic statement than the city scenes and portraits. However, the vitality and piercing depth of color in these pieces make them among the strongest of Luks' images. "There is zest in the subject and there is zest in Mr. Luks' impression of it.6’ (See cat. nos. 16, 42, 44). Critics often used the word "impression" in discussing Luks' work. This is not to link him with the Impressionist school except in the respect that both were interested in registering the momentary. This goes back to Henri and to Hals who felt that the emotion of an instant was expressive of the whole. In his portraits and his landscapes Luks sought to maintain spontaneity. The critics disagree about Luks, as they do with any artist — only more vehemently. They argue about whether his images are sentimental or if they always narrowly avoid this pitfail of the emotional painter; about whether his paintings are too crudely made to have any subtlety or if their finest aspect is their lack of "polish;" about his character and its positive and negative impacts on his work. One writer said, "He prays ... as well as profanes; but he never drools."70 Another felt that "[Luks �11. Jack and Russell Burke, 1911-c. 1923 overtones though that aspect e. •/ ., - ch y , ;,.r often played upon by other artists Luks rejected anv element of tenderness in these personae because he did not feel any. Instead he rch admiration for the elemental reality of their lives and. in part, for their simplicity and directness. Yet in some of his portraits, especially of children, he sometimes came too close to the heart strings for some critics' comfort. As his work matured, he was able to combine the raw strength of his character studies with a compelling sense of tenderness. On the occasion of his first one-man show at Kraushaar's in 1913, a critic wrote: Without wishing to deprive Mr. Luks of any of his laurels as a comedian, for they are well deserved, or to mitigate the terrors his name is still supposed to strike among the "standpatters" in art, it may nevertheless be submitted that he has set a standard in his latest exhibition that even the most fragile members of the American Water Color Society could scarcely call violent. Without losing his enviable vigor, or perhaps it might be better called his latent strength, Luks has attained here in several of his figure subjects something profoundlv loving and delicate something possible only to the really strong, whose powers are under full control. Guy Pene du Bois admired Luks' work for its feminine as well as masculine quality. By this he meant the artist's intuition and penetrating understanding of personality; his ability to capture decadence in one sitter and innocence in another "He will go, like Dickens, from Bill Sykes to Little Nell." And as an anonymous critic wrote, Mr Luks may be uneven . . . but when the thing comes off as he sees it, he steps right into the front rank of American painting."7’ Two artist critics were the hardest on Luks in this respect. Du Bois and Shinn felt that in his single-minded vision of life Luks sometimes missed. "[His] figures either exist tremendously as people, or do not exist at all. Luks' technique w as once most succinctly described as painting "as though he were still engaged in the charge of the Rough Riders up San Juan Hill." At first glance the results are bold and ba r c- H •j, tl n h o . r I �! overtones though that aspect of their character is often played upon by other artists. Luks rejected any element of tenderness in these personae because he aid not feel any. Instead he felt admiration for the elemental reality of their lives and, in part, for their simplicity and directness. Yet in some of his portraits, especially of children, he sometimes came too close to the heart strings for some critics' comfort. As his work matured, he was able to combine the raw strength of his character studies with a compelling sense of tenderness. On the occasion of his first one-man show at Kraushaar's in 1913, a critic wrote: Without wishing to deprive Mr. Luks of any of his laurels as a comedian, for they are well deserved, or to mitigate the terrors his name is still supposed to strike among the "standpatters’’ in art, it may nevertheless be submitted that he has set a standard in his latest exhibition that even the most fragile members of the American Water Color Society could scarcely call violent. Without losing his enviable vigor, or perhaps it might be better called his latent strength, Luks has attained here in several of his figure subjects something profoundly loving and delicate, something possible only to the really strong, whose powers are under full control.72 GuvPene du Bois admired Luks' work for its feminine as well as masculine quality. By this he meant the artist's intuition and penetrating understanding of personality'; his ability to capture decadence in one sitter and innocence in another. "He will go, like Dickens, from Bill Sykes to Little Nell.'"3 And as an anonymous critic wrote, "Mr. Luks may be uneven . .. but when the thing comes off as he sees it, he steps right into the front rank of American painting.''74 Two artist/critics were the hardest on Luks in this respect. Du Bois and Shinn felt that in his single-minded vision of life Luks sometimes missed. "[His] figures either exist tremendously as people, or do not exist at all."'' Luks' technique was once most succinctly -■escribed as painting "as though he were still engaged in the charge of the Rough Riders up San -!uan Hill."7’ At first glance the results are bold and °ne so,metimes makes the mistake of thinking hey can be absorbed during one encounter. ha la anomer look (and they always draw the viewer emotion^ TeVeal subtletV and depth in both form and Contemporary critics sometimes felt that Luks did not offer enough information to the viewer. "He dots no i s and underlines no feature. In faces only the eyes detain him and this is the defect of his quality. His brush gliding scornfully over the nonessential does miss now and then the quintessential."77 For those who can look beyond faces that are sometimes mask-like and bodies which, when scrutinized, are not always anatomically accurate, the artist's ability to minimize detail and emphasize form is the essence of Luks' brilliance. When interviewed on this sixty-fifth birthday, Luks looked confidently to the future and said that artists produce their best work after sixty. Though the statement smacks of Luks’ love of boast and bombast, he had often remarked to friends that he would be a late bloomer. "A man's just out of school at sixty .... All the solid and enduring work in art is done by men who have lived long enough to master their metier and life itself .... I'm just getting started."78 The statement tells us that Luks felt his late work to be at least as good if not much better than his early work. Although he was an artist who developed a style quickly and did not alter it much throughout his active life, some changes do occur in the later work. His forms became simpler and more solid while his palette became brighter, more varied and less mottled, forcing the overall effect to become bolder and, in a sense, quite modern. Technically, his style became more compact and controlled as he tightened both his brushwork and his compositional structure. ,„dS21 image Ann oflMden Bridge,1W i“n?«uss,ll Burke (eat. no. 11). begun in 1911 and altered in 1923, shows theselaterstylistic , through its transformation. The original 85 I ! �one little boy. The rem ' . r,,, and addition of a table with truit v. i’.ackgmund and strip of ochre flooring under tr ;- met accentuates fl two figures as the focal point and creates a solid spa< in which they can exist. Ecb- .-.rd Root. who bought the painting described it tr It shows an exceptionally well sustained feeling for the physical and mental liveliness of small boys, for analogies of rich, intense color and for sharp contrasts of atmosphenc values skillfully employed to appeal to our tactile sense of mass. It is a successful work by an artist who fails too often for lack of due reflection, and its success may be attnbuted in part to the fact that it is a repainting and in part to the fact that it represents a conjunction of lively spiritual, vital and formal motives with a lively, vigorous and expressive artistic temperament Elizabeth Cary noted that his later paintings evok restrained emotion which has a great sense of poi and deliberate dignity which comes with maturity. The pictures he paints today [1931j show the ebullience and directness of a young mind . . . yet their essential likeness lies in the quality to be found only in a mind that has been young a long time; a quality of sustained taste, of preferences at once flexible and stable." Oddly enough, the series of paintings that Luks was working on when he died was a group of twel canvases showing New York pubs and restaurants painted with a palette reduced to black, grew whit< and brown. In this and in their anecdotal subject matter — one shows a gentleman being soundly booted out the swinging doors of "Casey's Hole in the Wall" — they are a throwback to the days of hit newspaper illustrations. Like many of his fellow members of the Philadelphia Five,” but especially like Henn, Luk railed against modernist painting This former rad spoke up against the new ideas in painting not because of their newness but because he thought mem to be cold and lifeless Luks felt that America artists did not need abstract and abstruse terms to �r- one little boy. The removal of this element and the addition of a table with fruit in the background and a strip of ochre flooring under their feet accentuates the two figures as the focal point and creates a solid space in which they can exist. Edward Root, who bought the painting described it thusly: It shows an exceptionally well sustained feeling for the physical and mental liveliness of small boys, for analogies of rich, intense color and for sharp contrasts of atmospheric values skillfully employed to appeal to our tactile sense of mass. It is a successful work by an artist who fails too often for lack of due reflection, and its success may be attributed in part to the fact that it is a repainting and in part to the fact that it represents a conjunction of lively spiritual, vital and formal motives with a lively, vigorous and expressive artistic temperament.7’ Elizabeth Cary noted that his later paintings evoke a restrained emotion which has a great sense of poise and deliberate dignity which comes with maturity. The pictures he paints today [1931] show the ebullience and directness of a young mind... yet their essential likeness lies in the quality to be found only in a mind that has been young a long time; a quality of sustained taste, of preferences at once flexible and stable.80 Oddly enough, the series of paintings that Luks was working on when he died was a group of twelve canvases showing New York pubs and restaurants painted with a palette reduced to black, grey, white, and brown. In this and in their anecdotal subject matter — one shows a gentleman being soundly booted out the swinging doors of "Casey's Hole in the Wall" — they are a throwback to the days of his newspaper illustrations. Like many of his fellow members of the Philadelphia Five," but especially like Henri, Luks railed against modernist painting. This former radical jpoke up against the new ideas in painting not because of their newness but because he thought them to be cold and lifeless. Luks felt that American “ttists did not need abstract and abstruse terms to communicate their ideas. The preponderance of new isms created many late-night discussions on the nature of art and its communicative powers. Luks never tolerated "art talk;" he wanted action. To him, the amount of theory involved in Modernism detracted from the work itself; artists were distracted by their ideas and this in turn hindered their imaging making, so Luks believed. He once said that "Modernism and mediocrity are synonomous." Like many of this time, he believed that the new art was an art of the educated elite and not of the people. "[Luks] cannot play with intellectual abstractions. He will force the evidence of reality until it is impossible for those of duller reactions to miss it."81 As in many progressions from one period in art to the next, it is ironical that the new who become the old often criticize the next generation in the same way that they themselves had been criticized. When "The Eight" had their showing at the Macbeth Gallery, critics screamed that the artists did not paint nature as it was. Their technique was too bold and painterly; their canvases did not look finished. Some people had real difficulty making out the subject matter. Just as Luks had difficulty looking at Matisse, Dove, or O'Keefe. - Judith H. O'Toole �Notes: 1 Benjamin DeCasseres, "The Fantastic George Luks," New York Herald Tribune. September 10, 1933. 2 "Everett Shinn on George Luks: An Unpublished Memoir, “Archives ofAmerican Art Journal, April, 1966, p. 2. 3 Ibid, p. 14. 4 Forbes Watson, "George Luks: Artist and 'Character , Arts, January, 1935, p. 24. 5 Emma Mosley, (Interview with George Luks), Portland Evening Express, August, 1922. 6 Benjamin DeCasseres quoted in Catalog ofan Exhibition of the Work of George Benjamin Luks, a memorial exhibition held at The Newark Museum, October 30,1934 to January 6,1935, p. 12. 7 Watson, op. cit., p. 23. 8 William B. McCormick, "George Luks, Agitator," Arts and Decoration, July, 1914, p. 334. 9 DeCasseres, Newark catalog, op. cit., p. 12. 10 John Sloan quoted in a flyer for an exhibition at ACA galleries, 1967. 11 Sadakachi Hartman, editor, "An Estimate of George Luks," The Stylus, p. 11. 12 Quoted by Ira Glackens in "Little Old George Luks," George Luks 1866-1933, Museum of Art, Munson-Williams-Proctor Institute (Utica, New York), 1973, p. 7. 13 Guy Pene du Bois, "George B. Luks and Flamboyance," New York American, March, 1904, p. 110. 14 Joseph S. Trovato, "About the Exhibition," Museum of Art, Munson-Williams-Proctor Institute, op. cit., p. 14. 15 Photograph file, Kraushaar Gallery. Luks went to Spain on a subsequent trip to Europe in 1892. 16 Gardner's Art Through the Ages (Fifth Edition), New York, 1970, p. 582. 17 Du Bois, op. cit., p. 107. 18 Elizabeth Luther Cary, George Luks (New York: Whitney Museum of American Art), n.d., p. 11. 19 "A Luks Reminiscence," The New York Tinies, November 12,1933 (LFC). 20 John Sloan, "Artists of the Press," Artists of the Philadelphia Press (Philadelphia Museum of Art, 1945), p. 8. 21 Robert Henri, The Art Spirit (Philadelphia: J. B. Lippincott Company, 1923), p. 22. 22 Ibid, p. 23. 23 Ibid, p. 26. 24 Portrait of Robert Henri, 1902, oil on canvas, 24 x 18 inches. Sheldon Memorial Art Gallery, University of Nebraska — Lincoln, Gift of Mrs. Olga N. Sheldon. 