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Ernest Lawson (1873-1939): the Life and Work of an American Impressionist

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Ernest Lawson (1873-1939): the Life and Work of an American Impressionist Ernest Lawson (1873-1939): the life and work of an American impressionist Item Type text; Thesis-Reproduction (electronic) Authors Karpiscak, Adeline Lee Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 06/10/2021 04:07:01 Link to Item http://hdl.handle.net/10150/557819 ERNEST LAWSON (1873-1939): THE LIFE AND WORK OF AN AMERICAN IMPRESSIONIST by Adeline Lee Karpiscak A Thesis Submitted to the Faculty of the DEPARTMENT OF ART In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS WITH A MAJOR IN ART HISTORY In the Graduate College THE UNIVERSITY OF ARIZONA 19 7 9 STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of re­ quirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his judg­ ment the proposed use of the material is in the interests of scholar­ ship. In all other instances, however, permission must be obtained from the author. SIGNED:, APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below: {f2p-U. atv/~7^ SHELDON REICH! 7 U&te Professor of Art PREFACE Several years ago while sitting in a class of Twentieth Cen­ tury American art, my Professor at the time. Dr. Sheldon Reich, talked of a group of revolutionary artists known as the "Eight." As he de­ scribed each artist more closely, there was one who seemed to stand out in my mind above the rest, namely Ernest Lawson. Perhaps it was his Impressionist technique that seemed to attract my attention, but more likely it was his subject matter. Lawson spent a number of years painting in upper Manhattan, in the vicinity of the Harlem and Hudson Rivers, an area I know well having spent most of my life there so, of course, have a special affinity for the neighborhood. Recognizing his landscape compositions was part, and an important part, of my admiration and my attraction to the works of this artist. As a result of my research on Lawson, I organized a retrospec­ tive exhibition held at the University of Arizona Museum of Art (Febru­ ary 11-March 8, 1979). A catalogue was produced for the exhibit that was based upon this thesis. The catalogue has been copyrighted and since it contains material from this thesis, should be perused before any statements from the thesis are reproduced. I am therefore most grateful to Dr. Sheldon Reich who intro­ duced me to the works of Ernest LawsOn and whose contributions of knowl­ edge, guidance, ideas and overall enthusiasm for this project were . indispensible to me. Also my gratitude goes to Dr, Howard Conant and Mr, Robert G, Baker for their support and encouragement, My warmest thanks goes to the daughter of Ernest Lawson9 Mrs, Margaret Lawson Bensco, who was so very kind and gracious in providing details concerning her father and their life together, I thank the University of Arizona Alumni Association for generously funding a re­ search grant which enabled me to visit and interview Mrs, Bensco, I wish to thank the staff members of the ACA Galleries in New York, and particularly Mr, Dennis Anderson, whose assistance during my visit to the 1976 Lawson retrospective is deeply appreciated, Ms, Nancy Moure at the Los Angeles County Museum of Art was especially helpful in locating several works by the artist in private collections, Mr, Paul Karlstrom and the staff at. the Archives of American Art in San Francisco put at my disposal recorded interviews, letters written by the artist, and other special materials dealing with the artist. Finally, I am indebted to my husband, Martin, and my mother for their encouragement and patience during my work on this project. TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS . vi . ABSTRACT ..............•............ ix I. CHILDHOOD AND APPRENTICESHIPS: 1873-1890 1 II. THE EARLIEST LANDSCAPES AND THE IMPRESSIONIST ETHIC: 1891-1897 ............... .......... 7 III. NEW YORKs A RENEWED INSPIRATION AND NEW FRIENDS: 1898-1909 ......................... 19 IV. MODERN TENDENCIES AND NEW VISIONS: 1910-1916.......... 27 V.. MIXED REVIEWS OF A LONESOME WANDERER: 1917-1930. ..... 32 VI. DISILLUSIONMENT IN THE FLORIDA YEARS: 1931-1939. ’ . 37 VII. IMPRESSIONISM AND LAWSON: A SYSTEMATIC CHRONOLOGY........ 43 Pre-1900: Mexico, France, New York .......... 46 The Changing Seasons in New York: 1900-1915. ..... 55 A Fresh Approach, Spain: 1916-1917 ........ 70 East Meets West: 1918-1930 .............. 