luminosity

a few posts back, we learned that dow moved to paris to study at the academie julian under boulanger and lefebvre. what we learn today was that he was far from the only american painter to do exactly that exactly then. "The Académie Julian which was the largest and most important art school in Paris. Julian's fees were relatively modest and there were no preconditions or entrance requirements, consequently it attracted large numbers of foreigners from many nations -- Russians, Japanese, Brazilians, Britishers, and many Americans. 1

following their studies, many americans travelled to the french village of giverny, forty miles northwest of paris, during these years, often meeting at Monet's home to paint, critique, and socialize. american impressionist Frederick Carl Frieseke settled in giverny along with painters Richard E. Miller, Metcalf Willard Leroy, John Twachtman, Childe Hassam, Robert William Vonnoh, Philip Leslie Hale, Thomas Wilmer Dewing, Guy Rose, Karl Albert Buehr, Louis Ritman, Lawton Silas Parker, and Edmund Greacen, Alson Skinner Clark, John Leslie Breck, Theodore Robinson, William Blair Bruce, Theodore Wende, Karl Anderson, and more.

they were dubbed "the giverny luminists" or "giverny group," often exhibiting together, both in france and back in the US. they obviously painted together. sometimes at the same moment, and sometimes maybe at the same moment. the questions are endless -- are these (below) the same pool? both are surrounded by nasturtium.... are they at monet's house? looks like his house but i don't see that little circular pond anywhere....

a group of painters, seeing with the same eyes, painting with the same brushes. sometimes many painting the one, say, boat, sometimes one painting the many... frieseke painted her endlessly, and there's no need to ask why, how lovely the scene is, repeating and repeating and repeating.

studying about all of this, i began to wonder about something. dow was at the same school, at the same time, and followed the other artists (many of whom were infatuated with japanese prints) to giverny, and as they gravitated towards something of the same style, he came home dejected, and it wasn't until several years later that he "discovered" hokusai's prints in a book at the library. Why?
(to be continued)

by any other name

william merritt chase called them 'japanese umbrellas'; his tenth-street studio was known to always have some around.

kent seavey, of the heritage society of pacific grove, calls them that too. 1

in fact, pretty much everyone called them that, and most of them painted them too.

(the grandma of them all may be friseke's garden umbrella.)

everyone, that is, but the japanese.

in japan, the umbrellas were only minimally decorated. if at all. (except maybe in versions by westerners.)

they might be colored, but they were otherwise plain.

friseke painted them several more times, often, like this one, painted in giverny.

"Careful examination of the choices the artist Frederick Frieseke made when depicting women as subjects reveals information about the artist, these women and attitudes toward women during the early 20th century. Consider the women in Frieseke's painting as both subjects and symbols.

Why do you think Frederick Frieseke chose this setting for his painting? The work depicts his wife, Sarah O'Bryan, and a companion enjoying a bit of leisure time in the Frieseke's garden. Frieseke often painted his wife set within the confines of her lush garden or intimate bedroom. In these feminine spaces, Frieseke was able to concentrate on the decorative qualities of nature, as well as the human figure.

How did the artist convey a feminine feeling, beyond setting his female figures in a garden? Frieseke's repetition of rounded forms, such as the chair backs and umbrella, echoes the soft forms of the female figures. Additionally, the repeated use of patterns in the Asian designs on the umbrella and the background flowers, the female subject and the natural setting suggest Frieseke was aware of 19th-century Japanese prints, which bear many of the same characteristics and were very popular among French and American art collectors at the time." 2

and he clearly wasn't the only one. consider this beauty from jean's blog. i loved this piece so went off on research, and found a very interesting thing.

miller's was first, and is much better. i think jean found his best.

there are others, but i think i'll leave it at that. for now. in recreating a bit of this wondrous new east they instead created an illusion.

they may have been created in the east, but they were make for the west alone.

mirroring the living

For Anne Gregory

'Never shall a young man,
Thrown into despair
By those great honey-coloured
Ramparts at your ear,
Love you for yourself alone
And not your yellow hair.'


'But I can get a hair-dye
And set such colour there,
Brown, or black, or carrot,
That young men in despair
May love me for myself alone
And not my yellow hair.'

'I heard an old religious man
But yesternight declare
That he had found a text to prove
That only God, my dear,
Could love you for yourself alone
And not your yellow hair.'

- WB Yeats

... or red, or black.... or white. i guess today's question, if there is one, might be are these stereotypes as well? was this one moment in art the last gasp towards a particularly defined femininity in the face of women's increasing self-determination? or do these images, like yesterday's, portray something cherished about "the other"?

(l: gekko ogata, guy rose, david gauld.
r: george henry, yoshitoshi taiso, chikanobu toyohara.)

roses in france

sarah frieseke again, and again by guy rose,
'the green parasol.'















and also by rose, also in giverney, 'marguerite,' wearing the same kimono.

american impressionists in giverney

guy rose and frederick carl frieseke, both american impressionists, from california and from michigan, loved the kimono and parasol look women were wearing that year. in fact on the french countryside at giverney, where both lived for many years, both painted frieseke's wife one summer afternoon.

("through the vines," frederick carl frieseke"; on the river," guy rose)