25 Bennard B. Perlman, The Immortal Eight (Connecticut- North Light Publishers) 1979, p. 77. 88 26 Cary, op. cit., p. 9. 27 Shinn, op. cit., p. 2. 28 Cary, op. cit., P- 8. 29 James W. Lane, "From the Ashcan into the Incinerator," Art Nett’S, January 1, 1942, p. 13. 30 Note attached to John Sloan's painting, Yeats at Petitpas, 1910. The Cocoran Gallery of Art. Henri thought Yeats was the best British portraitist of the Victorian era. Sloan painted the portrait from memory after Yeats' death. 31 Helen Worden, "Romany Marie says Artists of Today are too Realistic," World Telegram, (undated clipping, LFC). 32 Lloyd Goodrich quoted in the Newark catalog, op. cit., p. 12. 33 John Spargo, "George Luks, An American Painter of Great Originality and Force," The Craftsman, September, 1907, p. 6012. 34 John Sloan's unpublished diary (50-23), Sloan Archives, Delaware Art Museum. 35 Shinn, op. cit., p. 10. 36 Letter from Maurice Prendergast to Mrs. Oliver Williams, Archives of American Art, Esther Williams Papers. 37 Du Bois, op. cit., p. 110. 38 Sloan diary quoted in Perlman, op. cit., p. 175. 39 Du Bois, op. cit., p. 115. 40 Letter dated March 11, 1914, Courtesy Kraushaar Gallery. 41 Shinn, op. cit., p. 10. 42 De Casseres, op. cit., n.p. 43 Anonymous review in Town Topics (1908) quoted in "Brooklyn Revives Memories of 'The Eight'," Art Digest, vol. 18, Dec. 1, 1943, p. 12. 44 Ameen Rihani, "Luks and Bellows/American Painting, Part 111," The International Studio, August, 1920, p. 23- 24. 45 "IV. The Typists: McCarter, Yohn, Glackens, Shinn and Luks, "The Bookman, Vol. CXI, no. 3, pp. 250-251. 46 John Spargo, "George Luks, an American Painter of Great Originality and Force, Whose Art Relates to All the Experiences 1907ln,ereStS°f L'fe" Tl'eCraftS’nan' VoL XH' no‘6' 5ePtember’ 47 "An Assessment of George Luks," The Stylus, Vol. 1, no. 1, December 1909, p. 12. 48 Herald Tribune, August 14,1932, LFC. 49 Undated clipping, Harper's Weekly, HLFC. 50 Mosley, op. cit., n.p. 51 Herald Tribune, August 14,1932, LFC, 52 Art Digest, vo.. VII, no. 4. 53 Art Digest, November 15,1933. 54 ACA, Danenberg. 55 De Casseres, op. cit., n.p. 56 Du Bois, op. cit., p. 113. 57 Shinn, op. cit., p. 12. 58 DeCasseres, .’p Ctl n y 59 James Huneker. fW.e.Y 19201. p 1,11 60 Catherine Beach Ely, M (New York Frederic F. -i I 61 "Luks, the American Frar September 3, 1932, p. 19 t ; -. .. 62 Ibid. 63 Shinn, op. cit. p 6. 64 For a thorough discussion 01 i •■■ks uer: .|..rc,ce Ralph Clayes Talcott. "The Watero-lore w George Luk- unpunished master s thesis. The I ennsvlvama State I me er-it v i 197ii| 65 Arthur Egner dated this work has .-d on one of Luks trips k, Europe. Luks clipping file. Mu-eumot Art Munson-W'illiams-Proctor Institute, Utica New York 66 Talcott, op. cit.. p. 4. 67 "George Luks and his Nev Mannes - a Rubens Sketch, Christian Science Monitor. October u, 1922. 68 New York Times Maguciur, November 5. 1925, LFC. 69 "Exhibitions by Some Artists W ho Think tor Themselves- A Type ot Ambiguous Veracnv" N«t >i»rt Irihune January II 1920. 70 Rihani. op. cit.. p. 26. 71 Hartman, op. cit., p. 11 72 "Art's Bad Boy Now a Poet on (linvaC (unmarked rlippinei March 24, 1913. C ourtesy KraushaarGalk-n 73 Du Bois, op. cit.. p. 118. 74 Unmarked clipping, LFC. 75 Du Bois quoted in the Newark catakig. v; p 13 76 Bruce Chambers, The High Museum ef Art A Birenlennial Catakig 1975, p. 76. 77 Cary, op. cit., p. 77. 78 Herald Tribune August 14, 1932. LFC . 79 Edward Root papers. Lncatalogued. Muns n-Willunw-Proct ’r Institute. 80 Cary, op. cit., p. 74. 81 Du Bois, op, cit., p 13. �16 Cary,op. cit.. p. 9. 17 Shinn, op. cit., p. 2. B Can; op. cit.. p- 8. >9 lames W. Lane, "From the Ashcan into the Incinerator,” Art News, January 1,1942, p. 13. 10 Note attached to John Sloan's painting, Yeats at Petitpas, 1910, The Cocoran Gallen' of Art. Henri thought Yeats was the best British portraitist of the Victorian era. Sloan painted the portrait from memory after Yeats' death. 1 Helen Worden, "Romany Marie says Artists of Todav are too Realistic." World Telegram, (undated clipping, LFC). 2 Uoyd Goodrich quoted in the Newark catalog, op. cit., p. 12. 3 John Spargo, "George Luks, An American Painter of Great Originality and Force,” The Craftsman, September, 1907, p. 6012. ! lohn Sloan's unpublished diary (50-23), Sloan Archives, Delaware Art Museum. 5 Shinn, op. cit., p. 10. 6 Letter from Maurice Prendergast to Mrs. Oliver Williams. Archives of American Art, Esther Williams Papers. 7 Du Bois, op. at., p. 110. 8 Sloan diary quoted in Perlman, op. cit., p. 175. 9 Du Bois, op. cit., p. 115. 0 Letter dated March 11,1914, Courtesy Kraushaar Gallery’. 1 Shinn, op. cit., p. 10. 2 DeCasseres, op. cit., n.p. 3 Anonymous review in Tfarn Topics (1908) quoted in "Brooklyn Revives Memories of 'The Eight'," Art Digest, vol. 18, Dec. 1, 1943, p. 12. 1 Ameen Rihani, "Luks and Bellows-American Painting, Part III," The International Studio, August, 1920, p. 23- 24. 5 "IV. The Typists: McCarter, Yohn, Glackens, Shinn and Luks, ‘The Bookman, Vol. CXI, no. 3, pp. 250-251. ’ John Spargo. "George Luks, an American Painter of Great Originality and Force, Whose Art Relates to All the Experiences and Interests of Life," The Craftsman, Vol. XII, no. 6, September, 1907. n.p. ' "An Assessment of George Luks." The Stylus. Vol. J, no. 1, December 1909. p. 12. ’ Herald Tribune, August 14,1932, LFC. ’ Undated dipping. Harper's Weekly. HLFC. ) Mosley, op. cit. n.p. Herald Tribune. August 14,1932, LFC. !.4ri Digest, vo.. VII, no. 4. I Ari Digest, November 15,1933. I ACA, Danenberg. ! DeCasseres.op. ri/.,np. 1 Du Bois, op cit, p. 113. Shinn, op. cit.. p. 12. 58 DeCasseres, ep. cit., n.p. 59 James Huneker, Bedouins, (New York: Charles Scribner's Sons, 1920), p- n0Ml Catherine Beach Ely, Modem Tendancies in American Paintin "X. (New York: Frederic Fairchild Sherman, 1925), p. 87. 61 "Luks, the American Frans Hals," The Literary Digest, (,2 Ihii. 63 Shinn, op. cit., p. 6. Fora thorough discussion of Luks' watercolors see: Ralph Claves Talcott, "The Watercolors of George Luks," unpublished master’s thesis, The Pennsylvania State University (1970). 65 Arthur Egner dated this work based on one of Luks’ trips to Europe. Luks clipping file, Museum of Art, Munson-Williams-Proctor Institute, Utica, New York. 66 Talcott, op. cit., p. 4. 67 "George Luks and his New Marines — a Rubens Sketch,” Christian Science Monitor, October 9,1922. NcwYorkTimes Magazine, Novembers, 1925, LFC. 69 "Exhibitions by Some Artists Who Think for Themselves: A Type of Ambiguous Veracity," New York Tribune, January 11, 1920. 70 Rihani, op. cit., p. 26. 71 Hartman, op. cit., p. 11. 72 "Art's Bad Boy Now a Poet on Canvas," (unmarked clipping), March 24,1913. Courtesy Kraushaar Gallery. 73 Du Bois, op. cit., p. 118. 74 Unmarked clipping, LFC. 75 Du Bois quoted in the Newark catalog, op. cit., p. 13. 76 Bruce Chambers, The High Museum of Art: A Bicentennial Catalog, 1975, p. 76. 77 Cary, op. cit., p. T1. 78 Herald Tribune, August 14,1932, LFC. 79 Edward Root papers, Uncatalogued, Munson-Williams-Proctor Institute. 80 Car)', op. cit., p. 74. 81 Du Bois, op. cit., p. 13. -A 61. The Bridge, n.d. 89 �I George Luks Artist/Reporter/Illustrator George Luks' place in the history of American art is defined by his paintings of the early decades of this century — paintings which depicted the look of the urban world in which he lived. It was the force of these paintings that made his contribution to the exhibition of " The Fight" so vital Mis early career, however, was that of an illustrator and cartoonist, and the majority of graphic work that he produced during his lifetime was aimed for publication Through Luks' graphic works we can see the evolution of his style and subjec t matter. As he learned to communicate a theme with increasing economy of pen stroke or lithographic crayon, his characteristic boldness of gesture emerged — a gesture which translated similarly into paint on his canvases. The illustration assignments he received necessitated careful observation of individuals a- well as the identifying look of different ethnic or class groups. I he choice of everyday subject matter was further strengthened by Robert Henri's influence on Luks and his Philadelphia realist friends Sloan, Glackens and Shinn. Henri exhorted them to paint the people and scenes from the America they knew Luks' first published works appeared in Puck in 1B91, and in Truth in the following year. 1891-92 alv> marked Luks' debut as a book illustrator when he produced some tentative, undistinguished drawings t(?accompany James L. ford's novel. Dr. DmI s 36. Circus Scene, 1895 90 Lu >.» >Inv r -ari’. -'..k > jrk I’is J<!h life. ! as :r stru hd'.i pw uWT Tun 25.. com r.a inte attit sutf dep �George Luks Artist/Reporter/Illustrator rI George Luks' place in the history of American art is defined by his paintings of the early decades of this century — paintings which depicted the look of the urban world in which he lived. It was the force of these paintings that made his contribution to the exhibition of "The Eight" so vital. His early career, however, was that of an illustrator and cartoonist, and the majority of graphic work that he produced during his lifetime was aimed for publication. Through Luks' graphic works we can see the evolution of his style and subject matter. As he learned to communicate a theme with increasing economy of pen stroke or lithographic crayon, his characteristic boldness of gesture emerged — a gesture which translated similarly into paint on his canvases. The illustration assignments he received necessitated careful observation of individuals as well as the identifying look of different ethnic or class groups. The choice of everyday subject matter was further strengthened by Robert Henri's influence on Luks and his Philadelphia realist friends: Sloan, Slackens and Shinn. Henri exhorted them to paint the people and scenes from the America they knew. , Luks' first published works appeared in Puck in 1891, and in Truth in the following year. 1891-92 also marked Luks' debut as a book illustrator, when he produced some tentative, undistinguished drawings *'J accompany James L. Ford's novel, Dr. Dodd's xnool. Luks' illustrations for Puck and Truth consisted mainly of pen-and-ink cartoons, usually caricatured m s y ez depicting humorous vignettes of city life, or even occasionally current political or social themes, he founder of Puck, Joseph Keppler, was himself a cartoonist, whose satirical lithographs undoubtedly influenced Luks style during his brief career as a political cartoonist at the end of the decade. Luks' early cartoons give little hint of the mature Luks' style, and are similar in manner to countless other cartoonists' work in humorous journals of the period. It is possible, however, to detect Luks' characteristic delight in farcical situations, which he enacted in real life as well as in his work. In "Practical Reciprocity" (Puck, July 1, 1891), Luks shows the two main figures, as they appear in the fifth frame, in a vaudeville-like strut, victoriously leaving a saloon from which they have just finagled a free lunch. Perhaps the dramatic poses and gestures of the cartoon derive from Luks' own early stage experience. A Truth cartoon, "The Turning Down of Jack the Hair-Clipper" (September 25,1893) (Cat. no. 34) also makes use of exaggerated comic poses. Neither we nor the criminal "hair-clipper" are immediately aware of the snake intertwined in the proposed victim's braid, but the attitudes and facial expressions of the characters are sufficient to express the humorous effects. Occasional depictions of street urchins in these illustrations �presage their later appearance in Luks' "Yellow Kid cartoons for the New York World. In 1894, Luks began work as an artist-reporter for the Philadelphia Press. It was there he met Everett Shinn, who had been working for the Press since the previous fall; the two men became friends, and shared living quarters. They also met John Sloan and William Glackens, similarly employed by Philadelphia newspapers. Actually, all four artists worked for the Press in 1895, although not at the same time. Nevertheless, they assembled in the Press art department, along with other artist-reporter friends, in a convivial atmosphere of discussion and amicable rivalry that helped develop their artistic ideas and training. Robert Henri's Thursday evening social gatherings at his studio provided a further gathering place, as well as inspiration, for the young artists. The job of artist-reporter was a function of the 1890's when various newspapers, following the New York World's lead, began to employ artists to illustrate news stories. They served in the role that newspaper photographs were soon to supplant; by the end of the 1890's, the halftone process had been developed to a point which enabled the newspapers to use photographic reproductions instead of the earlier photoengraving method. Artist-reporters were sent out on assignments to cover newsworthy events, and to make a pictorial record, usually on the scene. Typical stories illustrated included fires, accidents caused by streetcars, runaway horses, or bicyclists, and criminal trials. Of necessity, the artists had to make rapid sketches, noting only the essentials of episode and setting. Back at the newspaper the drawing would be completed, with most of the details put in from memory. Such work trained the artists to observe quickly, to execute the drawing rapidly and spontaneously, and to retain mental images for further use. Luks' early newspaper illustrations, unfortunately, are difficult to attribute. The Philadelphia papers, as well as others, favored an anonymous, generalized style of drawing. Because an illustration was often started by one artist and finished by another, or even worked on in sections by several artists, it was deemed most practical to surpress individualized 92 stylistic mannerisms, and for artists to work as similarly to each other as possible.1 The Press to have preferred their artists not to sign theirv. ork. In 1895 Luks moved to the Philadelphia Evening Bulletin; the drawings he produced for that publication are signed, and to some extent, notorious. The Bulletin sent him to Cuba in December of 1895, along with reporter Maurice O'Leary, to cover the Cuban rebellion — a series of events leading to the Spanish-American War. Luks was assigned to supply drawings to accompany O'Leary's written accounts, and did in fact send back thirty drawings which were published by the Bulletin between January and March of 1896. The illustrations, though sometimes crudely done, have a sense of on-the-scene veracity, vitality and drama. Captions further suggest that the drawings were eyewitness accounts of events. "In Hot Pursuit of a Scout" is a particularly vivid image, in which Luks depicts a Cuban revolutionary shot off his horse by Spanish troops. Horse, falling rider, and shadows provide