Redefining the Modern Landscape in Europe and America, 1920-1940 by Georgia Museum of Art

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DETAIL:. PierreDaur4; Quercl Autuwn,no'30

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Landscape, a specialty of pair.rters in antiquity, began to reemerge as a distinct pictorial genre ii-I

the sixteentl-r century among artists working in Germany, Italy, and the Netherlands. Once rnarginalized as a minor arr, and frowned upon by such artists as Michelangelo, who was wary of the charms oFrepresented natnre, landscape painting grew in popularity rvith artists and collectors. Tl're developmenr of landscape painting was not solely motivaced by an arrelnpt to record rhe or,rtside world ac-

cularely: natrrre serveci. For example.

oflrumarr

IiFe ancl

as a

mexns ro invesrigrrc tlrt'cotrnccrion berween rlte transitrtce

eprlrcrnclrl beatrty. to.rssociate modcrrr civilizariorr witlr rhe rnytltic past. and to oIa rcgion or nation. Nrrure wrs rlso reverecl as a genelrtive, [ifc-givirrg Force-a

celebrare rhe iclenrrry

crearive arrificer that fueled the artistic inragination. Classical writers frequently aligned artistic

porenrialwitlr the primordialforccs of narure. Pliny the Elder, tnhisNatwmlHistory (22.56.117),conceived of nature as sllpreme maker and mother o{ all ("parens . . . ac tliuina rerum aftifex"). On the other

Irand, rvriters and;rtists l-rorn the ancicnr ro rhc rnodern cra pl'ol)rotcd rlre idea that natule could be rransformed and perfected through art. The power of art to sllrpass nature by mear-rs of vivid descrip-

rion was tlre resr oIeloquencc,rnd irrgenuiry. Wherher wrirrcn ol visual. descriprions oFnarure served to caprivalc rhe imagination and rdvcrtis,'an artist's skills in pcrsuasiotr. By tl-re ninereenth century, che Impr:essionists in France and their counterparts in che United States used landscape as a platform to showcase their spontaneolrs experilnencs, which broke

from rhe labored academic tradition of l-ristory painting alrd celebrated rural life. From Claude Monet to Childe Hassam, European and American artists began to favor everyday scenes, realized in a loose Fusion of incliviclual brushsrrokes with radiant color anc{ light. For some artists, this new artistic vision entailed more than a technical or scylistic breaktirrougl.r. In the late 1860s and 1870s, Camilie Pissarro ancl the School of Pontoise transformed the French tradition of landscape painting by oflering a neu,vision ofclassical Arcadia, one based on the French countryside. Pissarro was committed to socialist principles and left Paris. His works are self-consciously rural and sirow the texture, strength, and digniry ofvillage 1ife.

During the early

decacles

of rhe twcntierh century, the rise of abstract or non-representa-

rional art somewhat tl-rreatened landscape as a genre. In some artistic circles, che vicissitudes of na-ture were a-bandoned in favor of geometric ordeq but this aesthetic attitude did not go unchallenged. American painters slrch as Georgia O'Keeffe (no. 52) and Thomas Hart Benton (no. 1) synthesized an energetic, self-consciously national response to European modernism, celebrating t icor pli,r

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DETAII-: Giorgio de Chirico, Horse men in Larulscape, no.35

rhe rugged landscape

ofthe rural United

Stares and the courage and endurance

ofits

people.

Italy,by conrrasr, Giorgio de Chirico pursr-red metaphysical ideas througl'r landscape, combinir-rg classical and Renaissancc archirecrurcland sculptrral moriFs wirlr r'nigrtraric Fortns to produce imagery imbued wirh a spiritual presence (no. 35). In France, the Impressionist Monet continlled to work until his death in 1926. Monet, as mr,rch a master gardener as a master painter, designed his famed warer-lily pond at Giverny to suit his artistic ambitions. The flora1 explosions of his larc Wafer Ll/les canvases transl^orrrr substrncc. spece. liglrt, and color ro conl-otrnd expcctations. Civerny became a pilgrimage sire I-or arlisrs fi om Europe and rlre Unired Srates. incltrdirrg Picrle Bonnard (no.4). .,i

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Organizcd lrorn the permanenr collecrion arrd From works ol-arron extended loan ro rhc Georgia Museurn of Art, Redefningthe Modern Landscape in Ew'ope and America, ca. 1920 1940 seeks to reveal how Er-rropean and American artists continued to represent landscapes, cityscapes, and natute in gcrreral by appealing ro anr-l rransl^orming rladirions in order to create novel represenrarions. These arrisrs used lrndscape ro commenl on rhe effects oI technology on I he natural environment, to occasion lcflccriorr on human atrthenriciry. arrd ro unleash rhe dynamic tcnsion bcrween representarion and absrracrion. Because a numbcr ol^lhese alrists lraveled abroad or were displaced by rvar. visitols

will

be able

to study rhe clossctrrrcnrs oI European and Anrerican

sryles. teclrniques. and tltemes.

