"Trees and Rocks, " Ernest Lawson, Ashcan American Impressionism Modern Landscape

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Ernest Lawson
"Trees and Rocks, " Ernest Lawson, Ashcan American Impressionism Modern Landscape

Name: "Trees and Rocks, " Ernest Lawson, Ashcan American Impressionism Modern Landscape
Brand: Ernest Lawson
Rating: 5 (27 reviews)

$19,000List Price

About the Item

Ernest Lawson (1873 - 1939) Trees and Rocks Oil on board 7 15/16 x 10 1/4 inches Signed lower left: E. LAWSON; inscribed on verso: Trees + Rock / Ernest Lawson / Trees + Rock Provenance: Gift of the artist By descent in the artist’s family Private collection Christie’s New York, New York, March 4, 2003, Lot 62 Avery Galleries, Bryn Mawr, Pennsylvania Private collection, 2005 Questroyal Fine Art, LLC, New York, New York, acquired from above, 2006 Private collection, Connecticut, acquired from above, 2007 Questroyal Fine Art, LLC, New York, New York, acquired from above, 2014 Private collection, Georgia, acquired from above, 2015 Brunk Auctions, Asheville, North Carolina, March 23, 2018, Lot 495 Exhibited: Halifax, Canada, Dalhousie Art Gallery, Ernest Lawson; From Nova Scotia Collections, August 12 - October 30, 1983, no. 10. Literature: Questroyal Fine Art, WHY, New York, May 2014, p. 22, illustrated. A small, densely painted composition Trees and Rocks displays Ernest Lawson’s signature encrusted surface. His energetic paint application is composed of layer upon layer of color. While the pigments blend together in many areas, others are defined by a patch or dab of unmixed color. These impastoed brushstrokes or slashes of the palette knife are often the brightest colors, heightening the overall tonality of the work. Additionally, Lawson scratched at the paint layer – dragging the back of the brush through the wet pigments, to further invigorate the overall facture. Trees and Rocks, looks incredibly fresh, as if Lawson just stumbled upon this landscape motif of a few rocks, some trees, and a lake in the background. Boldly, Lawson painted the sky as a series of white dabs placed atop the blue water and the encircling trees. Since his days at John Twachtman’s and J. Alden Weir’s summer school in Cos Cob, Connecticut in 1892, Lawson was in the habit of wandering around in search of a motif. While his technique varied over time, he devotedly focused on creating a sense of the atmosphere of each place, recording his impressions of the light and season. Scholars have noted that after his trip to Spain in 1916-17, Lawson painted a set of diminutive landscape sketches roughly six by eight inches -- as size he had not worked in previously. Trees and Rocks, although slightly larger, may date from this same group. Ernest Lawson (1873-1939) is probably the least known of “The Eight,” the loosely affiliated group who rocked the U.S. art world in 1908. He was always primarily a landscape painter and had little desire to paint the grittier aspects of urban life, unlike fellow group members John Sloan, Robert Henri, William Glackens, George Luks, or Everett Shinn. “Color is my specialty in art,” he once noted, and his skill was not unappreciated. In 1894, William Merritt Chase called him “America's greatest landscape painter,” while Robert Henri insisted that, among landscape artists, he was “the biggest we have had since Winslow Homer.” Lawson was born in Halifax, Nova Scotia but his family moved to the United States in 1888. In 1891, Lawson moved to New York and enrolled in classes at the Art Students League. He studied under John Twachtman, who introduced him to Impressionism and later with J. Alden Weir at the Cos Cob, Connecticut summer art school. Lawson visited France in 1893 and studied at the Académie Julian with Jean-Joseph Benjamin-Constant and Jean-Paul Laurens. He painted in southern France and at Moret-sur-Loing near Fontainebleau, where he met the impressionist Alfred Sisley. In 1894, Lawson shared a Paris studio with the writer W. Somerset Maugham, who used Lawson as the model for the artist (“Frederick Lawson”) in his famous 1915 novel, Of Human Bondage. In 1898, Lawson moved to Washington Heights in northern Manhattan and painted the neighborhood sights such as Tryon Park, the Harlem River, and Spuyten Duyvil, as well as docked boats, tree-covered hills, and rocky inclines. This part of New York City was still largely uninhabited and Lawson’s landscapes are often devoid of people. By working the paint with brush, knife, and thumb, he created thick surfaces with strong contour lines to express the effect of colour in different moods, light, seasons, and times of day. He was particularly admired for his winter scenes along the Hudson and Harlem Rivers. Lawson always worked in plein air without making any preliminary drawings, instead painting directly on canvas. In 1908, he joined “The Eight,” drawn by his opposition to the narrowness of taste and restrictive exhibition policies of the conservative and powerful National Academy of Design. The Eight’s exhibition at the Macbeth Galleries convulsed the U.S. art world. Conservatives were horrified by the rough urban subject matter and the painters instigated a debate about diversity of style and subject matter in American art. Lawson also contributed three paintings to the landmark Armory Show of 1913 that introduced European modernism to the United States. But he was an unlikely rebel. After seeing the experimental styles of Cubism, Fauvism, and Futurism exhibited in the show, Lawson said to Henri, “We are now old fogies, my dear man.” Although he never abandoned representational art, Lawson’s late work did show some influence of Paul Cezanne’s post-impressionism. Lawson enjoyed commercial and critical success in his early years but changing tastes and then the Great Depression of the 1930s hurt his sales. He suffered from financial and health problems, including alcoholism, and his marriage broke up. He visited Florida in 1931 and moved there permanently in 1936. His body was found on a beach in Miami in 1939, either the victim of a heart attack, a robbery gone wrong, or suicide. Lawson used some of the techniques of Impressionism to create a sense of the atmosphere of each place. “Color should be used,” he said, “to depict the three major emotions in a man's life--anticipation, realization and retrospection.” His paintings continue to capture both a world that has disappeared and a definitive mood.

