Permanent Collection - Gallery Three
Thomas Anshutz (aka Thomas Pollack Anshutz)
(Newport, Kentucky, 1851 - 1912)
Down the Delaware Bay
Oil on canvas
26 1/4 in. x 37 1/4 in. (66.68 cm x 94.62 cm)
Montgomery Museum of Fine Arts Association Purchase
Thomas Anshutz's travel to Europe in 1892 led him to move away from traditional academic approaches to painting and to explore the avenues of Impressionism and Post-Impressionism. In the summer of 1897, he made a two month trip down the Delaware River, beginning in Millville, New Jersey and proceeding south. Anshutz painted and took many photographs along the Delaware which are now preserved in the Anshutz photographs collection of the Archives of American Art.
A letter to his wife includes a watercolor and pencil sketch of a boat out of water, and refers to the scene which was the source for the Museum's oil painting, Down the Delaware Bay. The sketch is comparable in the main element of the composition (the drydocked boat), however Anshutz has adapted it significantly, adding the dinghy in the foreground, omitting the figure in the sketch who is working on the side of the boat itself and adding the boat seen from the stern, as well as the suggestions of other vessels in the background. The location preserved in the sketch is also documented in a photograph now in the Archives of American Art.
(Allegheny City, Pennsylvania, 1844 - 1926, Chateau de Beaufresne, France)
Francoise in Green, Sewing
Oil on canvas
32 in. x 25 3/4 in. (81.28 cm x 65.41 cm)
Signed, lower right: Mary Cassatt
Gift of the Ida Belle Young Art Acquisition Fund
"Francoise in Green, Sewing" dates from the final stage of Cassatt’s career. In her later paintings, Cassatt increasingly focused on depicting individual young children rather than women with babies. Earlier in her career, her single portraits of children were usually actual portraits of family members, specifically her nieces and nephews. At this stage, however, these children had grown, and she turned to young models such as Francoise, who was most likely from the nearby village of Mesnil-Theribus, Oise.
Among the distinctive features of Cassatt’s later works are changes in the manner of applying paint and the paint surface itself. The artist lavished care on the texture, color, and pattern of the voluminous blouse and skirt, conveying the character of the fabrics with quick strokes of a heavily loaded brush. She ties the painting’s foreground to the background by repeating the green of the skirt in the drapery behind the model. In making this costume such a defining element of the composition, Cassatt may have been inspired by her recollection of figure and history paintings by seventeenth-century artists such as Velasquez and Rubens in which setting and costume play an important role.
(Providence, Rhode Island, 1850 - 1913)
Field of Heather
Oil on canvas
24 3/4 in. x 34 1/4 in. (62.87 cm x 87 cm)
Signed, lower left: "G. Hitchcock"
Montgomery Fine Arts Association Purchase through the Acquisitions Fund and a generous gift from the Volunteer Services Organization
"Field of Heather " typifies Hitchcock's documented work of the later 1890s and into the earlier twentieth century. Beginning in the 1880s, Hitchcock painted similar scenes of fields, but he had usually incorporated figures, largely Dutch women in peasant dress, as part of these compositions. Many of these images were quasi-religious in tone. In addition, HItchcock's paintings usually documented cultivated fields of flowers, structured in parallel rows of blooms, such as the tulips that were symbolic of Holland and associated with international flower trade. While this work depicts flowers in a field, it is a country view of wild flowers across a meadow. Its style is consistent with Hitchcock's variation on nineteenth-century Impressionism, with an emphasis on dashes of color blended on the canvas creating a sensation of the broken light playing across the landscape on a partly cloudy day.
Helen Maria Turner
(Louisville, Kentucky, 1858 - 1958, New Orleans, Louisiana)
Sunny Room—The Long Shadow
Oil on canvas
24 1/8 in. x 20 1/8 in. (61.28 cm x 51.12 cm)
Signed, lower left: Helen M Turner
Gift of the artist by transfer from the Isaac Delgado Museum of Art
Helen Turner probably painted "Sunny Room—The Long Shadow" in her New York studio at the height of her career there. She frequently portrayed women absorbed in mundane tasks or posing in intimate domestic spaces; here the model, her back to the viewer, looks in a mirror and arranges her hat. The figure’s small scale, the dominant presence of the light-filled windows flanking the mirror, and the shadow that gives the work its title focus the viewer’s attention on the painting’s actual subject—the palpable, shimmering atmosphere of the room.
American Paintings from the Montgomery Museum of Fine Arts, 2006, cat. no. 36