TIris exlribirion [urrher allows visirors ro view recent acquisirions as well as worl<s oFarr assembled by parrons who lrave generously selecred rhe Georgia Museum ol^Art ro house their

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rreasures. One arrisr prorninently lteerureil in this exhibition is Pierre Daura. In 2002, Martha

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Randolph Daura. rogerher r','irh hel husband. Thomas Mapp. esrablished the Pierre Deura Center at the Georgia Museum of Arr. Consisting of a generous endowment complemented by scores of works by Daura and his archives, the cencer promotes the study and exhibition of Daura's art in its European and American cr-rltural context. In addition, a number ofAmerican paintings from rhe collection ofJason Schoen are on display. as are works on paper by European and American arrisrs from rlre collecrion oFGiuliano Ccseri. Choice examples oFdecorat ive arrs with narural morifs are also in thc exhibirion. several oFwhich entered the rnusetrm's collection thanl<s ro rhe Virginia Y. Trotter Decorative Arts Endowment.

Giancarlo Fiorenza I Fierre Daura Curaror of,European Art th."e

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Redef.ningthe Modern Landscape in Eut'ope and America, ca. 1920-1940 features an impressive array

of works by the Catalan-American artist Pere (Pierre) Francisco Daura y Garcia (1896 1976). The Georgia Museum of Art's expansive collection of Daura's art enables one to study his versatility and comrrrand over a wide rrnge oIsubjects and styles. Early in his career, he gained a rcptrtation f,or iris landscapes, cspccially his cl.'pictions of Catalonia and thc Balealic Islands. Following in rhe parh of his

l'cllowCaralanartisrsSanriagoRrrsinol

iPr.rrs(lB6l

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l)andJoaclrimMir(1873-1940).Bornon

rlre Spanis)r island oFMinorca. Daura grew up in Barcelona, where he srudied at the School ol'Fine ArLs (La Llorjaland was ratrglrr byJose Ruiz BIasco. the Farherol-Pablo Picasso. Daura first relocared

lgl4and lglTinordertoprrrsuehis,rrrisriccareer.Therehebecameanapprenrice roEmrleBernard(1868 I94 l).aPosr-lmprcssionistpainrerandintimareFriendoIsucharrisrsasPaul Gauguirr (1846 1903) ancl Paul Cezanrre (1839 1906), and rhe impact oIthe larrer I'reqrrently surFaces toParisbetween

rn Daura's images. Throughorrr rhe 1920s and l9JOs. Daula ]ived irr France bur rraveled to Spain and rhe United Srares, producing hundreds of oi1 paintings and works on paper of his impressions of the land. He caprures the essence of nature and village life through his art. awakening sensations and emotions in the viewer through his technique and use of 1ocal subjects.

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In Paris, rn lg2},Daura married an American, Louise Heron Blair (1905*1972) of fuchmond, Virginia, and was anxious to show her his native Spain as much as possible. In an interview with the weekly lewspaper of Tarragona. El Tcmps. he admirred thar "in Parrs, I lelr a bir our oFplace perhaps,

andlhavecomehererofindmyself.rorediscovermypersonaliry...Ihadtoseerhecounrryside. ro blearlre our air. ro see with this light so much orLr own" (April 6. 1.929).Dauraalso reflecred on rhe possibility of developing a Catalan school of painting: to seek through visual means an ethos of Catalan people and irs land. He knew this task would not be small, considering the paradigm of thc Spanish school (meaning arr From Madrid). as wellas tradirional models oFculrural author,ry rhat infilrrated conremporary pracrice: French,Iralian. and Nerher]andish arr. One oFrhe arrisrs Daura adrnired was the painrerJoan Miro (1893-1983), who in his Catalan landscapes of the early 1920s deliberately purged his canvases ofFrench subjects. Daura's paintings including The Farm \ca. rl-re

