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Allen TuckerThe Rainstorm a watercolor by Allen Tucker1930
1930
About the Item
Signed and dated "Allen Tucker 1930" lower left. Artwork measures 14" x 11 ¾" and framed 19" x 16 ½" x 2 ¼".
Provenance: Gift from the artist to his friend Una Brage, USA/Switzerland, in the 1930s
Estate of Ms. Brage to her friend Jean Corbett Peck, daughter of architect Harvey Wiley Corbett
By descent
About this artist: Allen Tucker, was an architect and painter so influenced by Vincent Van Gogh that he was called "Vincent in America". (Gerdts 291) Robert Henri and Maurice Prendergast were also credited as having an influence on Tucker's brushwork and compositions, the latter decisively. However, as his painting evolved, he did not fit into any tidy slot for description and was known as an individualist not easily categorized in American art history.
Tucker was born in Brooklyn in 1866 and graduated from the School of Mines of Columbia University with a degree in architecture and took a job as an architectural draftsman in the architectural firm of McIvaine and Tucker, his fathers business. During that time, he studied painting at the Art Students League with Impressionist John H. Twachtman, but it was not until around 1904, when he was 38, that Tucker became a full-time painter, leaving architecture behind. Many of his early canvases were classically Impressionistic with poplar trees resembling those of Van Gogh and haystacks and corn shocks emulating those of Claude Monet. However, he did not hold to his Impressionist style and explored other kinds of abstraction as well as architectural forms.
He became, in 1911, a charter member of the Association of American Painters and Sculptors, the group that would conceive, organize, select the artists and hang the 1913 Armory Show that shocked many persons by introducing abstract art to America. Tucker helped organize the landmark Armory Show of 1913 and in 1919 was also part of the founding the Society of Independent Artists, a group that rebelled against traditionalism.
In 1918, Tucker had his first large one-man show at the Whitney Studio Club (later the Whitney Museum of American Art) and became an advisor to Mrs. Juliana Force, who directed the Whitney Studio and the Whitney Studio Club. He was an Honorary Member of the Art Students' League, and taught at the League from 1921 to 1928. Tucker also wrote, "Here and There," a book of verse, 1919; "Design and Idea," 1930 and "John Henry Twachtman," 1931. His summers were spent painting in New Mexico, on the New England coast, in the Colorado and Canadian Rockies and in Europe.
Allen Tucker died in New York City in 1939.
His work is in the collections of the Albright-Knox Art Gallery, Buffalo, New York; Art Institute of Chicago; Brooklyn Museum; Metropolitan Museum of Art, New York City; and the Phillips Collection, Washington, D.C.
From David Michael Zellman, "Three Hundred Years of American Art"
- Creator:Allen Tucker (1866-1939, American)
- Creation Year:1930
- Dimensions:Height: 14 in (35.56 cm)Width: 11.75 in (29.85 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Hudson, NY
- Reference Number:Seller: TuAl0011stDibs: LU2465212903962
Allen Tucker
Exposure to the latest artistic currents at the 1913 Armory Show had a profound effect on Tucker's own artistic development, prompting him to move away from impressionism to a more subjective manner inspired by Post-Impressionism, especially the art of Vincent van Gogh. Tucker subsequently became one of the first American painters to experiment with pure color, spirited brushwork, and a heavily encrusted paint surface, prompting critics to dub him the "Van Gogh of America."1 A landscape specialist, Tucker's greatest delight was in painting the countryside of Maine and Massachusetts, the sea and coast of the East, and the Highlands of New Jersey. He was also drawn to scenes in France and Italy. As was the case with van Gogh, Tucker sought themes of solitude and isolation, favoring robust expanses of meadowland and mountain scenery, as well as inland forests. Both Tucker and van Gogh viewed trees as symbols of growth and renewal, and accordingly, portrayed them as dynamic, upward- shooting forms. He energized his compositions through bold juxtapositions of contrasting forms−foreground to background, dark to light−that have a dynamism drawn from his brushwork. 1 See, for example, James W. Lane, "Vincent in America: Allen Tucker," Art News, Vol. 38, December, 1939, pages 171-178.
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