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Selective Visions: the Art of Ralston Crawford Sara Elizabeth Adams Dickinson College

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Selective Visions: the Art of Ralston Crawford Sara Elizabeth Adams Dickinson College Dickinson College Dickinson Scholar Student Scholarship & Creative Works By Year Student Scholarship & Creative Works 1-26-2001 Selective Visions: The Art of Ralston Crawford Sara Elizabeth Adams Dickinson College Melanie Susan Baird Dickinson College Daniela Maria D'Amato Dickinson College Adam Granduciel Dickinson College Claire Mathilde Jacomme 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. Selective Visions: The Art of Ralston Crawford. Carlisle, Pa.: The rT out Gallery, Dickinson College, 2001. 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 Sara Elizabeth Adams, Melanie Susan Baird, Daniela Maria D'Amato, Adam Granduciel, Claire Mathilde Jacomme, Sarah H. Spanburgh, Melinda Wilcox Schlitt, and Trout Gallery This exhibition catalog is available at Dickinson Scholar: http://scholar.dickinson.edu/student_work/8 Selective Visions The Art of Ralston Crawford The Trout Gallery - Dickinson College - Carlisle, Pennsylvania Selective Visions The Art of Ralston Crawford 26 January - 3 March 200 I Curated by: Sara Adams Melanie Baird Daniela D'Amato Adam Granofsky Claire Jacomme Sarah Spanburgh From the collections of Neelon, John, and Robert Crawford Courtesy of Hirschi & Adler Galleries, Inc., NYC The Trout Gallery Dickinson College Emil R.Weiss Center for the Arts .............. Carlisle, Pennsylvania I 7013 Acknowledgements The senior Art-Historical Methods seminar is unique among undergraduate programs in art history in that it offers students the opportunity to become curators for a semester wherein they select, research, write a catalogue for, and organize a public exhibition in The Trout Gallery. In the short three and one-half months ef the semester, this process always seems a more than difficult challenge. Not unexpectedly, however, the students rose to the occasion and devoted a tremendous amount ef energy, time, and enthusiasm not only to the course material for the seminar, but also to researching and writing the entries for this catalogue. The thematic approach, installation design, and idea for organizing the catalogue are the result of their initiative and creativity and they should be proud ef the quality of the process and final product. Their sustained industry and good humor throughout the semester has made the seminar a pleasure to teach, and I would like to extend my congratulations to them on a job well done. This year'.s seminar topic and exhibition are unprecedented in the history ef the Art-Historical Methods seminar in that the works for the exhibition have not been drawn from the permanent collection of The Trout Gallery, but rather have been graciously loaned by the prestigious Hirsch/ & Adler Galleries in New York City. Thanks to the generosity, interest, and hard work of Eric W Baumgartner, an alumnus ef Dickinson with a major in Fine Arts (class of' 79), who is now Director ef American Art at Hirschi & Adler, we are privileged to have nineteen paintings of the distinguished Americ~n artist, Ralston Crawford, as the subject of this year'.s seminar and exhibition. These paintings are from the collections of Neelon,]ohn, and Robert Crawford, and thus we extend our appreciation to them, and our sincere and heartfelt gratitude to Eric and his stciff at Hirsch/ & Adler. The opportunity for current Dickinson students to study and work with paintings by an artist of Crawford's stature has been an invaluable and rewarding experience. Many colleagues at Dickinson contributed their time and expertise to the seminar and exhibition. Without their help and interest, the quality ef the seminar and the exhibition itself would not have been possible. The students and I especially thank Prof Peter Lukehart, Director of The Trout Gallery and Associate Professor of Art History,for his enthusiastic support ef the seminar and exhibition despite many other profes• sional commitments. My personal thanks to Peter for helping with the preliminary selection ef paintings along with Eric at Hirsch/ & Adler this past summer, and for sharing the responsibility ef transporting them to The Trout Gallery. The students were aided in their research by our Fine Arts library liaison, Kirk Moll, whose expertise, course web-page design, and enthusiasm provided a source of support and comfort throughout the semester. Similarly, our appreciation goes to Dwayne Franklin, Gallery Registrar and Preparator, who made the paintings available for study by the seminar as a whole and