Gallery 29

This painting features goddesses from Greek mythology; each is associated with different qualities: Aglaia (elegance, brightness, and splendor); Thalia (youth, beauty, and good cheer); and Euphrosyne (mirth and joyfulness). In this scene, Mathews transports the goddesses from ancient Greece to California—the women are dressed not in classical Greek costume but kimono-type robes suggestive of the bohemian tastes of West Coast artistic life in 1909.

This painting features goddesses from Greek mythology; each is associated with different qualities: Aglaia (elegance, brightness, and splendor); Thalia (youth, beauty, and good cheer); and Euphrosyne (mirth and joyfulness). In this scene, Mathews transports the goddesses from ancient Greece to California—the women are dressed not in classical Greek costume but kimono-type robes suggestive of the bohemian tastes of West Coast artistic life in 1909.

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.

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.