dynamic diagonal compositional elements. The legend underneath the illustration reads in part: "'The Bulletin' artist in Cuba sketches him as he falls from the saddle." Only one of Luks' Cuban illustrations was acknowledged as being based on an insurgent's battlefield sketch; all the other captions imply or state outright that Luks made the drawings from life. The truth seems to be, however, that Luks based the illustrations on verbal accounts of the events, or drew from his imagination. Luks clouded the issue by embellishing on his Cuban experiences in recounting them to his friends. He told of an occasion when he and other war correspondents, including Stephen Crane and Richard Harding Davis, were riding a train through Cuba. When gunfire broke out, Luks supposedly ducked under the seat, saying to the others, "You fellows sit up there, I have a future." Luks knew how to tell a good story, but in fact neither Crane nor Davis was in Cuba at that time. Davis, a correspondent for the New York Journal, did not arrive there until January of 1897, accompanied by illustrator Frederick Remington; and Stephen Crane, on assignment for McClure's, went to Cuba in 1898. �Sh-listic mannerisms, and for artists to work as similarly to each other as possible. The Press seems to have preferred their artists not to sign their work. In 1895 Luks moved to the Philadelphia Evening Bulletin; the drawings he produced for that publication are signed, and to some extent., notorious. The Bulletin sent him to Cuba in December of 1895, along with reporter Maurice O'Leary, to cover the Cuban rebellion — a series of events leading to the Spanish-American War. Luks was assigned to ° supply drawings to accompany O’Lean-'s written accounts, and did in fact send back thirty drawings which were published by the Bulletin between January and .March of 1896. The illustrations, though sometimes crudely done, have a sense of on-the-scene veracity, vitality and drama. Captions further suggest that the drawings were eyewitness accounts of events. "In Hot Pursuit of a Scout" is a particularly vivid image, in which Luks depicts a Cuban revolutionary shot off his horse bv Spanish troops. Horse, falling rider, and shadows provide dynamic diagonal compositional elements. The legend underneath the illustration reads in part: '"The Bulletin' artist in Cuba sketches him as he falls from the saddle." Only one of Luks' Cuban illustrations was acknowledged as being based on an insurgent's battlefield sketch; all the other captions imply or state outright that Luks made the drawings from life. The truth seems to be, however, that Luks based the illustrations on verbal accounts of the events, or drew from his imagination. Luks clouded the issue by embellishing on his Cuban experiences in recounting them to his friends. He told of an occasion when he and other war correspondents, including Stephen Crane and Richard Harding Davis, were riding a train through Cuba. When gunfire broke out, Luks supposedly ducked under the seat, saving to the others. 'You fellows sit up there, I have a future."Luks knew how to tell a good story, but in fact neither Crane nor Davis was in Cuba at that time. Davis, a correspondent for the New York Journal, did not amve there until January’ of 1897, accompanied by ustrator Frederick Remington; and Stephen Crane, on assignment for ?4cC/u re s, went to Cuba in 1898. Truth 34. The Turning Down ofJack the Hair-Clipper, 1893 THE 1 URNINC DOWN OF JACK THE HAIR-CLIPPER 93 �37. New Year’s Celebration in Hogan's Alley, 1896 I uks himself was back in Ai k ri . ;b Aprii l)f 18% having been fired by the B e : Another of [ Cuban stories told how he disguised hitn^lf as a dcK in order to elude Cuban spies, and ran through the h Havana streets, holding his draw mgs in his mouth like a bone. As Guy Pene du B. -is put it, His tales an Arabian Nights naturalized in America." iears after his return to the United states Luks told triends that he had actually been confined to Havana, along with other correspondents, and that he had made his drawings in Havana saloons [f Luks was fabricating his news illustrations, he was not alone in this practice. The Cuban situation provided precious material for use in the circulation rivalry between newspapers. Many publishers, like William Randolph Hearst and Joseph Pulitzer, encouraged reporters and artists to create exaggerated and misleading accounts and illustrations, aimed at capturing the public’s imagination.* Luks probably was fired by the Bulletin for irregularities in completing his assignments, but he dramatized the departure, stating that he had been imprisoned by the Spanish, and had barelv escaped with his life. By April of 1896, he had been hired as an illustrator by Arthur Brisbane, the New York Vtorld managing editor. His first assignments for the were pictures accompanying news stones, and singl cartoons. Subject matter included incidents from the Cuban rebellion, as well as other current events. By the fall, Luks had pretty much left news illustration behind him as he turned his energies to the Sunday comic supplement of the World. Although Luks' cartoons form the bulk of his illustrative oeuvre, they are often passed over quickb by art critics and historians. This is due in part because his paintings brought him greater fame. an< in part because his most famous cartoon senes, the Yellow Kid," was drawn as an imitation of, and in competition with, the original "Yellow Kid." created by Richard F. Outcault for the World. More properly entitled Hogan's Alley, the series dealt with slum children. The hero, a street urchin, almost imanabl appeared in a nightshirt. When the Wcn'J purchase; four-color rotary' press, the foreman wanted to test �.VIW vrEKl-Y------------ ' A hL»,V. Luks himself was back in America by April of 1896 having been fired by the Bulletin. Another of Luks'' Cuban stories told how he disguised himself as a dog inorder to elude Cuban spies, and ran through the Havana streets, holding his drawings in his mouth like a bone. As Guy Pene du Bois put it, "His tales are Arabian Nights naturalized in America."3 Years after his return to the United States, Luks told friends that he had actually been confined to Havana, along with other correspondents, and that he had made his drawings in Havana saloons. If Luks was fabricating his news illustrations, he was not alone in this practice. The Cuban situation provided precious material for use in the circulation rivalry between newspapers. Many publishers, like William Randolph Hearst and Joseph Pulitzer, encouraged reporters and artists to create exaggerated and misleading accounts and illustrations, aimed at capturing the public's imagination.4 Luks probably was fired by the Bulletin for irregularities in completing his assignments, but he dramatized the departure, stating that he had been imprisoned by the Spanish, and had barely escaped with his life.5 By April of 1896, he had been hired as an illustrator by Arthur Brisbane, the New York World's managing editor. His first assignments for the World were pictures accompanying news stories, and single cartoons. Subject matter included incidents from the Cuban rebellion, as well as other current events. By the fall, Luks had pretty much left news illustration behind him as he turned his energies to the Sunday comic supplement of the World. Although Luks' cartoons form the bulk of his illustrative oeuvre, they are often passed over quickly by art critics and historians. This is due in part because his paintings brought him greater fame, and in part because his most famous cartoon series, the fellow Kid," was drawn as an imitation of, and in competition with, the original "Yellow Kid,” created Richard E Outcault for the World. More properly entitled Hogan's Alley, the series dealt with slum children. The hero, a street urchin, almost invariably appeared in a nightshirt. When the World purchased a four-color rotary press, the foreman wanted to test She "£ V'dye ?n tsuitab’y enW space, and chose helped m vn'5h hlrt' The result was the hue that kpe the Car£toon character famous, and the kind i' °TjVer ^ter ye^0w* was ohen used as a verbalS^^ Because of the enormous popularity of "The Yellow MU, the cartoon became a pawn in circulation battle: !S between World publisher Pulitzer and Hearst, publisher of the New York Journal. Hearst had no scruples about stealing personnel from Pulitzer, and lured away the World's Sunday supplement staff, who returned to the World when Pulitzer offered them more money. Hearst promptly made a counter offer, and the staff went over to the Journal. Outcault brought Hogan's Alley with him, so that the comic strip now appeared in the Journal. Pulitzer, undaunted, assigned George Luks to continue the series in the World, as if no interruption had occurred. The resulting two "Yellow Kids" became part of lawsuits, but despite the litigation, both "Yellow Kids" continued to flourish. Other papers referred to the World and the Journal as "Yellow Kid journals," and soon dropped "kid" from the phrase, so that "yellow journalism" came into common parlance, referring to the competitive sensationalism of the press.6 There was virtually no stylistic difference between the two versions of the cartoon. Luks was able to duplicate Outcault's manner exactly. The humor depended partly on the caricatured figures, and partly on the verbal massages spread throughout the drawing. Almost all the verbal style was done in the dialect of the streets, replete with the misspellings we would expect of the semi-literate. When Luks took over the World's version of the "Yellow Kid," he added two characters to those invented by Outcault: these were the young twin brothers " Alex" and "George." He was to use them later, in other cartoons. "New Year s glebrahon m Hogan's Alley" (December 27,1896}(Cat. no 3J the scene in a cascade of humanity set against an ALLE'i 95 �Fig. 17. George Luks, Advantages of Life in New York, illustration for The Verdict, February 13,1899. Courtesy, the Library of Congress. 13/*. ADVANTAGES OF LIFE IN NEW YORK The Gnntr: 1 Qn S,, N.> Eixrml began on June 27,1897. "Mose" appeared concurrently with the "Yellow Kid," and after Luks stopped drawing the "Kid," in December of 1897, "tylose" continued under variations of title until April of 1898. "Mose," unlike the "Yellow Kid," was the inhabitant of a rural setting. The comic aspects depended on stock negro characterizations derived from vaudeville and the popular fiction of the dav In addition to the big chicken "Mose," other characters included "Uncle Remus" and the "Kalsomine family-" (In an analagous rivalry to that of the two "Yellow Kids" of Luks' and Outcault's, "L'ilMose" was created for the New York Herald by Outcault in 1901, seemingly in imitation of Luks' series.) The ethnic caricatures that are employed in the "Mose" series occasionally appeared in the "Yellow Kid" also, extending to various minorities. The stereotypical images used by Luks should not be perceived as personal insensitivity on his part, but rather as an indication of his participation in the commonly held attitudes of his time. In Luks' comic series, themes of poverty and lower-class life were expressed in a manner made palatable to the public. The "Yellow Kid," incredibly popular, generally utilized as background realistically drawn tenement slums. It is interesting that when similar depictions appeared in the paintings of "The Eight," they were not as easily acceptable to the art public. It was left to the popular arts such as comic strips, magazine illustrations, movies and theater, to show the seamier sides of American life. Such subject matter violated notions of what fine art should depict. Luks left the World in 1899 to become the chief cartoonist for The Verdict. The Verdict was a weekly periodical backed by Oliver H. P. Belmont, and edited by Alfred Henri Lewis. It was a highly political, democratic, satirical paper, whose cartoons mirrowed its editorial policy. In its brief existence (1898-1900), the magazine fought against the power of the trusts in general, attacking with special vigor the Vanderbilt interests, and Cleveland, McKinley, and Mark Hanna. Luks' new position proved to be a showcase as well as a catalyst for his graphic abilities. Hie irdfcf's large format allowed generous scope for the ull page color cartoons which illustrated the front and bad centerfc rich hue savage; January pen-am lithogrs emerge descrip and pal caricah are eve approp cartooi Thei corpul showii his ear percei’ politic of the news) previc style c aagg finds pearsubse unfor perpt dollai done in sei On trans prod trollc Crip| sinis built ares ewe ske’a En& the I �■aa. Rhk-e. ten CENTS. W FEBRUARY i i, ><*■»■> f OF LIFT IN NEW YORK S» N* I V,n., Evjinuts lr heean on June 27, 1897. "Mose" appeared concurrently with the "Yellow Kid," and after Luks stopped drawing the Kid," in December of 1897 "Mose" continued under variations of title until April f 1898. "Mose," unlike the "Yellow Kid," was the inhabitant of a rural setting. The comic aspects depended on stock negro characterizations derived from vaudeville and the popular fiction of the day In addition to the big chicken "Mose," other characters included "Uncle Remus" and the "Kalsomine family-" (In an analagous rivalry to that of the two "Yellow Kids" of Luks' and Outcault's, "L'il Mose" was created for the New York Herald by Outcault in 1901, seemingly in imitation of Luks' series.) The ethnic caricatures that are employed in the "Mose" series occasionally appeared in the "Yellow Kid" also, extending to various minorities. The stereotypical images used by Luks should not be perceived as personal insensitivity on his part, but rather as an indication of his participation in the commonly held attitudes of his time. In Luks' comic series, themes of poverty and lower-class life were expressed in a manner made palatable to the public. The "Yellow' Kid," incredibly popular, generally utilized as background realistically drawn tenement slums. It is interesting that when similar depictions appeared in the paintings of "The Eight," they were not as easily acceptable to the art public. It was left to the popular arts such as comic strips, magazine illustrations, movies and theater, to show the seamier sides of American life. Such subject matter violated notions of what fine art should depict. Luks left the World in 1899 to become the chief cartoonist for The Verdict. The Verdict was a weekly periodical backed by Oliver H. P. Belmont, and edited by Alfred Henri Lewis. It was a highly political, democratic, satirical paper, whose cartoons mirrowed its editorial policy. In its brief existence (1898-1900), the magazine fought against the power of the trusts in general, attacking with special vigor the Vanderbilt interests, and Cleveland, McKinley, and Mark Hanna. Luks' new position proved to be a showcase ’swell as a catalyst for his graphic abilities. The 'edict's large format allowed generous scope for the all page color cartoons which illustrated the front centerfold °VTherihWe11 aS the double page rich hues whJh iisuXeJh?