United States

In 1936 Fechin brought a small group of art students with him to Mexico. During the tour, which included stops in Guadalajara, Mexico City, and Oaxaca, Fechin took photographs and made drawings that may have served as the source for this painting. This portrait of a flower seller shows the artist’s interests in people and color. The background includes a trajinera, a small boat used to carry goods across canals, most often found in the famous canals of Xochimilco in Mexico City.

In 1936 Fechin brought a small group of art students with him to Mexico. During the tour, which included stops in Guadalajara, Mexico City, and Oaxaca, Fechin took photographs and made drawings that may have served as the source for this painting. This portrait of a flower seller shows the artist’s interests in people and color. The background includes a trajinera, a small boat used to carry goods across canals, most often found in the famous canals of Xochimilco in Mexico City.

In his study of the artist’s life and work, Gene Hailey concluded, “In the narration of Piazzoni’s interesting life, the evaluators of his work have played upon the adjectives of beauty and truth, a symphony of heavenly music. Searching for a conclusion, the Lux Aeterna seems fitting. In this painting Piazzoni has epitomized the desire of his life; that of flooding the white-robed figure of truth and beauty, in the effulgence of eternal light.”

Around 1900 Dow established a studio in Ipswich, Massachusetts, often teaching summer courses there. After an extended period of concentration on printmaking and teaching, in 1907 he began to paint. This early painting uses simple elements of the Ipswich landscape to create overall decorative patterns. Dow favored twilight and dawn as transitional times of day that simplified forms and harmonized colors in low-keyed luminescence.

Around 1900 Dow established a studio in Ipswich, Massachusetts, often teaching summer courses there. After an extended period of concentration on printmaking and teaching, in 1907 he began to paint. This early painting uses simple elements of the Ipswich landscape to create overall decorative patterns. Dow favored twilight and dawn as transitional times of day that simplified forms and harmonized colors in low-keyed luminescence.

An early work by Redmond, this painting was made in Northern California shortly after the artist’s return from Paris. The landscape effectively combines the themes of harvest and workers, which Redmond would have seen during his time as an art student in France, with the decorative patterning and Tonalist atmosphere that he admired in the work of California painters Gottardo Piazzoni and Arthur Mathews.

An early work by Redmond, this painting was made in Northern California shortly after the artist’s return from Paris. The landscape effectively combines the themes of harvest and workers, which Redmond would have seen during his time as an art student in France, with the decorative patterning and Tonalist atmosphere that he admired in the work of California painters Gottardo Piazzoni and Arthur Mathews.

Davies climbed Mount Tamalpais in Marin County to create drawings for this atmospheric view of Stinson Beach. He was interested in the colors of the landscape, painting the deep, inky blues of the Pacific Ocean and the warm golden hills leading to the beach below. Painting from a high vantage, Davies was able to assert the great panoramic qualities of the California landscape—using long, arcing contours, he compressed the hilltop perspective, holding the viewer high above the water.

Davies climbed Mount Tamalpais in Marin County to create drawings for this atmospheric view of Stinson Beach. He was interested in the colors of the landscape, painting the deep, inky blues of the Pacific Ocean and the warm golden hills leading to the beach below. Painting from a high vantage, Davies was able to assert the great panoramic qualities of the California landscape—using long, arcing contours, he compressed the hilltop perspective, holding the viewer high above the water.

Piazzoni was friendly with the California poet George Sterling, and they often expressed similar ideas in their work. Sometimes the titles of Piazzoni’s paintings found their way into Sterling’s poems. It is thought that Sterling’s 1911 poem “Moonlight in the Pines” inspired this painting: “But o’er the dale where Silence stood, / With tranquil dews austerely crowned, / A wilder glory touched the wood,—/ A sense of things profound.”