Gallery 50

Despite its small size and isolation, Maine’s Appledore Island played a large role in Hassam’s life, shaping the course of his career and artistic development. The writer Nathaniel Hawthorne described Appledore, “it seems as if some of the materials of the world remained superfluous, after the Creator had finished, and were carelessly thrown down here, where the millionth part of them emerge from the sea, and in the course of thousands of years, have got partially bestrewn with a little soil.”

Despite its small size and isolation, Maine’s Appledore Island played a large role in Hassam’s life, shaping the course of his career and artistic development. The writer Nathaniel Hawthorne described Appledore, “it seems as if some of the materials of the world remained superfluous, after the Creator had finished, and were carelessly thrown down here, where the millionth part of them emerge from the sea, and in the course of thousands of years, have got partially bestrewn with a little soil.”

When this painting was shown in New York City in 1916, a reviewer commented: “In work of an uninspired artist you can speak of this or that subject as a ‘type,’ but Mr. Luks does not paint types—he paints the individual. And it is not a likeness, but an ideal, as seen in Innocence.” The subject’s frank, frontal pose and the lively brushstrokes are characteristic of Luks, who was excited by the vitality of all aspects of contemporary urban life.

When this painting was shown in New York City in 1916, a reviewer commented: “In work of an uninspired artist you can speak of this or that subject as a ‘type,’ but Mr. Luks does not paint types—he paints the individual. And it is not a likeness, but an ideal, as seen in Innocence.” The subject’s frank, frontal pose and the lively brushstrokes are characteristic of Luks, who was excited by the vitality of all aspects of contemporary urban life.

The title of this painting and the subject depicted suggest that it was based on observations Ault made of his family’s business, which processed ink for printing presses. Although the scene is based in reality, Ault simplified and abstracted the worker, the equipment, and the architecture, making the man’s labor feel eerily still. The composition resembles a series of interlocking geometric shapes, including a figure eight, a symbol for infinity, which suggests the repetitive nature of the task.

The title of this painting and the subject depicted suggest that it was based on observations Ault made of his family’s business, which processed ink for printing presses. Although the scene is based in reality, Ault simplified and abstracted the worker, the equipment, and the architecture, making the man’s labor feel eerily still. The composition resembles a series of interlocking geometric shapes, including a figure eight, a symbol for infinity, which suggests the repetitive nature of the task.

Obata’s Mother Earth depicts the artist’s young wife during her pregnancy. She stands in a grove of redwood trees, her long dark hair covering her body. The title evokes nature, fertility, maternity, and the cycles and seasons of life. Although his Japanese wife served as his model, Obata transformed this personal subject into a universal ode to nature, once observing: “Above the border line of nationality everybody must feel a deep appreciation toward Mother Earth.”

Obata’s Mother Earth depicts the artist’s young wife during her pregnancy. She stands in a grove of redwood trees, her long dark hair covering her body. The title evokes nature, fertility, maternity, and the cycles and seasons of life. Although his Japanese wife served as his model, Obata transformed this personal subject into a universal ode to nature, once observing: “Above the border line of nationality everybody must feel a deep appreciation toward Mother Earth.”