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American Drawings, Watercolors, Pastels

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American Drawings, Watercolors, Pastels American drawings watercolors pastels and collages in the COLLECTION OF THE CORCORAN GALLERY OF ART by LINDA CROCKER SIMMONS Associate Curator, Prints and Drawings With the assistance of ADRIANNE J. HUMPHREY MARGARET KINZER EDWARD J. NYGREN MARTHA PENNIGAR MARCY SILVER DAVID KNOWLTON TOZER and JAN CLARK JOANNA DeGILIO CAROLGEU IRENE K. PICAR NANI YALE Photographed by Robert Grove Edited by Diana Menkes Designed by Hubert Leckie Layout and production executed by Barbara Leckie Composed by Fototypesetters, Inc., Baltimore Printed by Garamond/Pridemark Press, Inc., Baltimore Published by the Corcoran Gallery of Art, Washington, D.C. © Corcoran Gallery of Art 1983 Library of Congress Card Number 83-070434 ISBN 0-88675-000-8 Funding provided by the National Endowment for the Arts, the Andrew W. Mellon Foundation, and the Katherine Dulin Folger Publications Fund Front cover: Childe Hassam, Au Grand Prix de Paris, 1887, pastel and pencil on board Contents ix Content x Acknowledgments xi Introduction xii Guide to the Catalogue 1 Catalogue 271 Index of Artists 277 Index of Donors Dedicated to the Memory of GENE BARO Director, Corcoran Gallery of Art, 1972 Foreword The American drawings, watercolors, pastels, and of pictures of this class is a matter to which collages of the Corcoran Gallery of Art comprise the Gallery has heretofore given but little at• a rich collection never before published in a tention. Believing that it would add greatly printed catalogue. Thanks to a generous grant to the interest in our collections and that it from the National Endowment for the Arts and would broaden the scope of the Gallery, I funding from the Andrew W. Mellon Foundation recommend that the Committee on Works of and the Katherine Dulin Folger Publications Art be authorized to purchase for the Gal• Fund, this first edition should serve as a useful lery, from time to time, the best examples of guide to scholars, connoisseurs, students, and the water colors which can be procured. general public. As the collection continues to That same month Winslow Homer's Hudson grow, as more research is carried on, as we find River—Logging was purchased, a work which re• the time to take a second, closer look at individ• mains a gem of the collection. ual works of art, we hope that we can expand and This initiative was broadened to include draw• update the catalogue. ings, pastels, and collages, and for the next eighty The Corcoran's commitment to the collection years works were purchased with funds from the and exhibition of drawings, watercolors, pastels, operating budget, membership revenues, Wom• and collages was ill-defined in the nineteenth cen• en's Committee benefits, and special endow• tury, but it began to evolve in a formal way ments. Gifts from famous collectors, from be• shortly after the Gallery moved from Pennsylva• quests, from spouses and descendents of artists, nia Avenue to its present location at 17th Street and of course from artists themselves flowed into and New York Avenue. In June 1900 the trustees the Gallery. invited the Society of Washington Artists and the This catalogue is intended as an index to the ef• Washington Water Color Club to hold annual forts of the trustees to follow the plan of 1903. shows in the Corcoran's Hemicycle Gallery. A We have tried to keep production costs low with modest number of purchases for the collection the idea of making the entire collection accessible was made in 1900-1901, and in 1902 a portfolio of to all those interested. As part of the Corcoran's drawings by Andrew Fisher Bunner was gratefully continuing objective to study and to publish its accepted by the trustees. This gift seemed to permanent collection, the trustees offer this latest serve as a stimulus, for the Director, Frederick B. endeavor in the spirit of William Wilson Cor• McGuire, in his report to the trustees of January coran: to encourage America genius. 19, 1903, called for action: The collections of the Gallery contain but PETER c. MARZIO, Director few paintings in water colors. The purchase November 1982 ix Acknowledgments ous in their assistance. Edward Nygren, Curator of fort of many collaborating individuals. As project co• Collections, initiated the project and worked to obtain ordinator and as associate curator for this portion of funding. Martha Pennigar, Curatorial Assistant, spent the permanent collection, I want to acknowledge their more than three years examining objects and locating contributions to this long task. much of the information about them. Fern Bleckner, David Tozer, Museum Specialist for Works on Pa• Conservation Assistant, unframed and matted many of per, worked steadily on this project with intelligence, the works. Barbara Moore, Curator of Education, as• devotion, and endless good nature. He participated in sisted in examining works. Adrianne Humphrey of the all parts of the catalogue, being responsible in particu• curatorial staff spent many hours in research and ex• lar for coordinating the photography and