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Newell Convers WyethSummer. "Hush"1909
1909
About the Item
"Summer. "Hush"" is a painting by American artist N.C. Wyeth. It is an oil on canvas work and is signed lower right, “NC WYETH” and inscribed lower left, “Inscribed to Clara and Edwin on their wedding day Dec 25, 1913”.
Provenance:
Mr. and Mrs. Edwin R. Wyeth, 1913
Mrs. Edwin Wyeth, to 1988
(Judy Goffman Fine Art, New York, NY, May 1991)
Collection of John Edward Dell, to August 1995
Private collection, New York, to 2008
[Somerville Manning Gallery, Greenville, Deleware, April 2008]
Exhibition:
Philadelphia, PA, 1910, no. 798 on p. 51, as "Summer"
Chadds Ford, PA, 1972, no. 12; Greenville, DE, 1995
Greenville, DE, Somerville Manning Gallery, "N. C. Wyeth: Painter and Illustrator," June 14-Sept. 14, 2019
Literature:
Betsy James Wyeth, ed., The Wyeths, The Letters of N. C. Wyeth, 1901-1945 (Boston: Gambit, 1971), ps. 312, 313
Douglas Allen and Douglas Allen, Jr., N. C. Wyeth, The Collected Paintings, Illustrations and Murals (New York: Crown Publishers, 1972), p. 275, illustration in b/w p. 62
John Edward Dell, ed., Visions of Adventure, N. C. Wyeth and the Brandywine Artists (New York: Watson-Guptill Publications, 2000), illustration in color p. 64
Christine B. Podmaniczky, N. C. Wyeth, A Catalogue Raisonné of Paintings (London: Scala, 2008), I.284, p. 200
Emerging at the end of the Gilded Age, N.C. Wyeth was one of the most important American artists and illustrators. His paintings and illustrations brought life to classic literature from Treasure Island to The Boy’s King Arthur and more. He is most remembered for his ability to capture crucial moments in narratives, fleshing out just a few words into a visual representation of deep drama and tension. Patriarch of the Wyeth artistic dynasty which includes his son Andrew and grandson Jamie, his influence touched future illustrators and artists.
Perhaps his most important legacy is how he shaped American imagination – of America itself and of wild possibilities. Wyeth’s powerful paintings gave life to many of the stories America told of itself. His early paintings captured life of the American West and some of his most beloved illustrations were for novels such as The Last of the Mohicans or short stories like “Rip Van Winkle”. Despite this success, Wyeth struggled with the commercialism of illustrations and advertisements, seeking his work to be accepted as fine art. Throughout his career, he experimented with different styles shifting from Impressionism to Divisionism to Regionalism.
N.C. Wyeth produced over 3,000 paintings and illustrated 112 books. His illustrations for the publisher Charles Scribner’s Sons were so popular they became known as Scribner’s Classics and remain in print to this day.
This quietly powerful painting of a Native American forms part of a quartet of paintings, inspired by and a metaphor for the four seasons. The paintings were used to illustrate George T. Marsh’s set of poems “The Moods”. Wyeth recognized that the series came at a crucial moment in his career in which the paintings go beyond realism to capture atmosphere and mood, an internal world of emotion made external. He even contemplated and attempted to write his own poems based on these paintings.
Summer, Hush is a striking example of Wyeth pulling from his imagination and melding it with careful observation of nature. As noted in a letter to his mother, Wyeth combined the fictional subject with natural effects as in the sky. Native Americans were a subject he returned to numerous times; these paintings reflect not only Wyeth’s fascination but also of America. As observed by art historian Krstine Ronan, Wyeth was part of a larger dialogue that developed around Native Americans, cementing a general Native American culture in the imagination of the United States. Thus, the painting operates on numerous levels simultaneously. How do we relate to this painting and its conception of the four seasons? How do we interpret Wyeth’s depiction of a Native American? What role do Native American’s play in America’s imagination?
We must also not forget that these works were first used to illustrate the poems of George T. Marsh. Marsh, a poet born in New York that often also wrote of the Canadian wilderness, provides subtle evocations of the seasons hinted at in the series title “The Moods”. This painting was used alongside “Hush” which ends:
Are they runes of summers perished
That the fisher hears –and ceases—
Or the voice of one he cherished.
Within these few lines, Wyeth gives us a thoughtful and restrained painting that stirs from within. The poem and the painting avoid obvious clichés to represent the seasons. They develop a profound interpretation filled with sensitivity.
These paintings were important to Wyeth who hoped that “they may suggest to some architect the idea that such decorations would be appropriate in a library or capitol or some public building.” Summer, Hush demonstrates Wyeth’s control of color and composition so that small touches such as the ripples of water or the towering cloud that envelopes the figure are in service to sketch out the feeling of summer and of the poem. Through exploring this rich and complex painting we are better able to appreciate NC Wyeth as an artist and the role in which his work both in general and this specific painting plays in the context of art history.
- Creator:Newell Convers Wyeth (1882-1945, American)
- Creation Year:1909
- Dimensions:Height: 33.75 in (85.73 cm)Width: 30.25 in (76.84 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Palm Desert, CA
- Reference Number:
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