™^58 USed produced savage satires T nVc enhanced even the most January 2 to OctoberhOm !SS=~S~'~ descriptive ’ P°WerfuI 8raPhic Bold and patches of -< ' "i W'th fine'y hatched areas caricaturedI P flatcolor' Backgrounds to are even sensh^5 °rCn reallst,caliy depicted and apP^°Pr’nte settings^The'overal^effect'o'Hhe61 corpulent form of political boss Mark Hanna/ showing him as ape-like, with dollar signs adorning his earlobe and thumb. From such images we can percewe some of the formative influences on Luks' political cartoon style. Needless to say, he was aware of the work of contemporary editorial cartoonists on newspaper and magazine staffs. As mentioned previously, he had also encountered the lithographic style of Joseph Keppler while working for Puck. Luks' exaggeration of the grossness of Mark Hanna’s body finds its most famous antecedents in Philipon's pear-shaped Louis Philippe and Daumier's subsequent lithographs emphasizing that monarch's unfortunate form. The over-fed politician type was perpetuated in America with Thomas Nast's dollar-emblazoned, obese "Boss" Tweed caricatures, done for Harper's. Echos of Daumier and Nast turn up in several of The Verdict cartoons. One of The Verdict's "crusades" dealt with transportation problems in New York City, and Luks produced three cartoons on the subject of the perils of trolley cars. "The Annual Parade of the Trolley Cripple Club" (The Verdict, March 30,1899) presents a sinister burlesque. Against a realistic backdrop of city buildings, crowds swarm around trolley cars. People are swathed in bandages; some use crutches, or wear eyepatches. The trolley motormen are grinning skeletons. The nightmarish, teeming scene has an Fnsor-like Quality. "How the Police Facilitate Traffic at She^Broadway Crossings" (The Verdict, Feb. 6,1899) 97 �45. Polo. A Few Motion Pictures by Ceorge Luks, 1922 98 shows a policeman giving mixed and confusing signals to the traffic. Three horse cabs and a trollev are involved in collisions. The bodies of a cab drive and a pedestrian lie under one cab; another victim feet appear at the low er left edge of the lithograph ■phe rotund policeman has a jolly, grinning countenance, which adds a particularly macabre effect. The top of the print is filled with a melee of drivers hauling back on the reins in an effort to pu up their horses and avert further disaster. The thir the traffic cartoons appeared on the cover of The Verdict (Feb. 13,1899) (Fig. 17). In this version a Broadway streetcar has run over a man, whose ne dismembered corpse lies across the tracks. The coroner and several top-hatted colleagues discuss incident, while a policeman, an urchin, and passers-by look on. The trolley conductor grins unconcernedly. The caption reads: "Advantages < Life in New York: The Coroner: I can see no exten evidence of injury." The anti-trust cartoons usually incorporate port of the leaders of finance and industry, as for exam Havemeyer, Morgan, Rockefeller, Whitney and Vanderbilt, as well as Hanna and McKinley. Seld< flattering, these depictions show Luks' ability to capture the essence of a portrait likeness with a fe strokes of the crayon. By the time Luks left The Verdict, he was gaining success as a painter. His career turned in that direction, and he left full-time illustration behind him. From time to time, however, he published s notable examples of his graphic skill. One such occasion occurred when the publishing firm of Frederick J. Quinby of Boston decided to product illustrated American edition of the novels of Cha Paul de Kock, a somewhat racy French novelist popular during the nineteenth century. The Quinby Company commissioned William Glackens to undertake the project, which compn a series of fifty volumes. Because of the extent of job, Glackens invited his friends to share the woi and Luks, Shinn, John Sloan, James Preston and Frederick R. Gruger all participated. Invoked in problems, the publisher never finished the anticipated edition, but several volumes were �hre- In George Luk- shows a policeman giving mixed and confusing Canals to the traffic. Three horse cabs and a trolley are involved in collisions. The bodies of a cab driver and a pedestrian lie under one cab; another victim's feet appear at the lower left edge of the lithograph. The rotund policeman has a jolly, grinning countenance, which adds a particularly macabre effect. The top of the print is filled with a melee of cab drivers hauling back on the reins in an effort to pull up their horses and avert further disaster. The third of the traffic cartoons appeared on the cover of The Verdict (Feb. 13,1899) (Fig. 17). In this version a Broadway streetcar has run over a man, whose neatly dismembered corpse lies across the tracks. The coroner and several top-hatted colleagues discuss the inadent, while a policeman, an urchin, and passers-by look on. The trolley conductor grins unconcernedly. The caption reads: "Advantages of Life in New York: The Coroner: I can see no external evidence of injury." The anti-trust cartoons usually incorporate portraits of the leaders of finance and industry, as for example, Havemeyer, Morgan, Rockefeller, Whitney and Vanderbilt, as well as Hanna and McKinley. Seldom flattering, these depictions show Luks' ability to capture the essence of a portrait likeness with a few strokes of the crayon. By the time Luks left The Verdict, he was gaining success as a painter. His career turned in that direction, and he left full-time illustration behind him. From time to time, however, he published some notable examples of his graphic skill. One such occasion occurred when the publishing firm of Frederick J. Quinby of Boston decided to produce an illustrated American edition of the novels of Charles Paul de Kock, a somew’hat racy French novelist popular during the nineteenth century. The Quinby Company commissioned William Glackens to undertake the project, which comprised a series of fifty volumes. Because of the extent of the job, Glackens invited his friends to share the work, and Luks, Shinn, John Sloan, James Preston and Frederick R. Gruger all participated. Involved in legal problems, the publisher never finished the anticipated edition, but several volumes were p mted, including the two volumes of de Kock's (1904)' which Luks illustrated with etching; ;s and drawings. In preparation for the de Kock commission, the friends researched appropriate ^lustrations; of the period in order to gain knowledge ot fashions, settings, and the look of contemporary book illustration. Of the group, Luks' illustrations seem the most caricatured and the most free of obvious artistic influences. Perhaps we may detect a touch of Gavarni's satiric touch, and, particularly in the etchings, some Goya-like strength of characterization. Luks' cartoonist background is also an element, especially noticeable in the vignettes. In the decades that followed, Luks occasionally contributed drawings to The New Yorker and Vanity Fair. The subject matter in these late illustrations is usually of polite society and its interests, rather than the harsher realities shown in his works of the 1890's. The Vanity Fair subjects included sports such as polo and baseball, depicted with spontaneous, quick, bold, gestural lines. In one such illustration. Vanity Fair's caption of "Polo: A Few Motion Pictures" (September 1922) underscores Luks' ability to capture a moment of action with a virtuoso economy of means (Cat. no. 46). Other drawings, also in the same sketchy style, show scenes of the park, restaurants, art studios, etc., often peopled with humorous types. The New Yorker sketches likewise suggest the rapidity of execution of the trained observer who was once an ^in summary many of the aspects of George Luks' paintings style may be seen evolving in his graphic work, from its first tentative beginnings to the sureness of approach manifested in his works of the turn-of-the-century and later years. A delight general, gisss- entire artistic output. Nina Kasanof �1i I Notes 1 John Sloan, Noh-s, 1950, p. 20. These unpublished notes exist in typescript in the John Sloan Trust, Delaware Art Museum, Wilmington. 2 Bennard B. Perlman, The Immortal Eight, Westport (Connecticut), 1979, p. 63, recounts the Cuban train story, discussed in conversation with Guy P£ne du Bois on September 5,1952. 3 Guv Pene du Bois, New York American, March, 1904, p. 32. 4 Charles Henn- Brown, The Correspondent's War, New York, 1967, v-vi. and 11, describes the fabrication of news reports from Cuba as a consequence of the newspapers' rivalry. When Richard Harding Davis and Frederick Remington arrived in Cuba in 1897, Remington wired publisher Willaim Randolph Hearst: ‘Everything is quiet. There is no trouble. There will be no war. I wish to return." Hearst wired back: "Please remain. You furnish the pictures and I'll furnish the war." (Brown, 78.) Brown further recounts a scandal occasioned by a Davis report which was embellished by the Journal (February 12,1897) so as to reveal: "Indignities Practiced by Spanish Officials on Board American Vessels . . . Refined Young Women Stripped and Searched by Brutal Spaniards While Under Our Flag on the Olivette." (Brown, 80-81.) Remington's illustration for the story showed a nude female standing amid the "Brutal Spaniards." Remington later admitted the drawing was a product of his imagination, done in the New York newspaper office. He added that he knew some "of the Cuban war news is manufactured on the piazzas of the hotels of that town [Key West] and of Tampa by utterly irresponsible newspapermen who accept every rumor that finds its way across the gulf to the excitable Cuban cigarmakers of Honda, and who pass these rumors on to some of the New York papers as facts and as coming direct from the field." (Brown, 82-83.) 5 Perlman, 64, n. 70. 6 Brown, 15. 1 George Luks: An American At Checklist of the Exhibition £ ffT Ji All dimensions in inches; height preceeds width Oils I $ 33. Two Bums, c. 1890 1 I I I 100 n.d" signifies no date. 1. Boys with Dog, Cuba, 1896 Oil on canvas, 24 x 30 Collection of Mr. and Mrs. C. Harn* Foster *2. Gramps, c. 1900 Oil on canvas, 24 x 20 Signed on back "Gramps/George Luks" Private Collection 3. The Louvre, Paris, Evening, 1902 Oil on panel, (Phs x 85/r Museum of Art Munson-Williams-Proctor Institute Edward W. Root Bequest (1957) 4. Luxembourg Gardens, Paris No. 2,1902 Oil on panel, 6x8l/z Museum of Art Munson-Williams-Proctor Institute Edward W. Root Bequest (1957) 5. Allen Street, c. 1905 Oil on canvas, 32 x 45 Signed "George Luks" lower right Hunter Museum of Art Gift of Miss Inez Hvder 6. r-i Oi Si! Bn 7. W Oi W Gi 8. Sr Oi Si c< 9 Fe O Si G c G 10. R 0 5 V Ir �George Luks: An American Artist Checklist of the Exhibition 6 AU dimensions in inches; height preceeds width, "n.d." signifies no date. Oils 1. Boys with Dog, Cuba, 1896 OU on canvas, 24 x 30 Collection of Mr. and Mrs. C. Harry Foster *2. Gramps, c. 1900 Oil on canvas, 24 x 20 Signed on back "Gramps/George Luks" Private Collection 3. The Louvre, Paris, Evening, 1902 Oil on panel, 61/s x 85/s Museum of Art Munson-Williams-Proctor Institute Edward W. Root Bequest (1957) 4. Luxembourg Gardens, Paris No. 2, 1902 Oil on panel, 6 x 8V2 Museum of Art Munson-Williams-Proctor Institute Edward W. Root Bequest (1957) 5. Allen Street, c. 1905 Oil on canvas, 32 x 45 Signed "George Luks" lower right Hunter Museum of Art Gift of Miss Inez Hyder 6. The Cafe Francis, c. 1906 Oil on canvas, 36 x 42 Signed "George Luks" lower right Butler Institute of American Art 7. Woman with Goose, 1907 Oil on wood, 16 x 20 Whitney Museum of American Art Gift of Gertrude Vanderbilt Whitney 8. Beggar Woman in Moonlight, 1907 Oil on canvas, 24 x 18 Signed "George Luks" lower right Collection of Mr. and Mrs. Meyer P. Potamkin 9. Feeding the Pigs, c. 1908 Oil on canvas, 201/4 x 28 Signed "George Luks" lower right Collection of Mead Art Museum, Amherst College Gift of Mr. and Mrs. A. M. Adler 10. Pavlova's First Appearance in New York, c. 1910 Oil on canvas, I6V2 x 20 Signed "George Luks" lower right Museum of Art Munson-Williams-Proctor Institute �11. Jack and Russell Burke. 1911-C.1923 Oil on canvas, 45*/s x 39 Signed "George Luks" upper left Museum of Art Munson-Williams-Proctor Institute Gift of Edward W. Root (1954) 20. Three lbf> Berg!..•: : Oil on canvas 30 ,\ G Signed "George 1 e rr The Detroit Institute •>; -:; Purchased from th- ... i ]uy-, J 21. Ciwf Miner, 1926 Oil on wood pmel. 14 > x , Signed "G. Luk ' lower right Courtesy of ( hil l • (..tllerv, New Vork Citv 22. The Folka Dot Dr. ., Oil on i anva •. ‘>s , ’>? National Museum of American Art Smithsonian Institution Gift ot Mrs Howard Wemgro,'VS 23. Ann of Maldt n Bridg<, 1930 t *il <>n canvas, ftO x 40 Signed "( leorge I.til " lower right Private Collet turn 24. Soi li ly I udy. c 1912 Oil on canv.i-., 4 1 < 33' , Sordoni Ail Galiev. Wilkes ( olli g( 25. Cut and Kittens, n.d. Oil on canvas, 22‘'r . 27 Signed "GcoB Luk.'' Giver right Collection of Mrs P B. Humphreys 2ft. Illume h i. Mu io Im ,’tt■, n d I til on < anvas, 2ft'T • 30 Signed "< .Gorge Luks" lower left Berry-1 fill f .alleries, In 12. Telling Fortunes, 1914 Oil on canvas, 20 x 1ft Signed "George Luks" lower right The Phillips Collection Acquired 192ft 13. Brooklyn Bridge, 191 ft Oil on canvas, 14 x 19 Collection of Mr. and Mrs. Meyer I* Pot,uni in 14. Fortran of Antoinette Kraushaar, 1917 Oil on canvas, 60 x 40 Signed "George Luks" lower right Collection of Miss Antoinette Kraushaar 15. Blue Devils on Fifth Avenue, 1917 Oil on canvas, 387/e x 44'/z Signed "George Luks" lower left The Phillips Collection Purchased from the artist, 1918 16. Trout Fishing, 1919 Oil on canvas, 25 x 30 Signed "George Luks" lower right Delaware Art Museum Gift of Mrs. Alfred E. Bissell 17. Boy with Bowl, c. 1921 Oil on canvas, 30 x 25 Signed "George Luks" lower right Lehigh University Art Galleries Permanent Collection 18. Breaker Boy, 1921 Oil on canvas, 30 x 25 Signed "George Luks" lower left Walker Art Center, Minneapolis; John T. Baxter Memorial Collection of American Drawings, 1949 19. The Fly Weight, 1925 Oil on canvas, 20 x 16 Signed "George Luks" lower left Collection of Mr. and Mrs. Sigmund H. Hyman 43. Guide Fishing, 1919 102 I 27 Ijiughing Nude, n d Oil on canvas, 30x25 Signed "( .eorge 1 uV.s" lower left Private Collection 28. lenving Heifer, n.d. Oil on canvas. 