on an individual basis for each student when needed. T# are also indebted to Dwayne for his advice and supervision ef the installation process, which forms an important part of the students' experience in the seminar, and to his stcifffor ably assisting in the process. T# also thank Wendy Pires for making the exhibition accessi• ble to a wider audience through the Callery': Outreach Program. In the design and publication of the catalogue, the seminar met twice with Kim Nichols and Dottie Reed, co-directors of the Publications Office. The result ef their practical guidance, creative suggestions, and visual conceptualization is the present catalogue. T# are similarly grateful to Pierce Bounds for his always professionai and quickly-delivered photographs of the works in the exhibition without which this cata• logue would have no reproductions. Without the organization, knowledge, and clear thinking ef Fine Arts Department Secretary I Gallery Administrative Assistant Stephanie Keifer, neither the final editing of the catalogue, invitations, opening reception, and all issues related to the exhibition would happen. Finally, the publication of this catalogue was made possible by the generosity efThe Ruth Trout Endowment. Ruth 5 unflagging com• mitment to the educational role of the visual arts through The Trout Gallery is one ef the most unique and exciting aspects ef the liberal arts experience at Dickinson. T# thank her for her continued interest, support, and participation. Melinda Schlitt, Associate Prcfessor. Art History The Trout Gallery is supported by The Helen E. Trout Memorial Fund and The Ruth Trout Endowment. Funding for special projects is provided by the Henry D. Clarke,Jr. Foundation for the Arts. This catalogue was generously underwritten by The Ruth Trout Endowment. ©2001 The Trout Gallery, Dickinson College, Carlisle, Pennsylvania All rights reserved 2 Introduction The times I have started without a direct physical reference point are very few. And it doesn't matter Ralston Crawford (1906-1978) occupies a unique and to me if the source is clear to the person looking fascinating place in American twentieth-century art. As a at the picture, if there is some kind of residue, a painter, printmaker, and photographer his art has been fertilizing residue, of this initial experience. If it identified with "Precisionism," "Modernism," "New hasn't got that, it's sterile, at least in my opinion.s Realism," and "Abstractionism," but with none of these stylistic categories exclusively. While critics and historians I don't feel obligated to reveal the forms. They have generally agreed, however, that Crawford's images of may be totally absent to the viewer of the work, the American industrial landscape made during the 1930's or even to myself, but what is there, however rank among the best examples of"Precisionism," in which abstract, grows out of something I have seen. I the works of his contemporaries, Charles Demuth, Charles make pictures.> Sheeler, Stuart Davis, Niles Spencer, and Georgia O'Keeffe figure prominently, critics and historians also concur that From his early studies at the Pennsylvania Academy of Crawford's work after 1939, and especially after World War The Fine Arts with Hugh Breckenridge from 1927 to 1930 II, represents his most original and effective expression of and at the Barnes Foundation during those same years, to an aesthetic vision and pictorial language. Despite this ret• his travels around the world throughout his life, Crawford rospective critical consensus, Crawford's work after 1939 readily acknowledged the artists who inspired him and was not immediately "popular" with the critics and art• from whom he continued to learn valuable lessons buying public, and it has ironically been less recognized and throughout his career; Cezanne and Matisse were para• appreciated historically than the work made prior to that mount in this regard, although Renoir and Seurat, Picasso period. He belongs to the same generation as the Abstract and Braque, Rembrandt, and especially Goya were also Expressionists, yet never received the notoriety of the artists painters he carefully studied and admired greatly-the who represented that style, even though it can be argued impact of his engagement with these artists, among others, that much of his work is as imaginative, innovative, and is everywhere evident in Crawford's own unique vision conceptually sophisticated. This condition owes far more to and style. Consistent with his artistic goals and the visible the vicissitudes of fortune and the art market than to the evidence of his images, Crawford always admitted feeling a quality and effect of
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