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1921 22; National (l;rllcrv of z\rr, Washington) anclThe Huntcr (ca. 1923 24; Mr-rse ur.r.r of Moclerrr Art,N.'rr\otlq1.,,, n1111'1,'rvitlricorricsyrrrb.llsoIthe pr'eslrrr li[eo[Mirti'snltiv('C,rtrlor:i.r.,'v,'rr as ll)c ll tist nrovctl tor,l,arcl abstracr ltorms. AIrlr,,rr.llr I ).rttt.t's \ (,rl(s,1r'r' nrorc lrilr l.riive .rrrJ lcss tlrctrrclical tlrerr Mirri s peirrtirrgr. li.'.

to().stri)\r'r{),,llltrnr'.lrlistinctir','C.rrrllnspilitinlrislandscepes.}liserchins

Fatartlla (rrtr.2.l).

villacc irr tlrc l'cllir Alra region of Tarlagona, a mountainous area in ( ht:r lorr ia, shou's thc village rs as thcy corle to a commlrnal I-.rttitl,rrn t,,,,,11,', t \\,ltr'r'. D.tu|l ct'c:tt,'s srrLrt].'r'lrvtlrrns oUt oIqtroriclian lifr'. r\ h:rlrr-ron1r exists among the people, arrir-nels, antl village. Ctnlt'r'r'rl(rn lll( lrli giiingltrnt rnelk,'.i byac:oss. Detrllllsopr'.rducc,-l inrlcpt'rrdL:nt;raintings oFCat.llar-r worlen in therr rrarlirional of

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drcss, srrr lr irs tl)(' onc seen at the right of this cor-nposition. Through

sllch \\()r-l(s, i):rrrra preselvr-s rhe traclirions and daily riruals of tl're i1

Sperri.lr r',ll,rj',.r,ri.ing tlru lttrrnble Iil-.'oi rl)\'Ir('()|i('to t]r,'lcr,'i,,1art. F.1tt.i\:11,1 is clraracrerizccl b1, st161.,r, heavy out)ine

is rasilr,

legiblc and tl,'r,oi11 of ornament. As Picasso dicl beForc hir"n, l)ar-rra

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l-onrrs oICetelarr [1r)nrJrr('\!u('

political aspirations of rhc local pcur sL-nse of ]rum;rl clignity (Picrr,'l).rrrlr l,,r, lrrr tlrr'lrLrrnble" Alclrives. nerrscril.t.rf ierrrll.r

art, u,hich [rc corrncctcd ro

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ple. espcci;rllv rhcir "thirsr lt r iLrdcpcndence,

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tapecl convcls:rtions I'l'ont 1967 68).

Minrrrr;r. tlr, sp,rrrislr irl,rrrd w]r.'r'e [J,ttrll r,res borrr arr.l u]rt,r'r' lris conrPulsorl, rnilitary service Frorr 1917 rtr 1920, enrcl'scs in hrs :rrt es :r tylre oFsr:staincd portrait. I)urirrg his rnilitary

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I'rc serve cl

cxcursiolr ()n {hc island. l're rnaclc lrLrlncrrrLrs dr,rs,ings ancl r,r,rote

.loutr l:is it'tt1,t.'trj.,115. \\'lr,'n ]rc rr'tttttlr'J to Pl1is. l)lLtrl rruclic.l prinrn-raking r.vith Ancl16 L.rnrbrrr, a lr-pui:.rble

tltt' ftrttntlt t t,l'/,lrl.'.

gr ap1-ric

artist alrd

['r'rirrdic Iil('r'ar'\ j()ul n,rl prrblislr-d in Lrtirr

and har.rd-prorlr-rced in lirnited editions lvith high-qLrelirf iilr,rsLral'ie rr

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tions. Daura contributed a celebratory essay on Minorca: De commoratione in insula Menorca (vol. 3. no. 2, Seprem ber 1924; no. 42\.ln great deLail he describes his unexpecrccl love lor rhe island-its natural beauties and near Arcadian way of life. Daura illustrated 1.ris texr with images of shepherds, windmills, and sailboats char

relate to his vivid recollections. Later in the 1920s,

Daura composed works that capture the timeless qualiry of the island, from its indigenous nature co its maritime customs and. vernacular structures (no.26).

1931, Daura won the St. Ceceliapflze

for

painting competition held at the Monastery. of Montserrat in Catalonia (this prize'winning landscape of Montserrat is now in the Museu de Montserrat). He used the money to trawei to the island of Mallorca in the winter and spring of

Pierre Daura, Villa Carlos; MinorQue, no.26

L & RIGHT: PieneDaura, MallorcanVillage, De1a, no.

