Gallery 29

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.”

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.”

By the early 20th century, California painters began depicting the local landscape in more personal ways. Artists turned their attention away from the panoramic views of the 19th century to more pastoral scenes, usually close to home. Mathews and his peers demonstrated an interest in translating the specific shapes and colors of the land into simpler forms. In The Oaks, the characteristic geographical features of California are recognizable, but they are filtered through the artist’s eyes.

By the early 20th century, California painters began depicting the local landscape in more personal ways. Artists turned their attention away from the panoramic views of the 19th century to more pastoral scenes, usually close to home. Mathews and his peers demonstrated an interest in translating the specific shapes and colors of the land into simpler forms. In The Oaks, the characteristic geographical features of California are recognizable, but they are filtered through the artist’s eyes.

After 1922 Kendall developed an interest in painting classical female nudes. This subject dominated his creative output for the last 15 years of his life, resulting in works with titles such as Keheilet, Eidolon, and Cypripedia. Cypripedia is a plant or flower of the genus Cypripedium, in the orchid family. The cypripedia in this painting sprouts from the earth beside the nude female figure.

After 1922 Kendall developed an interest in painting classical female nudes. This subject dominated his creative output for the last 15 years of his life, resulting in works with titles such as Keheilet, Eidolon, and Cypripedia. Cypripedia is a plant or flower of the genus Cypripedium, in the orchid family. The cypripedia in this painting sprouts from the earth beside the nude female figure.

In the summer of 1905, Kent went to the island of Monhegan, a rugged chunk of rock off the coast of Maine. While many artists only stayed on Monhegan during the summer, Kent lived there in the winter of 1906, finding work as a well digger, lobsterman, and carpenter. He eventually built a house and studio there, returning throughout his life. Kent painted scenes of the fisherman’s life in 1907 as one intimately familiar with the danger and beauty of working at sea.

In the summer of 1905, Kent went to the island of Monhegan, a rugged chunk of rock off the coast of Maine. While many artists only stayed on Monhegan during the summer, Kent lived there in the winter of 1906, finding work as a well digger, lobsterman, and carpenter. He eventually built a house and studio there, returning throughout his life. Kent painted scenes of the fisherman’s life in 1907 as one intimately familiar with the danger and beauty of working at sea.

When he taught painting on Cape Cod in 1899, Murphy urged his students to use poetic abstraction to “awaken an emotion” in their viewers. In this landscape painted that summer, he shows the power of this approach, emphasizing the tonal values and decorative qualities of the scene. This depiction of the flat, boggy landscape along Boston’s northern shore shows the rhythmic harmony of shadowy marshes, winding channels of water, and bands of gray suggesting banks of clouds and their reflections.

When he taught painting on Cape Cod in 1899, Murphy urged his students to use poetic abstraction to “awaken an emotion” in their viewers. In this landscape painted that summer, he shows the power of this approach, emphasizing the tonal values and decorative qualities of the scene. This depiction of the flat, boggy landscape along Boston’s northern shore shows the rhythmic harmony of shadowy marshes, winding channels of water, and bands of gray suggesting banks of clouds and their reflections.