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Quincy: Selected Paintings Anna Elston Donnelly Dickinson College

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Quincy: Selected Paintings Anna Elston Donnelly Dickinson College Dickinson College Dickinson Scholar Student Scholarship & Creative Works By Year Student Scholarship & Creative Works 1-27-2006 Quincy: Selected Paintings Anna Elston Donnelly Dickinson College Laura Davenport Hahn Dickinson College Susannah Katherine Jane Haworth Dickinson College Dorothy Paige Litz Dickinson College Cassie Laraine Lynott Dickinson College See next page for additional authors Follow this and additional works at: http://scholar.dickinson.edu/student_work Part of the American Art and Architecture Commons Recommended Citation Schlitt, Melinda, et al. Quincy: Selected Paintings. Carlisle, Pa.: The rT out Gallery, Dickinson College, 2006. This Exhibition Catalog is brought to you for free and open access by the Student Scholarship & Creative Works at Dickinson Scholar. It has been accepted for inclusion in Student Scholarship & Creative Works By Year by an authorized administrator of Dickinson Scholar. For more information, please contact [email protected]. Authors Anna Elston Donnelly, Laura Davenport Hahn, Susannah Katherine Jane Haworth, Dorothy Paige Litz, Cassie Laraine Lynott, Rebecca Scott aM grane, Courtney Elizabeth Scally, Kristin Lynn Schmehl, Hilary M. Smith, Melinda Wilcox Schlitt, and Trout Gallery This exhibition catalog is available at Dickinson Scholar: http://scholar.dickinson.edu/student_work/13 selected paintings selected paintings January 27 – March 11, 2006 Curated by: Anna Alston Donnelly Laura Hahn Susannah Haworth Dorothy Paige Litz Cassie Lynott Rebecca Magrane Courtney Scally Kristin Schmehl Hilary Smith Paintings of Edmund Quincy (1903-1997) courtesy of Hirschl & Adler Galleries, NYC THE TROUT GALLERY / Dickinson College / Carlisle, Pennsylvania Cover Image: Edmund Quincy (1903-1997) Haystacks, Giverny Oil on canvas, 23 1/2 x 28 1/2 inches Courtesy of Hirschl & Adler Galleries, NYC ISBN 0-9768488-4-8 Acknowledgments The senior Art Historical Methods Seminar is unique among Phillip for also helping with the preliminary selection of undergraduate programs in art history in that it offers students paintings along with Eric at Hirschl & Adler this past summer. the opportunity to become curators for a semester wherein they Most special thanks go to James Bowman, The Trout select, research, write a catalogue for, and organize a public Gallery Registrar and Preparator, who made the works avail- exhibition in The Trout Gallery. In the short three and one- able for study by the seminar as a whole and on an individ- half months of the semester, this process always seems a diffi- ual basis for each student when needed. We are also indebted cult challenge. Not unexpectedly, however, the students rose to to James for his informed advice and supervision of the instal- the occasion and devoted an enormous amount of energy, lation design and process, which forms an important part of time, and enthusiasm not only to the course material for the the students’ experience in the seminar. My personal thanks seminar, but also to researching and writing the entries for also go to James for sharing the responsibility of transporting this catalogue. The thematic approach, installation design, the paintings from New York to Carlisle and back. We also and idea for organizing the catalogue are the result of their thank, in advance, Wendy Pires and Dottie Reed for making initiative and creativity and they should be proud of the qual- this exhibition accessible to a wider regional audience through ity of the process and final product. Their sustained industry outstanding educational programs offered through the Gallery’s and good humor throughout the semester has made the semi- Educational Outreach Program. nar exciting to teach, and I would like to extend my congratu- The students were aided in their research by our Art lations to them on a job well done. & Art History library liaison, Chris Bombaro, whose expert- This year’s seminar topic and exhibition are most ise, course web-page design, and enthusiasm provided a source unique in the tradition of the Art Historical Methods of academic and problem-solving support throughout the Seminar in that the works for the exhibition have not been semester. In the design and publication of this catalogue, the drawn from the permanent collection of The Trout Gallery, seminar met with Kim Nichols and Pat Pohlman of the but rather have been graciously loaned by the prestigious Publications Office. The result of their design expertise, prac- Hirschl & Adler Galleries in New York City. Thanks to the tical guidance, and visual conceptualization is this most pro- continued generosity and interest of Eric W. Baumgartner, an fessional and beautiful catalogue. We can’t thank them enough alumnus of Dickinson with a major in Fine Arts (class of ’79) for helping the students to visualize the concepts and ideas who is now Director of American Art at Hirschl & Adler, we they had for this publication. We are similarly grateful to are privileged to have nineteen paintings by the American Pierce Bounds for creating