12 « 1ft1-. Signed "George Luks" lower right Museum of Art Munson-Wiliiams-Pnxtar Institute 29. Buy with Bugle, n d Oil on canvas, 20 x ]ft Signed "George Luks" lower left Courtesy of Kraushaar <>al!enes �e, 1911-C.1923 x39 ks" upper left nson-Williams-Proctor toot (1954) I 6 <s" lower right on 9 1 Mrs. Meyer P. Potamkin Kraushaar, 1917 0 is" lower right ntoinette Kraushaar venue, 1917 <44V2 rs" lower left an artist, 1918 0 rs" lower right im . Bissell 1 5 ;s" lower right rt Galleries Permanent 5 s" lower left linneapolis; (rial Collection of 1949 6 s" lower left IMrs. Sigmund H. Hyman 20. Three Top Sergeants, 1925 Oil on canvas, 30 x 36 Signed "George-Luks" lower right The Detroit Institute of Arts Purchased from the artist, 1925 21. Coal Miner, 1926 Oil on wood panel, 143/4 x 9'A> Signed "G. Luks" lower right Courtesy of Childs Gallery, New York City 22. The Polka Dot Dress, 1927 Oil on canvas, 58Vs x 37 National Museum of American Art, Smithsonian Institution Gift of Mrs. Howard Weingrow 23. Ann of Malden Bridge, 1930 Oil on canvas, 60 x 40 Signed "George Luks" lower right Private Collection 24. Society Lady, c. 1932 Oil on canvas, 43 x 33Hz Sordoni Art Gallery, Wilkes College 25. Cat and Kittens, n.d. Oil on canvas, 22^4 x 27 Signed "Geo B Luks" lower right Collection of Mrs. R. B. Humphreys 26. Gloucester, Massachusetts, n.d. Oil on canvas, 26V4 x 30 Signed "George Luks" lower left Berry-Hill Galleries, Inc. 27. Laughing Nude, n.d. Oil on canvas, 30 x 25 Signed "George Luks" lower left Private Collection 28. Lowing Heifer, n.d. Oil on canvas, 12 x 161Ib Signed "George Luks" lower right Museum of Art Munson-Williams-Proctor Institute 29. Boy with Bugle, n.d. Oil on canvas, 20 x 16 Signed "George Luks" lower left Courtesy of Kraushaar Galleries 48. Daughter of the Mines, 1923 103 �40. 41. *42 25. Cat and Kittens, n.d. 60. Study for "Cat and Kittens," n.d. 104 34. The Turning Down of jack the Hatr-Clipper, 1893 Illustration (color), 13'.'hx 10 Truth. September 23,1893 Collection of Clyde Singer 35. Children Nowadays, 1893 Illustration (color), 131(2xlOl i Truth, March 18, 1893 Collection of Clyde Singer 36. Circus Scene, 1895 Gouache on board, 17 x 11 Signed "George Luks" lower right Sordoni Art Gallery, Wilkes College 37. New Year's Celebration in Hogan s Alley, 1896 Newspaper illustration for the "Yellow Kid" (color), 18x241/4 The World, Sunday, December 27, 1896 Collection of Clyde Singer 38. The Little Nippers . . 1897 Newspaper illustration for the "Yellow Kid" (color) Delaware Art Museum Gift of Helen Farr Sloan 43. 44. ’•Proftor Institute Puns Sceiu . i><o2 Chalk with chat. J .hi ppaper. ■- ;26*x 35‘ Signed "Ge.. 8 I . • low-rlelt Private Collet tion Highbridge I'arl < 19)2 Watercolor, 1t> x 19 Signed "Gt urge Luk G lower left Westmoreland Museum of Art. Greensburg. Pennsylvania Gift of Walter Read Hovey The St reecher. lade RtisMgruil. 19J9 Watercolor, 8|;> x 91 i., Signed "George 1 uk< lower right Museurn of Art Munson Williams Pro, i.tor Institute Guide Tishin , 1919 Watercolor on paper, 13sm x 191/? Signed "George Luks" lower right Delaware Art Museum Gift of Titus C Geesey The Orator, c. 192(1 Crayon on paper, 8' -t x i 1 ’ S (sight) Signed "George Luks" lower right Ft inner collection F rank Cranenshield Collection of Mr. and Mrs Andrew Grugan 45. Polo, A I etc Motion Pit tures hv Goiiyc I id. > 1922 Illustration (blatk and white). 12’ ndf Vanity Fair, September 1922 C ollection of Clyde Singer 46. Batter Up!, 1922 Illustration (black and white), 12‘ : x < Vanity Fair, August 1922 Collection of Clyde Singer 47. Houses (Pottsville, PA?), c 1922 Crayon on paper, 10li x T7 Private Collection �, n.d. 1x20 Luks" lower right and Mrs. Sanford I. Feld n (SnowKid), n.d. P/4X161/2 Luks" lower left ishaar Galleries d. ixl6 Luks" lower right 1 I aper, 171/’ x 14 uks" lower left i ! of Jack the Hair-Clipper, 1893 ), ISVs x 10 23,1893 ie Singer 5,1893 ), 131/2 x 101/4 1893 le Singer d, IZxW/z .uks" lower right ry, Wilkes College 'ion in Hogan's Alley, 1896 ■ation for the "Yellow Kid" f, December 27,1896 le Singer .1897 ation for the "Yellow Kid" seum Sloan 39. Man with Basket, 1889 Ink, 12 x 9 Signed "George Luks" lower center Museum of Art Munson-Williams-Proctor Institute 40. Paris Scene, c. 1902 Chalk with charcoal on paper, 26V 35'/ 261/Z2xx35 I/2 Signed "Geo B Luks" lower left Private Collection 41. Highbridge Park, c. 1912 Watercolor, 16 x 19 Signed "George Luks" lower left Westmoreland Museum of Art, Greensburg, Pennsylvania Gift of Walter Read Hovey *42. The Screecher, Lake Rossignol, 1919 Watercolor, 8V4 x 93/ie Signed "George Luks" lower right Museum of Art Munson-Williams-Proctor Institute 43. Guide Fishing, 1919 Watercolor on paper, 133Ai x 19 V2 Signed "George Luks" lower right Delaware Art Museum Gift of Titus C. Geesey 44. The Orator, c. 1920 Crayon on paper, 8‘Ai x ll’/z (sight) Signed "George Luks" lower right Former collection Frank Cranenshield Collection of Mr. and Mrs. Andrew Grugan 45. Polo, A Few Motion Pictures by George Luks, 1922 Illustration (black and white), 121/2 x 95/b Vanity Fair, September 1922 Collection of Clyde Singer 46. Batter Up!, 1922 Illustration (black and white), 12V? x 9s/s Vanity Fair, August 1922 Collection of Clyde Singer 47. Houses (Pottsville, PA?), c. 1922 Crayon on paper, lO’M x 77/s Private Collection 28. Lowing Heifer, n.d. 105 �*48. Daughter of the Mines, 1923 Watercolor, 14I/sx20,/it. Signed "George Luks" lower right Museum of Art Munson-Williams-Pns to; Institute Edward W. Root Bequest (1957) 49. Young Miner, c. 1926 Charcoal on paper, 17 x 11 (sight) Signed "George Luks" lower right Pottsville Free Public Library Gift of the artist 50. Miners Descending a Slope, c. 1926 Conte crayon on paper, 11i x I7>;a (sight) Signed "George Luks" lower right Pottsville Free Public LibraryGift of the artist 51. Artists that Bloom m the Spring, 1928 Illustration (black and white), 12‘■ < 9 V. Vanity Fair, July 1928 Collection of Clyde Singer 53. Sculptor, n.d. I * ’• 106 ■' n a ■ • 'wernght I •'•'■u Hadley & MiGkl 57. A Dav at Pi oil Watercol -r on p ’■ er Signed ‘ Ge t r___ upper right .. ..................... Mr .m.( Mrs. Sanlord I Kid 5g [heater S >u ■ d ( rayon on paper 6’ «x4’i« Private < ollvv.tion 5‘). Study of M> 1: Reading. n.d. C rayon on paper, in t x.6' i< Private C olleition 6(1. Study for "Cal and Ktlkie " n <1 Pencil, 4 x 6M2 Signed "< worge I ul / low er left Westmoreland Museum of Art Gift of I lirsi til and Adlert .alli ries, W: 52. Red Bam. Berkshire Hill- c. 1930 Watercolor, 131 t x 191 2 Signed "George Luks" lower right Museum of Art, The Pennsylvania State University 61. 53. Sculptor, n.d. Pastel, 7*/2 x 16 Signed "George Luks" lower left Museum of Art Munson-Williams-Pr<x tor Institute Edward W. Root Bequest (1957) 62. Street, I <e.t Side. ?.'s< Y"tl. n d Pencil on paper, 5’/« x 7‘S I lirshhorn Museum and S< ulpture (jarden Smithsonian Institution C>ift of Joseph H. Hirshhorn 54. John Butler Yeats at Petitpas '.nd. Watercolor, ll'/axW ;z Signed lower right IBM Corporation, Armonk, New York 10. Pavlova's First Appearance in New York, c. 1910 Parker Watcrcoh Signed G< ■ Courti sv • New York 50 55. Shanty Shacks with Coal Breaker, n.d. Watercolor, 14 x 19 Signed "George Luks" lower right Courtesy of Milbank, Tweed, Hadley & Mcdov Netv York I he Bridge, n d. Peru 11 on p.ipi 1. 14 x 9G (sheet) 1 lirshhi>rn Museum and Sculpture (,arder Smithsonian Institution Gift of Joseph H. Hirshhorn * Exhibited at the Sordom Art Gallery onlv �;ht rs-Proctor ) ht 'V4 (sight) ht 28 Tlz x 95/s ht ia State t is-Proctor 56. Parker House, Rockefeller Proprietor, n.d Watercolor, 14 x 19 Signed "George Luks" lower right Courtesy of Milbank, Tweed, Hadley & McClov New York 57. ADayat the Zoo, n.d. Watercolor on paper, 10 x T3^ Signed "George Luks" upper right Collection of Mr. and Mrs. Sanford I. Feld 58. Theater Scene, n.d. Crayon on paper, 63U x Private Collection 59. Study of Men Reading, n.d. Crayon on paper, 10’/4 x 615/i& Private Collection 60. Study for “Cat and Kittens," n.d. Pencil, 4 x 61/2 Signed "George Luks" lower left Westmoreland Museum of Art Gift of Hirschl and Adler Galleries, New York 61. The Bridge, n.d. Pencil on paper, 14 x T/4 (sheet) Hirshhom Museum and Sculpture Garden, Smithsonian Institution Gift of Joseph H. Hirshhom 62. Street, East Side, New York, n.d. Pencil on paper, 59'4 x 71lz Hirshhom Museum and Sculpture Garden, Smithsonian Institution Gift of Joseph H. Hirshhom Exhibited at the Sordoni Art Gallery only. York .d. ht dley & McCloy, 9. Feeding the Pigs, c. 1908 �Sordoni Art Gallery Advisory Commission Lou Conyngham, Chairman Deane Berger Christopher N. Brieseth, Ph.D. Richard F. Charles Aleta Connell, Chairman, Education Committee Yvonne Eckman, Secretary Charles Flack Marilyn Friedman Gerald E. Hartdagen, Ph.D. Oscar Jones Charlotte V. Lord, Ph.D. Marilyn Maslow Connie McCole Judith H. O'Toole Arnold Rifkin Kin Ross, Chairman, Finance and Membership Committee Jill Saporito Judith Schall, Vice-Chairman Helen Farr Sloan Andrew J. Sordoni, HI William H. Sterling, Ph.D. Published by the Sordoni Art Gallery, Wilkes College. Copyright© 1987by the Sordoni Art Gallery. All rights reserved. Typesetting, Color Separations and Printing by Llewellyn & McKane, Wilkes-Barre, Pa. 108 ��.:■• :■ � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1987 George Luks: An American Artist Creator An entity primarily responsible for making the resource George Luks Stanley L. Cuba Judith H. O'Toole Mia Karnof Date A point or period of time associated with an event in the lifecycle of the resource 1987 May 3 - June 14 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource George Luks: An American Artist is a tribute to George Luks, a rebel painter who defined a generation of painting. Type The nature or genre of the resource Exhibition program Rights Information about rights held in and over the resource SAG https://omeka.wilkes.edu/omeka/files/original/42f6079f3e52ce1a120301ec102b8f12.pdf 0d59b1ba4af128be68fd02c8992cb564 PDF Text Text �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1987 June 28 International Exhibition of Museum Posters Date A point or period of time associated with an event in the lifecycle of the resource 1987 June 28 - July 26 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource Selected from over 5000 posters submitted from museums worldwide, this exhibition was organized by Richmond Art Gallery in Richmond, British Columbia Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/0ffa8ad0a43d57cc138d4b4d1ad62f85.pdf 94decd5e8a49e8f071d54b77c80fdf64 PDF Text Text ������������������������� https://omeka.wilkes.edu/omeka/files/original/f806223b19db29eb4dd01eb29a6e508a.pdf 5261f62ee83802c7ae87fcf4fa17366f PDF Text Text f3 f T7 " HBH R- -:.±f ~ ~~~ " !S Is MEL POWELL: Watercolors ■gs ? : :■ I 5 ?g ijI H“5 S &SS 1 ■ ■ -1 g i .3 i 1 I I I SO RD GA ND2365 & M cj 1987 RDONIARTGALLERY, WILKES COLLEGE �MEL POWELL; Watercolor Sordoni Art Gallery Wilkes College Wilkes-Barre, Pennsylvania October 10 through November 8, 1987 Hank O'Neal, Guest Curator Exhibition organized by the Sordoni Art Gallery E.S. FARLEY LIBRARY WILKES UNIVERSITY WILKES-BARRE, PA Front cover photo: Jelly/ Roll, watercolor and ink Copyright © 1987 Sordoni Art Gallery, Wilkes College All rights reserved. ISBN 0-942945-00-X �Intro .rfu'.. * v 4 1. 12 Tone (cat. no. 1) K The i exhibit visual been is interac the toe are me overla of the placin many Powel combi Inevit throu We guest catalo of 198 noted Mel the e' essen loant An Inc. t and s Fin exhit their �Introduction and Acknowledgements »• * The third in an innovative series begun in 1984, this exhibition again pursues the theme of musicians as visual artists. Throughout art history, there have often been individuals and movements concerned with the interaction between branches of the fine arts. Because the tools used by painters — brushes, color, canvas — are more accessible than those of other disciplines, the overlapping of interest often falls heavily on the side of the two-dimensional studio arts. The excitement of placing color on a surface is a compelling process to many creative people. It is in this way that Mel Powell's watercolors show the pure enjoyment of combining color and abstract form on paper. Inevitably, his pre-occupation with music also comes through in his images. We are grateful to Hank O'Neal who, in his role as guest curator, provided an enlightening essay for this catalog. O'Neal interviewed Powell in the late Spring of 1987 during which time he recorded the quotations noted in the essay. Mel Powell was involved in each planning phase for the exhibition and concert. His collaboration was essential in preparing the essay and in arranging the loan of pictures from his collection and others. Andrew J. Sordoni, III and the Sordoni Foundation, Inc. have made this exhibition possible by initiating and supporting the series, Celebration of Music and Art. Finally, we would like to thank the lenders to the exhibition for their generosity in sharing pieces from their collections with our audience. Judith H. O'Toole Director 2 Tone (cat. no li �The Artistry of Mel Powell - ■ Ba Teddy Wilson, Hazel Scott, Duke Ellington, Mel Powell (August 1942) Sometime in early August 1942. there w as a special gathering of musical talent at the uptown branch of Barney Josephson's legendary Cate Society. Teddy Wilson was there, along with his band which, among others, featured Edmund Hall and Sid Catlett. The pianist Hazel Scott was also playing there then, handling the intermission duties. At some point in the evening the two resident pianists were joined by Count Basie and Duke Ellington. The four crowded behind the piano and urged the evening's guest of honor to join them. The teenaged object of so much obvious affection and respect was scheduled to be inducted into the army the following day along with hundreds of other nineteen year olds. There were probably farewell parties for many of those young men that night and on other nights throughout the summer of 1942. but the party at Cafe Society was ven different. Mel Powell was anything but an ordinary nineteen-vear-old inductee; his prodigious talents were well-defined by the time he became part of the Benny Goodman Orchestra in June 1941. He was only eighteen years eld but had been trained as a serious pianist since childhood. He had also heard Teddy W ilsen as early as 1935 and had discovered it was amusing to improvise on the themes of the Beethover sonatas he was studying. His teacher looked on such behavior w ith dismay but she was unable to do any thing about it as her voung pupil continued to stray listening carefully to the work ot less Stacy and Earl Hines. \\ ithin a tew y ears ot his introduction to he found himself playing at Nick's in Greenwich \ illage alongside mam ot the outstanding musicians associated w ith that legendary jazz club. �__________ The Artistry of Mel Powell Sometime in early August 1942, there was a special gathering of musical talent at the uptown branch of Barney Josephson's legendary Cafe Society. Teddy Wilson was there, along with his band which, among others, featured Edmund Hall and Sid Catlett. The pianist Hazel