"The Bazaar" Painting by American Tonalist Douglas Arthur Teed

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"The Bazaar" Painting by American Tonalist Douglas Arthur Teed

About the Item

Signed and dated 1927 in the lower left and presented in a beautifully carved frame. Douglas Arthur Teed (American, 1863-1929) Douglas Arthur Teed began painting as a small boy in Utica having opened his own study by the age of fourteen. In his youth, Teed spent many hours in the studio of George Inness, whose tonalist landscapes greatly impressed the growing artist. Teed lived in New York as a billboard painter until 1890. Later that year he opened a studio in Rome. This would serve as the home base for his five-year study in Europe. Teed found a land in which art had a tradition of hundreds of years of immense imaginative achievements, a lovely and dramatically varied countryside, great paintings of the past to inspire him, the accumulated magic and splendor of the past. The popular trends in European art at that time are mirrored in his paintings. Teed returned to his New York studio in 1895. He earned his living by paintings portraits and landscapes. Most of his work was sold to private collectors; often painting in trade of other services. During World War I, the bulk of Teed's income was supported by painting the portraits of such men as Senator O'Gorman of New York, Governor Whitman of New York, Judge Williams R. Day of the United States Supreme Court, and steel mogul Andrew Carnegie. Although highly praised at the time, portraits held little interest for Teed; when interviewed in 1925, he stated being off portraits for life. Through the years, his works adorned the walls of the Scranton Club, the Arlington Hotel, the Art Hall of the Koreshan Unity, the Arnot Art Museum, the 1911 International Exhibition in Rome, the Annual Exhibitions of Paintings by American Artists at the Detroit Institute of the Arts, the San Diego Fine Arts Gallery, the Oriental Theatre in Detroit, the Binghamton Public Library, and found a healthy market within the homes of the nouveau-riche Detroit industrialists. He's exhibited in Italy, Munich, London, Boston, Philadelphia, and the Royal Academy of Canada. Three canvases were purchased to decorate the reception chamber of the executive mansion in Albany during the governship of Charles S. Whitman. Three others were purchased for the state armory. The first major retrospective of Islamic art had taken place in 1893 at the Palais de l'Industrie, while Teed was touring Europe. This was the first popular exposure of Islamic art to a newly industrialized Western world. Teed's oriental paintings dating prior to 1908 are likely to be studies of the works of popular European Orientalists such as Jean-Léon Gérôme, whose colorful and romantic portraits of the Eastern world fascinated him.[8] In pursuit of first hand inspiration, Douglas Teed left to the Middle East in 1907. Douglas Arthur Teed -- Parade led by Elephants Parade led by Elephants, (1906) Douglas Teed returned to the United States four years later. He reentered into an art world that was in a state of transition, where artists began publicly rebelling against the foreign domination of American art tastes. When Teed left to the Middle East, impressionism was still very popular in the markets. However, displays such as The Armory Show of 1913 presented the work of a new emerging culture; the European Modernists, along with the new the American Realists, (particularly the work of Arthur B. Davies and the other members of his movement, The Eight). Due to the isolation of his journey, Douglas Arthur Teed shared no involvement in the progression of the contemporary market's taste. He returned to the United States as a romantic painter of Oriental scenes still utilizing impressionist technique. The patrons of the arts at this time in Detroit were primarily wealthy industrialists who leaned toward established art forms. Teed's more conservative, impressionistic depictions of the Middle East were well received, filling the drawing rooms of the city's elite. In a 1924 review of the Annual Exhibition for American Artists, Mr. R. Poland (then Director of Education at the Detroit Institute of Arts) wrote, ..as to landscapes, Mr. Douglas Arthur Teed... has brought the beholder to intimate communion with nature. One looks into the very soul, radiant and smiling, of all humanity. Three paintings entered the exhibition, one voting runner up for the Floyd G. Hitchcock prize, awarded by public vote. The painting was entitled, Awaiting a Buyer. It received 153 votes, the winner received 154 votes, and was purchased before the completion of the show. In 1925 he received the largest number of public votes for his painting, Argument as to Value. Douglas Arthur Teed -- Little Horses Little Horses, (1911) Teed continued to paint experimental works privately. He explored the female figure from the standpoint of her mysterious emotions, rather than emphasizing the anatomical. In another work. The Light Worshipers (1910), Teed attempts to combine Roman ruins with a sense of mysticism, developing forms and atmosphere inspired by the George Inness painting, The Monk. One exhibition review from 1918 notes, Douglas Arthur Teed, another unfamiliar exhibitor, shows four canvases. Three of them eccentricities in a pale white tone. In January 1928, ten Detroit artists, including Teed, held an independent exhibition at the Hurley Galleries, 111 East Kirby Street, in protest of the jury selection for the annual Michigan Artists Exhibition. Four conservative artists who were rejected by the jury were: Percy Ives, Francis Paulus, John Morse, and Charles Waltensperger. The six joining them in this show: Julius Rolshoven, William Greason, Alfred E. Peters, Roman Kryzonowsky, Joseph Gries, and Teed, refrained from offering any work to the jury for much the same reason which prompted the rebellion -- a feeling that the annual Michigan show had grown less and less hospitable toward the more conservative painters. The exhibition stirred up quite a controversy in the city. Mr. Samuel Halpert, a juror for the 1928 exhibition stated that many of the... artists whose work was rejected by the jury have been dead for 20 years. Mr. J. W. Young responded to this remark in an essay when he defended the 10 rebels as Guardians of the City's Artistic Ideals. Of the works represented by the ten artists at the Salon des Refusés, he stated that those who like the work of Douglas Arthur Teed will find his 'landscape' quite out of his usual vein, and may well conclude that it is a pretty good picture for a dead living man to have painted. Teed offered his opinion of the exhibition to the Detroit Free Press, The Cubist, post-impressionists, the fellows who call themselves 'Ultimatists' and others classed as modernists have reverted to jungle art. They are quite free from an expose of knowledge of color, form, or any of the rudimentary principles of painting. One favorable feature of these groping young minds is that sometimes a development of the new features of art in which they are delving catches the mind of some exceptional man, who is able to couple his unusual culture with their theories, and the result is genius. Such men were Claude Monet, and earlier, Corot. So for the sake of one or two geniuses, the world must be patient with much worthless rubbish.

Creator:
Douglas Arthur Teed (Artist)
Dimensions:
Height: 20 in (50.8 cm)Width: 24 in (60.96 cm)Depth: 2 in (5.08 cm)
Place of Origin:
United States
Period:
1920-1929
Date of Manufacture:
1927
Condition:
dimensions are unframed.
Seller Location:
Wiscasset, ME
Reference Number:
1stDibs: LU101765789923