clean, crisp images of the paintings artist, Edmund Quincy (1903-1997), as the subject of this in the exhibition without which this catalogue would have no year’s seminar and exhibition. We extend our sincere apprecia- reproductions. tion and gratitude to Eric and his staff at Hirschl & Adler. Without the patience, expertise, and dedication of The rare opportunity for current Dickinson students to study Stephanie Keifer, administrative assistant to The Trout and work with this collection of paintings by Quincy has been Gallery, neither the final editing of the catalogue, invitations, an invaluable and rewarding experience. Special thanks also opening reception, and all issues related to the exhibition go to Zachary Ross, also of Hirschl & Adler, who met with the would happen. The professionalism and clean copy of the cata- seminar at Dickinson and engaged the students in a lively dis- logue text are largely the result of Stephanie’s hard work, and cussion about his research on Quincy for Hirschl & Adler’s we owe her more than a debt of gratitude. exhibition in 2000, and the vicissitudes of the commercial art world. The Members of the Art Historical Methods Seminar, Many colleagues at Dickinson contributed their time Professor Melinda Schlitt, Advisor and expertise to the seminar and exhibition. Without their help and interest, the quality of the seminar and the exhibi- tion itself would not have been possible. The students and I especially thank Professor Phillip Earenfight, Director of The The Gallery is supported by the Helen E. Trout Memorial Fund and the Ruth Trout Endowment. Funding for special projects is provided by the Trout Gallery and Associate Professor of Art History, for his Henry D. Clarke, Jr. Foundation for the Arts.This catalogue was generously enthusiastic support of the seminar and exhibition despite underwritten by the Ruth Trout Endowment. ©2006 The Trout Gallery, Dickinson College, Carlisle, PA many other professional commitments. My personal thanks to All rights reserved. 3 Introduction Frederic Whiting), finally setting down roots in Paris where he would remain for the next several years. In a recollection from This exhibition represents the second public showing of some twenty-five years later, Quincy acknowledged the richness Edmund Quincy’s paintings since his last one-man show at the of his experiences in Europe more generally when he remarked, Boston Athenaeum in 1955. Until Hirschl & Adler Galleries “Since that time I have realized that life may be too short to mounted a substantial exhibition of Quincy’s work in 2000, the avail one’s self of the immense resources with which ages of legacy of this French-born American artist had been largely for- thought and culture have endowed this land.”3 This kind of gotten in a storage warehouse outside of Boston where a signifi- reflective insight often resonates in the vibrant immediacy and cant number of his paintings and many personal effects were saturated color palette of many of his urban and landscape discovered by chance in 1999. Such a twist of fate can be an art scenes, qualities that several of the student curators elaborate historian’s dream and an artist’s nightmare. In the first instance, upon in their essays. to be able to research and write about an artist for whom there Quincy sought out further instruction in Paris when he was virtually no scholarship or published criticism to speak of, enrolled at the Académie Colorossi in 1927, studying with the and in the second instance, to be relegated to obscurity where French academic painter, Georges-Léo Degorce, and by 1930, the vibrant visions of a life’s work languished in the darkness of he had his first one-man show at the Galerie d’Art Contemporain a rented warehouse. For their research on Quincy’s art, the stu- in Paris. As Zachary Ross noted in his discussion of this exhibi- dent curators were afforded the rare opportunity of unrestricted tion, the predominance of paintings representing Boston would access to the cache of primary documents (exhibition reviews, have been seen as a bit unusual in a French gallery at this time, letters, exhibition notices, and other personal effects) that were but the work was nonetheless enthusiastically received by both discovered along with the paintings. As Eric Baumgartner rightly French and American critics largely because of this novelty.4 noted in his Introduction to the Hirschl & Adler exhibition cat- Some of the observations in these reviews are revealing for their alogue, assembling such a collection of primary documents characterization of the broad qualities and effects of Quincy’s through conventional research techniques would have required art, and they are instructive to mention here. A French critic an enormous amount of time and effort.1 And thus for noted that, “…several canvases painted in America…give an Edmund Quincy (1903-1997), the present exhibition and cata- attractive image of that country, not of the tumultuousness of a logue not only further cement his reinstatement within the his- big city, but an aspect more intimate, more pleasant, more pic- tory of twentieth-century American painters, but they also offer turesque of his own country.”5 B.J.
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