Scott was also playing there then, handling the intermission duties. At some point in the evening the two resident pianists were joined by Count Basie and Duke Ellington. The four crowded behind the piano and urged the evening's guest of honor to join them. The teenaged object of so much obvious affection and respect was scheduled to be inducted into the army the following day along with hundreds of other nineteen year olds. There were probably farewell parties for many of those young men that night and on other nights throughout the summer of 1942, but the party at Cafe Society was very different. Mel Powell was anything but an ordinary nineteen-year-old inductee; his prodigious talents were well-defined by the time he became part of the Benny Goodman Orchestra in June 1941. He was only eighteen years old but had been trained as a serious pianist since childhood. He had also heard Teddy Wilson as early as 1935, and had discovered it was amusing to improvise on the themes of the Beethoven sonatas he was studying. His teacher looked on such behavior with dismay, but she was unable to do anything about it as her young pupil continued to stray, listening carefully to the work of Jess Stacy and Earl Hines. Within a few years of his introduction to jazz he found himself playing at Nick's in Greenwich Village alongside many of the outstanding musicians associated with that legendary jazz club. It was with the Benny Goodman Orchestra, however, that he began to make his mark and during the period from June, 1941 to August, 1942 he quickly became recognized as the new pianist in town. He not only held down the piano chair with the big band and its various small ensembles, but also contributed many arrangements and original compositions to the Goodman book, eighteen of which were recorded by the band in that fourteen-month period. He also managed to secure a recording date for himself with Milt Gabler's Commodore label and four exceptional sides were released, featuring Powell and some of his musical associates including the boss, happily participating as a sideman under the name "Shoeless John Jackson.'' Given Powell's early endeavors as a semi-professional baseball player, it is puzzling why he didn't refer to Goodman as Shoeless Joe instead of John. Perhaps it was just a printer's error or Gabler didn't know baseball. These months of crowded activity with Goodman led Powell to a third place finish in the Metronome All Star poll, finishing behind Jess Stacy and Count Basie, but ahead of his first idol, Teddy Wilson. He had made a lasting impression, for he remained in the top five of the Metronome poll throughout the war years, even though he was part of the Glenn Miller Army Air Force Band, a group which never released a commercial recording during the years it was active and rarely performed in venues or even countries where the average Metronome reader might encounter it. In 1987, Mel Powell confessed that in his view, one of the most profound statements of the Twentieth Century was made by the Czech composer, Ernst Krenek (1900-), who said, some years before Powell joined Benny Goodman, "What we understand no longer interests us and what interests us we no longer understand." The philosophical implications of Krenek's statement have obviously guided Powell's thinking and action for many years. In hindsight, it seems clear a simple lack of interest in the kind of �2. Little Pollock (cat. no. 46) music he was playing in the 194O's and the new directions in which jazz seemed to be evelving impacted on Powell in a negative way There is even the possibility that had not World War 11 intervened, resulting in his joining the Glenn Miller Army Air Force Band immediately after his brief stay with Goodman, Powell might have ceased being a full-time, on-the-road-again-forever jazz musician in 1942. Powell understood the technical facility of his playing, dazzling inventions at the keyboard were nut difficult and the skill and originality he brought to his compositions and arrangements appeared to come to him with ease. Yet, even though it was surely an exciting time to sit next to such creative men as Benny Goodman, Charlie, Christian, Count Basie or Duke Ellington, it was not enough. Powell's life in jazz began at the pinnacle; there was no place to go except to accomplish more of the same. It might have been initially interesting to write The Earl or Mission To Moscow but it was not a serious challenge to play them night after night for weeks and months on end. To play them forever would have been unthinkable. Just how many times could he dazzle an audience with The World Is Waiting For The Sunrise or The Count? The large orchestras of Goodman and Miller set standards for musicianship; the small groups within them were equally exceptional but Powell had easilyconquered the challenges of the music played byr these groups. The developing currents in jazz, primarily bebop, while suggesting possible new directions in jazz, particularly in terms of technical virtuosity, generally offered, except in rare instances, only modest amounts of musical substance. Where could he go? Powell's three years with the large Miller ensemble had provided him access to many non-jazz musicians He delighted m writing modest chamber pieces for some of these players and this experience convinced im he wanted to pursue serious composition after the I li �i music he was playing in the 1940's and the new > jjj-ections in which jazz seemed to be evolving ! impacted on Powell in a negative way. There is even the possibility that had not World War II intervened, j resulting in his joining the Glenn Miller Army Air Force Band immediately after his brief stay with Goodman, Powell might have ceased being a full-time, on-the-road-again-forever jazz musician in 1942. Powell understood the technical facility of his playing, dazzling inventions at the keyboard were not difficult and the skill and originality he brought to his compositions and arrangements appeared to come to him with ease. Yet, even though it was surely an exciting time to sit next to such creative men as Benny Goodman, Charlie, Christian, Count Basie or Duke Ellington, it was not enough. Powell's life in jazz began at the pinnacle; there was no place to go except to accomplish more of the same. It might have been initially interesting to write The Earl or Mission To Moscow but it was not a serious challenge to play them night after night for weeks and months on end. To play them forever would have been unthinkable. Just how many times could he dazzle an audience with The World Is Waiting For The Sunrise or The Count? The large orchestras of Goodman and Miller set standards for musicianship; the small groups within them were equally exceptional but Powell had easily conquered the challenges of the music played by these groups. The developing currents in jazz, primarily Bebop, while suggesting possible new directions in jazz, particularly in terms of technical virtuosity, generally offered, except in rare instances, only modest amounts of musical substance. Where could he go? Powell's three years with the large Miller ensemble had provided him access to many' non-jazz musicians. He delighted in writing modest chamber pieces for some of these players and this experience convinced him he wanted to pursue serious composition after the war. Yet, within a few weeks after his return to the United States practical considerations led him back to Benny Goodman. He remained with the Benny Goodman Band almost one year as pianist/ composer/arranger and in the process managed to again insure his good standing in the Metronome poll. This was, however, the last time Powell spent any lengthy period as a player in the world of improvised music. He dabbled at jazz for the next ten years, creating a legacy of excellent recordings, first for ( apitol in the 1940's and then with Vanguard in the 1950's, as well as an exceptional 1955 concert to benefit the Lighthouse for the Blind which was released on record by Columbia. He also managed occasional forays with Goodman; it seemed that whenever his old boss had a special project, a motion picture such as A Star Is Born, an important recording or a major televr-.ii >n show, Powell would get the call and be "persuaded" to forsake academic for a shining moment or two. I he last time Goodman managed to do this was in 1957; Powell appeared with him on a series of television shows, culminating w ith one w ith Perry Como. Tin was to be his final public appearance in a jazz context for two decades. In that same year 1 heard my first Mel Powell record and he taught his first classes at Vale. Serious composition was intellectually fulfulling for Powell and in the late 1940’s, he submitted a piece to the renowned composer, Paul Hindemeth, for his consideration. Hindemeth was associated with Yale University and, by all accounts, an extraordinary teacher. He accepted Powell as a student; the student soon became his teacher's assistant and when Hindemeth retired Powell became Chairman of Yale's Composition Department and a full professor as well. He remained there until the late 1960's when he was offered the opportunity of structuring and heading the Music Department at the newly founded California Institute of the Arts. The concept behind Cal Arts was stimulating to Powell; an academic center where students and �for me and one day someone suggested that it might make sense for me to lecture to the institute as a whole. It seemed a good idea; interesting issues were involved which governed work in all the arts and I decided to undertake a series of lectures which would occupy me for a while and take my mind off the terrible aggravation of political handholding. When you are running an institute peopled by painters, playwrights, dancers, composers, all certifiably insane, it is very difficult. I was just as demoniacally crazy as any of them; probably that's why they wanted me to remain as Provost. "With that as background, I decided to give a lecture on some very advanced music. Not many people know very much about serious new music and I thought I would give a lecture which would bring up-to-date the kinds of issues which interest composers of what is popularly called "classical" music in our century. "The lecture was a good chance for me to talk to people who knew nothing technically. The painters didn't know anything about it, nor did the writers or the actors. In my music seminars I am able to discuss certain matters with my students, but if I wanted to discuss the twelve-tone system with non-musical listeners I could make no technical references or assumptions. "I sat at my desk in my office wondering what to do and, while sitting there, decided to attempt to illustrate what certain twelve-tone manipulations are in a visual way. I used color coding to show different transformations of serial techniques and, while I was working on them, my secretary came in and said that one of the Cal Arts designers had arrived for his appointment. He came in and when he came over to my desk he looked down and noticed what I was teachers from all the arts could interact and inspj another in a decidedly non-academic, though ? re°nf academically structured, environment. The Musk Department at Cal Arts flourished under his guij and he found increased opportunity for not only composition but to become a serious amateur tennis player as well, accumulating a shelf full of trophies to prove it. Then disaster. In the early 1970's various internal political problems developed at Cal Arts and Powell found himself part of an institution facing serious difficulties on the brink of disintegration. No department escaped the turmoil and in 1972, at the urging of his peers, Powell assumed the position of Provost of the Institute. He aided in stabilizing the institution but at great personal sacrifice; he produced no new music until 1979. The administrative difficulties at Cal Arts had cost him nearly a decade of composition. This tragedy, his loss of musical expression and the resulting intellectual frustration produced something totally unexpected. Shortly after he became Provost, Powell began to experiment with watercolors. He maintains he was not initially aware of what he was doing but he was nonetheless fascinated by the work he was creating. Perhaps it was because he didn't understand what would happen each time he put his brush to the paper or perhaps it was just the joy of instant gratification. In music, it was often a year or two before he might hear his new compositions played by others. Watercolor happened instantaneously and he didn't have to rely on further expression or interpretation by others. In 1987, Powell summed up his beginning as a watercolorist: "The reason I began painting was a shift in my function at Cai Arts. In 1972,1 was asked to become Provost and I accepted because the place was teetering. I didn't know what a Provost was or what one should do, but I quickly learned and that sort ot thing seemed to me very easy’ to do, but I soon toun myself removed from composition, removed from ' 3. no 48) ■ �teachers from all the arts could interact and inspire o another in a decidedly non-academic, though ne academically structured, environment. The Music Department at Cal Arts flourished under his guidance and he found increased opportunity for not only composition but to become a serious amateur tennis player as well, accumulating a shelf full of trophies to prove it. Then disaster. In the early 1970's various internal political problems developed at Cal Arts and Powell found himself part of an institution facing serious difficulties on the brink of disintegration. No department escaped the turmoil and in 1972, at the urging of his peers, Powell assumed the position of Provost of the Institute. He aided in stabilizing the institution but at great personal sacrifice; he produced no new music until 1979. The administrative difficulties at Cal Arts had cost him nearly a decade of composition. This tragedy, his loss of musical expression and the resulting intellectual frustration produced something totally unexpected. Shortly after he became Provost, Powell began to experiment with watercolors. He maintains he was not initially aware of what he was doing but he was nonetheless fascinated by the work he was creating. Perhaps it was because he didn't understand what would happen each time he put his brash to the paper or perhaps it was just the joy of instant gratification. In music, it was often a year or two before he might hear his new compositions played by others. Watercolor happened instantaneously and he didn't have to rely on further expression or interpretation by others. In 1987, Powell summed up his beginning as a watercolorist: "The reason I began painting was a shift in my function at Cal Arts. In 1972,1 was asked to become Provost and I accepted because the