Oil Painting by Breta Longacre of the Lyme Art Colony, Hudson School, c. 1915

Description: Provenance: daughter of the artist. The beautiful frame is original to the painting. It is carved wood, gilded in gold. Recently, I have discovered the artist's name printed in pencil verso the painting. It can only be viewed with bright light. I have included a photo of this printed name / signature (?) The following text is typed and affixed to the back of the framed painting: Brett Longacre(1887 - 1923), artist The Lyme Art Colony counted few women among their ranks. In a way, Old Lyme was a country version of the private art clubs the artists belonged to in Boston and New York. Likewise, the artists had an agreement with Miss Florence that they would review the applications of people who wanted to stay at the boardinghouse. They denied access to art students and dilettante, but the families of artists were welcome as were a few female artists. Matilda Browne was one of the few female artists who were welcomed into the enclave of Miss Florence's "boys". In the artist colony she was later joined by the sisters Lydia and Brett Longacre, and the wife of one of the paintings, Bessie Potter Vonnoh, a respected sculptor. From an exhibition at Florence Griswold Museum [Post-Impressionism]Brett Longacre (1887 - 1923)Still Life with Fruit Compote, 1915Oil on devote boardFlorence Griswold Museum, Gift of Mrs. Eleanor DelMar Revill 1998.16 The use of competing patterns and slightly skewed perspective in Breta Longacre’s Still Life with Fruit Compote are common in Modernism, particularly Post-Impressionism. The simplified patterns of wallpapers and textiles flatten the space of a painting, an effect exploited by the Post-Impressionist painters, especially in their still lives, where the artist could choose and arrange the elements of composition. In addition to the optic effect of the patterns here, the compote on the table is rendered in a mildly disorienting manner. A portion of it appears to be viewed from straight on, while other parts of it are depicted as if from an extreme angle above the compote. Similarly, the table seems to drop and extend too far to the lower right, reinforcing the notion of a changeable point of view. Longacre challenges our perception of the scene with the citrus fruit that somehow resists frolling of the tilting tabletop. (NOTE: September 7, 2012 - Emily Del Mar Muller died at the Deerfield Retirement Community in Asheville, N. C. She was 93. She was born Dec. 25, 1918 in New York City to Breta Longacre, a painter in the Hudson School, and William Alexander Del Mar, an electrical engineer.)

Price: 330 USD

Location: Memphis, Tennessee

End Time: 2025-01-24T22:34:24.000Z

Shipping Cost: N/A USD