73 A Philosophical Climax: 1931-1939.................... 83 SELECTED BIBLIOGRAPHY ........ ... 94 V LIST OF ILLUSTRATIONS Figure Page 1. Ernest Lawson .......... 2 2. Winter Harmony, John Twachtman, 10 3 o Portrait of a Gentleman .......... 12 4. The Artist's Daughters. ............ 13 5. The Artist’s Wife and Daughter. .......... 13 6. Mexican Landscape .......... 16 7. Moret-sur-Loing ..................... 17 8. Ijaish'ScSij^s^ ................ - 17 9. Photograph of Hills of Inwood, upper Manhattan, 1978. 20 10. Hills of Inwood ............ ................. 20 11. Boathouse-Winter. Harlem River. ........ ......... 30 12. Peggy*s Cove, Nova Scotia ...................... 33 13. Gold Mining, Cripple Creek. ............... 35 14. The Beach, Miami. .......... 38 15. Mural for Short Hills, New Jersey Post O f f i c e ........... 40 16. Bull Ring-Mexico City ................ 48 17. Moret-sur-Loing, River Scene. .............. 50 .18. L'inondation a Port-Marley, Alfred Sisley ........ 50 19. Coney Island. ........ - 52 20. Riviera Landscape-Martigues .... ........... ..... 52 21. Central Park.......... 54 vi vii LIST OF ILLUSTRATIONS— Continued Figure Page 22. Stormy Sea, Long Island ................. 56 23. Horningside Heights .......... 58 24. Ft. George Hill; Morning ................ 58. 25. Winter on the River ................... 59 26. Winter Landscape. .......... ............. 59 27. Harlem River in Winter. ..... ............... .... 61 28. Snow-Bound Boats. ........... 61 29. Winter Landscape: Washington Bridge. .......... 64 30. Spring Morning, Washington Bridge ............. ..... 64 31. Washington Bridge ............. 65 32. High Bridge over Harlem River .............. 65 33. Photograph of High Bridge, Manhattan side, looking north from F.D.R. Drive, 155th Street, 1978 ..... 67 34. The Further Heights ........... ....... 69 35. Upper Harlem River. ................... 69 36. Sunny Day-Segovia . ............... 71 37. Icebound Falls. ..................... ....... 74 38. May in the Mountains............ 75 39. Detail of Fig. 38, left center, . ........... 75 40. Winter Scene. ................... 77 41. Morning Light-Connecticut River Valley. ......... 77 42. Riverside Church. ........................... 79 43. Royal Gorge, Colorado .................. 80 viii LIST OF ILLUSTRATIONS— Continued Figure Page 44. Arroyo Hondo, Marsden Hartley ............ 81 45. Lands cap e-Mountains. .......... 81 46. Little Church-Canyon, Colorado .............. 84 47. Waterfall. ........................ 84 48. High Bridge. ....................... 86 49. Photograph showing High Bridge from the Bronx side, looking north, 1978. ................. 86 50. Anticipation .................. 88 .51. Realization. .................. ........ 89 52. Retrospection. ...................... 90 53. Moonlight, Albert Pinkham Ryder. ............. ..... 92 \ ABSTRACT The life of Ernest Lawson has, for the most part, remained untold = A detailed account of the travels of this Canadian-American painter to Mexico, New York, Paris, Colorado and finally to Florida thus has been attempted, along with his education and teaching ex­ periences in these places„ His family life as well as time spent with his good friends and fellow artists William Glackens, Robert Henri, and John Sloan to name a few, had an important impact upon his art. The works of Lawson the Impressionist have too long remained isolated from the mainstreams of Twentieth Century American art. Those critics of Lawson’s work have maintained that he persisted with a style that remained constant throughout his career. A chronology of selected works strongly negates this view, His early years emphasize the blond palette of the French Impressionists while later he incorporated in his works the solidity of cSzanne, a stronger palette, and a generally more philosophic attitude toward his landscape compositions. ix CHAPTER I CHILDHOOD AND APPRENTICESHIPS: 1873-1890 Impressionism, that poor, despised, term of reproach, reviled and misunderstood, handled about by the purblihdly ignorant as an awful indictment of some unpardonable offense, employed as a convenient cloak by masquerading incompetents^ foisting their smudgy daubs on a bewildered public . and poor fellows who have borne in silence the scornful indifference of the public are now having their innings. Of them all, none is more deserving of appreciation than Ernest Lawson, who has dwelt in obscurity too long.3- "Dwelt in obscurity too long" indeed, for
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