production of amination of works and in preparing the manuscript the illustrations. for publication. Numerous interns and volunteers generously gave Judy Riley, Registrar, and Lynn Kahler Berg and long hours. Chief among them was Margaret Kinzer, Rebecca Tiger, Assistant Registrars, willingly at• who worked on every aspect of the project and whose tempted to answer all questions. Kathy Kovacs, Archi• energy and wit made the task seem lighter. The fol• vist, Ann Maginnis, Librarian, and their staff mem• lowing volunteers and interns also contributed their bers, Patricia Waters, Kathlebn Robinson, Sherry time: Patricia Waters, Karen Luik, Pamela Chafin, Davids, and Paula De Fazio, provided prompt replies Carol Geu, Emily Klayman, Christine Clemens, Sandy to innumerable requests for information. The special Briscusci, Sarah Huntington, Myriam Springuel, Carol value of the Corcoran Archives proved itself through• Hollander, Meg Golodner, Liz Scott Shatto, Liz Tur- out the project. pit, Jan Clark, Lisa Schwartz, Lynne Berggren, Celia Sarah Borrera, Supervisor, and the staff and volun• Johnson, and Katherine Greene Meyer. teers of the Work Adjustment Training Program, Diana Menkes, editor of the catalogue, was invalua• Alexandria, Virginia, contributed their impeccable ble in her thorough and patient pursuit of accuracy services in typing the manuscript. and clarity. Robert Grove, photographer for the cata• The satisfaction of finishing the catalogue is at• logue, remained cheerful throughout the complicated tended by the realization of how many wonderful peo• and painstaking process. ple were brought together by the task. Corcoran staff from several departments were gener• LCS x Introduction An inventory of the Corcoran Gallery's nearly 8,000 The greatest strength of the collection lies in the works on paper was completed in 1982. This catalogue works executed in the years between the 1840s and the documents and illustrates almost a quarter of that in• early 1900s. Large portfolios of drawings by such art• ventory—the entire collection of American drawings, ists as John Singer Sargent, Emanuel Leutze, and watercolors, pastels, and collages—1,784 works by 645 Elihu Vedder permit study in depth. The collection's artists. These were acquired by the Corcoran over a sizable holdings of works by less-well-known artists— period of 114 years, from the Gallery's founding in Seth Wells Cheney, William P. Babcock, Enoch Wood 1869 through 1982. Perry, Eugene Vail, and James Goodwyn Clonney— The diverse nature of this collection is perhaps its provide similar opportunities. The Hudson River most outstanding, and most interesting, characteristic. School is solidly represented and includes such beauti• Important works by major artists are enhanced by the ful renderings as Thomas Doughty's Harper's Ferry company of fine pieces by artists whose names have from Below (22), Jasper Francis Cropsey's Mount long been forgotten. A sketch carrying a famous signa• Washington from near Bartletts (266), and John Fred• ture may be overshadowed by a brilliant drawing by an erick Kensett's Building by a Dam (227). unknown. In general, the artists are professionals, aca• The mediums of watercolor and pastel are equally demically trained. A small number, however, are ob• well represented for these years. The watercolors The viously amateurs or Sunday painters. Waterfall by John William Hill (80) and Hudson While the mediums of watercolor, gouache, pastel, River—Logging by Winslow Homer (74) are among acrylic on paper, and collage are well represented, the these artists' finest works. Lovely examples of the pas• collection is especially rich in drawings in pencil, ink, tel medium can be found in works by William Merritt charcoal, and crayon. Many are sketches or prepara• Chase, Childe Hassam, Everett Shinn, and Thomas tory studies for oils or murals, for bas-reliefs or sculp• Dewing. tures, mediums in which the artists may be more easily From recent times important works include Robert recognized. Sculptors such as Reuben Nakian, Gaston Motherwell's Gesture Paper Painting #2 (1430), Lee Lachaise, and Robert Morris further exhibit in their Bontecou's multiple images of slats and masks (JJnti- drawings the unmistakable style of their three-dimen• titled, 1609), and Richard Diebenkorn's abstraction sional work. (Untitled, 1511). Masterpieces are to be discovered The catalogue is organized chronologically by the throughout the collection. date of birth of the artists, from Benjamin West, born The works on paper at the Corcoran have only be• in 1738, to Jason Harvey, born in 1955. Multiple gun to be explored and studied. It is hoped that the works by the same artist are listed in sequence by the publication of this catalogue will advance the apprecia• date of execution. This organization suggests stylistic tion of these resources and further their use. trends and innovations in American art as well as the development of individual artists. LCS xi Guide to the Catalogue General arrangement: The catalogue is organized chronologi• Dimensions: Measurements are given in inches and centime• cally by artists' birthdates.
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