Creator:
Ernest Lawson (1873-1939, American)
Dimensions:
Height: 13.5 in (34.29 cm)Width: 16 in (40.64 cm)
Medium:
Oil,Board
Movement & Style:
American Impressionist
Period:
Early 20th Century
Condition:
Excellent.
Gallery Location:
New York, NY
Reference Number:
1stDibs: LU115624245271

Shop All Ernest Lawson

Ernest Lawson

Ernest Lawson was born in Halifax, Nova Scotia in Canada in 1873. In 1888, he enrolled in classes at the Kansas City Art Institute. There, he studied with Ella Holman, whom he would later marry. Lawson realized that there were not many opportunities for artists in Kansas City, and 1890, he moved with his father to Mexico City. He worked as a draughtsman for an English engineering company and studied in the evenings at the San Carlos Art School. By 1890, he had saved enough money to move to New York, and he began studies at the Art Students League under John Henry Twachtman. Lawson developed his Impressionist style while studying under Twachtman and J. Alden Weir at their school in Cos Cob, Connecticut. He became devoted to landscape painting, and this interest remained unchanged throughout his professional life. In 1893, he traveled to France, where he studied in Paris at the Académie Julian under Jean-Paul Laurens and Benjamin Constant. During his stay in France, Lawson painted at Moret-sur-Loing, near the Fontainebleau forest, where he met Alfred Sisley, who along with Twachtman was the main influence on his work. In 1898, Lawson and his family moved to Washington Heights in Manhattan, and by the turn of the century, his work centered almost exclusively on views of this neighborhood. He and his family moved to Greenwich Village in 1906, and once there Lawson met William Glackens. Through this important and outgoing artist, Lawson became associated with a group of American artists in New York City, including Arthur B. Davies, Maurice Prendergast, William Glackens, Everett Shinn, Robert Henri, John Sloan, and George Luks. This group, who called themselves The Eight, held a well-publicized exhibition at the Macbeth Gallery in New York in February 1908. They were men of widely different tendencies and five of the eight artists were known best for their gritty urban scenes. However, common opposition to academicism, as well as an interest in the daily lives of the middle and lower classes bound all eight artists and the environment in which they lived. A committed landscapist, Lawson always began a work out of doors in the en plein air method. He did not create preliminary drawings but instead painted directly on the canvas. Lawson's work includes pure landscapes, foreign scenes, urban views and rural village scenes. His extremely rich and varied palette has been described as having a crushed jewel effect. Like the Impressionists, Lawson used intensely contrasting colors and rough impasto textures in his work and he had a particular interest in the effect of light on the surface of the landscape. After Lawson became associated with the artists of The Eight, his work became progressively less picturesque. Lawson created many winter landscapes during the first two decades of the 20th century and in them, the impasto and brushstrokes take on their structural significance.

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