place was teetering. I didn't know what a Provost was or what one should do, but I quickly learned and that sort of thing seemed to me very easy to do, but I soon foun myself removed from composition, removed from 3. LilHe Miro (cat. no. 48) �b doing He said, 'What is that? It's lovely.' I then looked at it for the first time and said, 'My g00^^5'/0 d right, it is lovely.' I was stunned because it had to d with formal structures of music. This was the actual beginning .,z (Fig. 1, cat. no. 1) Powell was astounded at how pleasing it was to put color on a piece of paper, particularly watercolor. The color had flow; it had movement. He could almost sense the energy pulsing as the color spilled and spread in tiny currents along the surface of the paper. He refined his technique and soon the frustrated administrator was engrossed in producing paintings, some for his lectures but most simply for his own pleasure. The small watercolors began to attract some attention from the faculty at Cal Arts. One of the first to notice the work was the painter Miriam Shapiro who unhesitatingly declared that the unassuming amateur was surely a genius, but also decided she needed to explain to him what he was doing. In the process, she brought Powell a rubber plant and suggested that he use the plant as a model and paint it as he saw it. Shapiro later said she never saw such a distorted rendering of a rubber plant in her life. This was the extent of Powell's formal "training." A very wise man once told me after I had prepared a position paper for the Office of National Estimates suggesting the Department of State was allowing thenstated policy to influence perception of certain information, that a preconceived notion of the truth can be the most damaging influence in any intellectual or artistic endeavor. Someone also probably said the same thing to Powell at some point, or at least he was aware of it relative to his painting. It is clear Powell had no particular notion that a painting had to be this or that; that he had to follow certain rules. The only thing he followed was his own innate sense of an upward order of things, within his own intellectual guidelines. He was obviously aware of the work of many other painters, some of whom he admired greatly. None of them exerted any particular influence on him except when he chose to emulate „ that each of the sister arts is as unyielding in its and create his "little Pollock" (Fig. 2, cat. no. 46) demands as his own is, and my esteem for real "little Miro" (Fig. 3, cat. no. 48). He readily confesses5 painters is far too profound to allow me to take very that his favorite painters, in addition to Pollock, are seriously my invasion of their terrain. Of course, it is Mondrian, Kandinsky and Klee. He even produced true that so-called primitivism can flourish in paintin one painting (Fig. 4, cat. no. 21) which is very (Rousseau, Grandma Moses, et al), while it is reminiscent of Klee's work in the mid-1920's, such as unthinkable in my field. So far as the composition of Abstract with Reference To A Flowering Tree (1925) serious music is concerned, alas, it is necessary’ to Some also have a distinctly Kandinsky-like feeling, know an enormous amount, and to command great primarily the Kandinsky of 1912-14. This is, of course, technical prowess, before one can hope to produce not surprising for in Powell's scheme of things, if something dreadful. I used to tease my painter frienc Raphael and Rembrandt represent Mozart and about the fact while even Winston Churchill had a gi Beethoven, then Kandinsky and Mondrian represent at their art, neither he nor they could compose so his two primary compositional influences, Arnold much as a note of, say, a string trio or a sonatina. Schoenberg and Anton Webern. "When . . I painted, I naturally regarded the .. structur Powell has worn many hats in his distinguished and in the only terms 1 could invoke comfortably, that is, happily continuing career. His many talents are ’ ’ terms. This is simply to say that - collections musical c presented in a modest, often self-effacing manner. objects in space, like those in time, are subject to the Because he is skilled in so many fields of endeavor, the interplay of invariance and transformation. 1 think 1 scope of his imagination seems limitless and read pictures more or less as I read words, or, indeec extraordinarily perceptive and whatever direction it as I read music: from left to right. (Would it be right I takes makes it difficult to consider any aspect of his left if I has been born in Tel Aviv?) This at once work as less than very serious, despite his establishes a convenient translation from sequences protestations to the contrary. His paintings are a case that unfold in time to those that are displayed in in point. The same mind which created the musical space. Accordingly, to give thought to, say, 'climatic areas W'ould require no special conceptual strain." compositions, Little Companion Pieces (1979) and Powell's paintings, w'hile each are distinctive, hav< Clarinade (1945), also created a body of work in a tperceive common characteristics. They are small, usually' watercolor and while one r person might Clarinade to be of far greater significance than Little extremely delicate, optimistic, completely' non-representational, untitled and improvisational i Companion Pieces or vice versa, another equally perceptive person might dismiss all the music and be nature. The scale of the paintings, ranging from an ’ ‘nch °r tWO stluare to "massive" works, the largest drawn only to his visual work. being about 20 x 30 inches are all the result of a In his modest fashion, Powell has stated: functional consideration. Each painting was "The root of the word 'amateur', of course, completed at Powell's very' ordinary desk in his offic betokens 'love' (which, as we all know, maybe at Gal Arts. He had no particular interest in investing practiced with no technical skill whatsoever). What e time or money required for a studio and he had r one does as an amateur is in any case free from the ineluctable requirements of professionalism; and. a$a in erest at all in any possible commercial aspects of h ''■ork. His cultured desk, therefore, was a perfectly consequence, the pleasures yielded by an amateur s reasonable workspace. pursuits become, as they should, an unclouded refreshment of spirit. Even' serious composer kno'1 �xcept when he chose to emulate le Pollock" (Fig. 2, cat. no. 46) or hk 1, cat. no. 48). He readily confesses inters, in addition to Pollock, are sky and Klee. He even produced 4, cat. no. 21) which is very e's work in the mid-1920's, such as erence To A Flowering Tree (1925) listinctly Kandinsky-like feeling, linsky of 1912-14. This is, of course, n Powell's scheme of things, if >randt represent Mozart and Kandinsky and Mondrian represent impositional influences, Arnold nton Webern. l many hats in his distinguished and > career. His many talents are dest, often self-effacing manner. ;d in so many fields of endeavor, the ration seems limitless and -ceptive and whatever direction it icult to consider any aspect of his trery serious, despite his e contrary. His paintings are a case ; mind which created the musical tie Companion Pieces (1979) and also created a body of work in rile one person might perceive far greater significance than Little nth pt* pm 1 all V :ss nr or uicp vice vpr^ versa, an another equally might dismiss all the music and be visual work. shion, Powell has stated: ; word 'amateur', of course, yhich, as we all know, may be technical skill whatsoever). What lateur is in any case free from the ements of professionalism; and, as a pleasures yielded by an amateur's as they should, an unclouded >irit. Every serious composer knows that each of the sister arts is as unyielding in its demands as his own is, and my esteem for real ainters is far too profound to allow me to take very seriously my invasion of their terrain. Of course, it is true that so-called primitivism can flourish in painting (Rousseau, Grandma Moses, et al), while it is unthinkable in my field. So far as the composition of serious music is concerned, alas, it is necessary to know an enormous amount, and to command great technical prowess, before one can hope to produce something dreadful. I used to tease my painter friends about the fact while even Winston Churchill had a go at their art, neither he nor they could compose so much as a note of, say, a string trio or a sonatina. "When I painted, I naturally regarded the structures in the only terms I could invoke comfortably, that is, musical terms. This is simply to say that collections of objects in space, like those in time, are subject to the interplay of invariance and transformation. I think I read pictures more or less as I read words, or, indeed, as I read music: from left to right. (Would it be right to left if I has been bom in Tel Aviv?) This at once establishes a convenient translation from sequences that unfold in time to those that are displayed in space. Accordingly, to give thought to, say, 'climatic' areas would require no special conceptual strain." Powell's paintings, while each are distinctive, have common characteristics. They are small, usually extremely delicate, optimistic, completely non-representational, untitled and improvisational in x nature. The scale of the paintings, ranging from an inch or two square to "massive" works, the largest being about 20 x 30 inches are all the result of a functional consideration. Each painting was completed at Powell's very ordinary desk in his office at Cal Arts. He had no particular interest in investing the time or money required for a studio and he had no interest at all in any possible commercial aspects of his work. His cultured desk, therefore, was a perfectly reasonable workspace. ■■ESI ■Ml hi The small scale of the work is also the result of other factors, one of which is that the size facilitated Powell's enjoyment of the tiny details in the paintings. He was fascinated with the intricate lines and patterns he had created as well as the flow of color and random designs which were beyond his control. It is far more satisfying to look at detail in a work of modest size, and today, a decade after most were completed, he still enjoys scrutinizing the smallest details of the paintings. There are, of course, far more complex matters involved. Powell is a leading figure among those of our serious American composers who, for decades, have been probing (in both theory and practice) the very foundations of the musical language of nontonality. And he has often asserted that for the most part the conditions of nontonality stand in opposition to the conditions of the epic. If "nontonal music" is considered as a kind of analogue of "non-representational art" (as many cultural historians have suggested), it is apparent that Powell's assertion has been carried over to govern his outlook on the pictorial as well. His paintings are, therefore, small and it is interesting to note that in recent years his compositions have fallen in the general range of five to twelve minutes. It is obviously difficult for him to accomplish his purposes with compositions of such modest length but, with consummate skill, he has been able to do so and he has been able to do the same in his paintings. A tiny abstraction can often accomplish much more than a massive representational painting; it can offer a viewer many more intellectual possibilities. Few of Powell's paintings have names; those which do were occasionally named by friends who happened to see something in a particular image. He feels that to name a painting is to interfere unnecessarily. A certain painting might look like something to a certain viewer, but if someone else took the time to look at it they might see something totally different. There is no need to restrict a painting with a verbal configuration, to �4 1 �"’I 5. Heriand There (cat. no. 41) �attempt anything of the sort witn commence, i uwcu named but one of his paintings; one which he produced for purely pedagogical purposes. It is entitled Here and There (Fig. 5, cat. no. 41) and is supposed to demonstrate a binary form in music. This single titled painting is the exception which proves the rule. The freedom and flow of events which are evident in his music are equally evident in his paintings. The only element that restricts his visual improvisation in watercolor on paper is the size of the surface upon which he paints and the limits of his own imagination. The final consideration, his imagination, is extremely significant. “Part of the strategic quest that still characterizes our century, even now in its waning years, is the struggle to transcend the imagination. It is clear that many of us are destined to live and work at the threshold of the incoherent — as reasonably good citizens addressing the epoch's crisis of intelligibility. What other century would have welcomed a distinguished work of literary criticism such as my late colleague, Wimsatt, published entitled The Meaning of Meaning? Bergson pointed out that chaos is in reality a very high order: the moment one grasps the principles of its organization of course it ceases to be chaos. I enjoy looking at the "snow" on a television screen when the transmitter has gone off for the night. It provides what is usually more interesting than the evening's programs: an abstract, activated, black and white Seurat. It's a great gamble to predict the precise moment at which a particular point will appear or reappear, and that, after all, reflects an important aspect of the random process. Still, from another point of view, there is no comprehensive control and even predictability: all the points will, in fact, reappear at understand and what things we do not — this storehouse of mysteries is always at the heart of the search not only for the strong perception theories we presently lack, but for deeper insights into the constituency of our notions of 'chaos' and 'order' as they connect to all of humanities enterprises." Powell's paintings are much the same; they are highly ordered despite the chaos they may impart to one who takes the time for but a casual glance. Within • the obvious improvisations are structured motifs and, as often as not, much repetition and circular development. His paintings, possibly more than his musical compositions are affirmations of his belief in the stability of the circular, always changing, always the same and the remarkably mysterious effects of the perception of repetition on the human psyche. Powell's last paintings were completed shortly after he resigned as Provost of Cal Arts and he has not considered painting since that time. His first new compositions appeared a year or so later, in 1979. The paintings have never been publicly exhibited. Two were used on record album jackets and except for these his works are private paintings and almost all remain in Powell's possession except the handful which are treasured by the friends and relatives to whom he has given them. Some of the paintings have a special meaning to him and often these are casually displayed in his California home. The one some call Jelly Roll (Fig. 6, cat. no. 12). because they see a pianist in it is normally affixed to a wall in his bedroom with a double-faced tape; the , “little Pollock" leans against a tennis trophy on a boo shelf in the entrance hall. A spectacular painting (Fig7, cat. no. 60) hangs casually on a wall in a small television viewing room, mixed in with posters an �their respective positions within that square frame of the screen, and such a process is at a vast distance from the merely aleatroic. But just this kind of maze, this interaction of what is known, what is expected, ’ what is not known, what is not expected, what we' embrace and what we dismiss, what we think we understand and what things we do not — this storehouse of mysteries is always at the heart of the search not only for the strong perception theories we presently lack, but for deeper insights into the :onstituency of our notions of 'chaos' and 'order' as hey connect to all of humanities enterprises." Powell's paintings are much the same; they are aighlv ordered despite the chaos they may impart to me who takes the time for but a casual glance. Within he obvious improvisations are structured motifs and, is often as not, much repetition and circular development. His paintings, possibly more than his nusical compositions are affirmations of his belief in he stability of the circular, always changing, always he same and the remarkably mysterious effects of the jerception of repetition on the human psyche. Powell's last paintings were completed shortly after te resigned as Provost of Cai Arts and he has not onsidered painting since that time. His first new cmpcsiiions appeared a vear or so later, in 19/9. The am.tir.gs have never been publicly exhibited. Two cere used on record album jackets and except for hese his works are private paintings and almost all emain in Powell's possession except the handful diidi are treasured bv the friends and relatives to rhom he has given them. Some of the paintings have a special meaning to him nd often these are casually displayed in his California ome. The one some call Jelly Roll (Fig- 6, cat. no. 12), ecause they see a pianist in it is normally affixed to a ■all in his bedroom with a double-faced tape; the tittle Pollock" leans against a tennis trophy on a ooo ielf in the entrance hall. A spectacular painting (Fig. cat. no. 60) hangs casually on a wall in a small revision viewing room, mixed in with posters an �awards related to Martha Scott's distinguished actag career Others could have been scattered about his home before they were collected tor the Celebration of Music and Art III, but most of the paintings are kept in a large envelope, mixed in with music scores and manuscripts in Powell's studio. They are not, exactly forgotten, but they are at least ignored, a part of the past which he regards as but an interesting creative sidestep when the doors leading to other creative outlets were temporarily closed. It is not surprising most of the paintings are usually out of sight; Powell does not worship the past nor does he even seem particularly concerned about it on a creative level for the present is far too stimulating and anticipation of the future is even more exciting. Will there be more paintings? Powell is ambivalent on this question. Sometimes he thinks yes, other times he feels no but, well... maybe. He has already had an extraordinary career in the arts and it will undoubtedly continue to amaze and confound critics, the public and Powell himself. He probably doesn't completely understand his ambivalence towards painting and jazz and perhaps this is why he continues to be fascinated with each and why there just may be more attention to both fields in the future. An interesting thing is now happening to Powell. In 1986, he agreed to play jazz for the first time in almost three decades Except for a few private gatherings he had done nothing m jazz for thirty years. He then suddenly reappeared in October 1986 aboard the S/S d Performed with old friends like Ruby Braff and Buddy Rich and some new "old" friends I shipboard concerts in the Caribbean across th States in all directions, to the Far East and E 6 United was a jazz journalist's dream, the reappearan™?' ** major personality after almost forty years of 1? ° 3 appearances, or none at all. There was nothing!,?? in the history of jazz; after all, when Bunk John ' was brought back before the public he had onlyta absent about twenty years and, unfortunately??? unable to play at anything approaching his best Powell had been a mystery for almost twice as long but here he was, playing better than ever. One noted 'g writer, Whitney Balliet, even prepared a piece for The New Yorker magazine entitled, What Ever Happened The truth is nothing "happened" to Mel Powell. He simply elected to do something he wanted to do, something he had to do. It was a puzzling decision to many, made even more complex because of the extremely low visibility of non-tonal music with the public at large. That his decision didn't please jazz oriented listeners, while perhaps unfortunate, was of little consequence to Powell when he made the decision nor is it a consideration today. The same is equally true of his painting; to anyone unaware of the facts it appears he suddenly began painting, produced an extremely interesting body of work and then just as suddenly stopped. The foregoing shows nothing ( particularly mysterious happened, but, rather, everything was very logical in progression. It is, of course, a fascinating story and one which is still unfolding. It will be interesting to watch it develop. Powell clearly intends to devote almost all h creative efforts in the direction of composition, but public adoration can often lead one astray, parth. J-‘. if one enjoys being led astray. His experiences i, were so satisfying that Powell has decided to daW* jazz again and has agreed to a limited number o public performances in October 1987. He tin ?1 difficult to turn his back on so many smiling *. * matter how dedicated he is to his composition. same thing may happen with his painting an exhibition may cause him to rethink his decisioi abandon watercolors. He is certain far more ne( can derive pleasure from looking at his painting listening to his recent woodwind quintet becaupsychologically far easier to look at a non-representational painting than it is to listen non-tonal music. This might be all it takes to sh tiny percentage of his time in the direction of I watercolors. Ife ectV° neof \er PaintIf he chooses he hastoa I produced a2 fine body work. play another note of jazz, he has already prodJ extraordinary body of compositions and P 1 Hank O'Neal New York City July, 1987 �shipboard concerts in the Caribbean acros States in all directions, to the Far East and F? LJnited was a jazz journalist's dream, the reappea huroPe. It major personality after almost forty years of°f a appearances, or none at all. There was noth' ,fed n the history of jazz; after all, when Bunk Ink§ vas brought back before the public he hado i^u n ibsent about twenty years and, unfortunately been mable to play at anything approaching his best^5 ’owell had been a mystery for almost twice as In >ut here he was, playing better than ever OnP „ F vriter, Whitney Balliet, even prepared a piece for -Xirro»eurine en“ed' What Ever HaPPe.>cd ' The truth is nothing "happened" to Mel Powell He imply elected to do something he wanted to do omething he had to do. It was a puzzling decision to lany, made even more complex because of the xtremely low visibility of non-tonal music with the ublic at large. That his decision didn't please jazz riented listeners, while perhaps unfortunate, was of ttle consequence to Powell when he made the ecision nor is it a consideration today. The same is qually true of his painting; to anyone unaware of the icts it appears he suddenly began painting, produced i extremely interesting body of work and then just as iddenly stopped. The foregoing shows nothing articularly mysterious happened, but, rather, /erything was very logical in progression. It is, of course, a fascinating story and one which is ill unfolding. It will be interesting to watch it evelop. Powell clearly intends to devote almost all his eative efforts in the direction of composition, but iiblic adoration can often lead one astray, particular y one enjoys being led astray. His experiences in ere so sa isfying that Powell has decided to da e i zz again and has agreed to a limited number o iblic performances in October 1987. He finds i fficult to turn his back on so many smiling ac after how dedicated he is to his composition. me thing may happen with his painting an p f ( I I I • [ | I tion may cause him to rethink his decision to exh' Hon watercolors. He is certain far more people ‘lba derive pleasure from looking at his painting than can to his recent woodwind quintet because it is psychologically far easier to look at a ' representational painting than it is to listen to n^’t0nal music. This might be all it takes to shift a tiny percentage of his time in the direction of watercolors. . If Powell elects to never paint again, he has already produced a fine body of work. If he chooses to never ar play another note of jazz, he has already produced an extraordinary body of compositions and * performances. If he chooses to add to what he has created in either field, we will all be enriched by that dedsion. Hank O'Neal New York City July, 1987 �Checklist of the Exhibition (All dimensions in inches; height preceeds width. All works collection of the artist unless otherwise noted.) 1. 12 Tone Watercolor, 14 x 11 2. Untitled Watercolor, 11 x 13V4 3. Untitled Watercolor, 11 x IO V2 4. Jelly Roll Watercolor and ink, 6 x 53/s 5. Untitled Watercolor, 2W x 41/2 6. Untitled Watercolor, 8 x 9V2 7. Untitled, February 1974 Watercolor, 8V2 X 5 8. Untitled, 1974 Watercolor, 11 x 10 Courtesy of Mary Powell 9. Untitled, 1975 Watercolor, 11 x 15 10. Untitled Watercolor, 73h X 73/4 11. Untitled Watercolor, 11 x 14 12. Untitled, 1974 Watercolor, %x53/4 13. Untitled Watercolor, 14 x 11 14. Untitled Watercolor, 12 x 12’/4 15. Untitled Watercolor, 14 x 11 16. Untitled Watercolor, 11 x 14 17. Untitled, 1974 Watercolor, 5 x 5V2 18. Untitled Watercolor, 6‘/s x 5V2 19. Untitled Watercolor, 12’/4 x 12‘/4 20. Untitled, March 1974 Watercolor, 91/? x JT/ti 21. Klee, 1975 Watercolor, 8V4 x 9V2 22. Untitled Watercolor, 3’/4 x 23/4 23. Tango Dancers Watercolor, 5V2 x 4^8 24. Untitled, 1976 Watercolor, 6V2 x 71/2 25. Jazz House Watercolor, 10 x 71/4 26. Untitled Watercolor, 6V2 x 7 27. Untitled, 1975 Watercolor, 73/4 x 5V2 Courtesy of Jill Williams 28. Untitled Watercolor, lfP/4 x 9’/4 29. Untitled Watercolor, T3!* x 11 30. Untitled Watercolor and ink, 123/4 X 12V* 31. Untitled Watercolor, 21/* X 2 's 32. Untitled, March 1974 Watercolor, (Th X 7‘ -s 33. Untitled, March 1974 Watercolor, 8x8’* 34. Untitled (two sided drawing Watercolor, 4’/2 X 6 35. Untitled Watercolor, 81 x 12 f I I 36. Untitled Watercolor, KF/4 x 9'/h 37. Untitled, 1974 Watercolor, 10*/h f I I I x 14’’/4 38. Untitled Watercolor, IOV2 x 15 39. Untitled, 1975 Watercolor, 11 x 14 Vw 40. Untitled Watercolor, 8'/z x 6V2 Courtesy of Hank O'Neal and Shelley Shier 41. Here and There, 1974 Watercolor, 12 X 16’/2 Courtesy of Hank O'Neal and Shelley Shier 42. Untitled Watercolor, 33/4 x 4’/a Courtesy of Hank O'Neal and Shelley Shier 43. Untitled W'atercolor, 12‘'4 x 12>'2 Courtesy of Hank O'Neal and Shellev Shier �1 25. Jazz House Watercolor, 10 X 73/4 26. Untitled Watercolor, 6U2 x 7 27. Untitled, 1975 Watercolor, 73/4 X 5*/2 Courtesy of Jill Williams 28. Untitled Watercolor, 103/4 x 9'14 29. Untitled Watercolor, 73/4 x 11 30. Untitled Watercolor and ink, 123/4 x 123/4 31. Untitled Watercolor, 21/4 x 23ls 32. Untitled, March 1974 Watercolor, 63/4 X 7*14 33. Untitled, March 1974 Watercolor, 8 X 83/s 34. Untitled (two sided drawing) Watercolor, 43/2 X 6 35. Untitled Watercolor, 8V2 X 12 36. Untitled Watercolor, 103Ai X 9*/b i 37. Untitled, 1974 Watercolor, lO'/s X 143/4 38. Untitled Watercolor, ICP/2 X 15 i 39. Untitled, 1975 Watercolor, 11 X 143/4 40. Untitled Watercolor, 8V2 X 6M2 Courtesy of Hank O'Neal and Shelley Shier 41. Here and There, 1974 Watercolor, 12 x 16*12 Courtesy of Hank O'Neal and Shelley Shier 42. Untitled Watercolor, 33/4 X 4* Is Courtesy of Hank O'Neal 1 and Shelley Shier 43. Untitled Watercolor, 12*14 x 12*12 Courtesy of Hank O'Neal and Shelley Shier I 1 44. Untitled, 1975 Watercolor, 3'/2 x 53/.i 45. Untitled Watercolor, 5 x 75/« 46. Little Pollock Watercolor, 41/? x 63/s 47. Untitled, 1973 Watercolor, 63/b x 53/4 48. Little Miro, December 1973 Watercolor, 6 x 7'h 49. Untitled Watercolor, 10 x 93A» 50. Untitled Watercolor, 10 x 7 51. Untitled Watercolor, 137/s x IOV2 52. Untitled, 1974 Watercolor, 8*/a x 11 53. Untitled Watercolor, 97/a x 75ls 54. Untitled, 1974 Watercolor, 8V2 x ll3/4 55. Untitled Watercolor, 163/4 x 12'/s 56. Untitled, 1974 Watercolor,12'Az x ll'/» 57. Untitled, 1974 Watercolor, ll5/» x 15 58. Untitled Watercolor, 6'/« X 10‘/h 59. Untitled Watercolor, 15 x 21 60. Untitled, March 1974 Watercolor, 133/4 X 143/4 61. Untitled Watercolor, 19 'I2 X 14'12 62. Spanish Dancer Watercolor, 19*12 x 14'12 63. Untitled, 1974 Watercolor, 22 x 30 64. Untitled Watercolor, 21 x 30 �• ■■ ’"’’i •'2P Sordoni Art Gallery Advisory'Commission J Lout .<nyn<h.ini. ( 7i.,.r>iun Judith H. O‘Lx,!. , i ; t,.F !'.:>■!.. th, Ch [> (,hn ,!.»ph<-r I h-.ttu- Betg.-r Kuh.ir.l I I hath Alrt.i C li M-irv I---! u Vir>;in-.i Dav i. Yvonne I Anuh tX.'i . I.>t.ill in- Marilyn Friedman Cheat |nnm Ann Mane Kennedy : I Susannah Krni iKirklin-1 ur-l Pi l> Constan* r Met, olr I Mi'ian:.- M.iEiiutij.; Matii. f- Ma -i ' •■■ Arm4d Rtfkrn fill I vanssap.Oh. |ill Sap<nt<> •J Judith Ssh-tH Charles Shaier. Is., W tlham Shut! Helen Farr sjnan Andrew J Se. !•«>. Ill Will iftiH ci. n Dune I ’shinski I I Sordoni Art Gjllrev VOU,s.Rarw> V. h.-hr-- P I I ��.. ,-..w I � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1987 October 10 Mel Powell: Watercolors Creator An entity primarily responsible for making the resource Mel Powell Hank O'Neal Hank O'Neal Date A point or period of time associated with an event in the lifecycle of the resource 1987 October 10 - November 7 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource Pursuing the theme of musicians as visual artists, this exhibition surveys the watercolors of Mel Powell. Mel Powell's watercolors show the enjoyment of combining color and abstract forms on paper while also being influenced by his music. Type The nature or genre of the resource Exhibition program