1931 32. His painLing Mallorcan Village, Dey (no. l8) shows rhe coastal village nourished by rhe warm springrime sun. Though unpopulated, the landscape and architecture seem to av/aken with life. Daura learned from looking ar images by Clzanne nor only a sense of composition, but also the subtle effects of color and light, especially how rhe inrense lighr oFrhe Medirerranean sun rendered objects two-dimensional. In this case, the mountain range rurns into violet silhouettes. For years, Daura had been painring brilliant canvases

that caprured "rhe moving spirir oFrhe Medirerranean"

1l'esperit patdtic del Mediterra;al).

according ro an arricle by M. Alcinrara

i Gusart in the Catalan journal

Gaseta de les Arts (vol.2, no. 10, June 1929).The criric, who was reviewing an exhibirion oFDaura's work at rhe Caleries Badrinas in Barcelona (May t8-30, 1929), Found his

Mediterranean landscapes full oIsensibiliry and dynamic energy.

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What makes Daura's art so fascinating is his ability to move deftly between absrracrion and representation. His first experimencs with full-fledged abstract art occurred. during his involvement

with Cercle et Carr6. In 1929, Daura, together with the Belgian artist and criric Michel Seuphor

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(1901-1999), and the Uruguayan-Catalan artistJoaquinTorres-Garcia (1574-1949),co-organized

this highly important international artistic group, which targeted the self-indulgent and illusion-

,ir

istic nature of Surrealism. Artists inciuding Willi Baumeister, Marcelle Cahn, Le Corbqsier, Wassily Kandinsky, Fernand L6geq and Piec Mondrian developed

form ofabstract art "construcred" from

lines and planes that explores spatial discontinuities and blurs the distinction berween foreground and background, image and frame. In addition to publishing a periodical, for which Daura designed the logo, the group staged. the first international exhibition ofabstracc arr in Paris, hosted ar rhe Galerie 23, rue de la Bo6tie, from April 18 to May 1, 1930. Although the group d.isbanded soon afrer, che

exhibicion is recognized as a landmark event in the development and reception of an internarional

abstracr aesrheric. Daura's paintings from his Cercle et Carr6 period feature overlapping, geomerric srrucrures accompanied by inscriptions, all of which deny the illusion of depth and perspective. In several cases, he applied this abstract formula to che urban landscape, as seen in his paintin g Sn"eet PICIRII 3 (no. 19). Here, the underlying color grid system echoes the formal achievements of Mondrian, but Daura

supplements the geomerrically balanced colored reccangles by superimposing inscriprions and rhe

outlines of buildings. The regulated brushstrokes help achieve

flattening effect while preserving a

sense oFtexture.

Pierre Daura, S/reet PICIRII

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3, no. 79

An ai'risr cJosc (

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D:urra in tl-ris pelior.l rvasJean l-{61ion

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.lLrstr:r,:t ei t. trn i 932, l {dlion lnan"iecl }ean lil:rir, rhr sisrel r-rf Lolr-

isr l'ri;lir', [);rrri:;r's lliti:, rnr-{ thlrs berairre Daura's biothcr-in-lan,. dlr curiijurrction u,itlr tirc []rLtclr arrisrTht-or.ai': [JoesLrn;:g(i883 i931)" Fi6lroir lrclpcd organizc Art Conu,tt.;r shr.lrt-lived bi-rr virai rxrolrrnei-rt

in l9]0 and aClccari:c1

ilrar i-rroclriccd a pcliodical olIlrr: sarle nailre ;rfl

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on llrarhcmir,tirai pr-inclplcs.

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rrtinbcr of :rrrtclcs to tlre jourtral Absu,Ltctian-Critttion: ,ArtnonJi'luati-l'. Hi:iiorr qa\/e Iris Vilhy sciritltioir. o11 tirc back

l.a'ndscLrpc

in iJait'a's

(ng.4rJ) to DilL;rr, arcl an iii-

nr:rkcs rt;rn t-arJv anel rere r.rrorl< by

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fe;r"rrcnt ,-1iagonal stl'{ri.es

ns;o1r. Tlre d-a::l< sky

hr 1il:;r cxpri:ir-r-ri:ntrr1 l--]Lrcs arr,-{

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prorluce r, l:rniiscapt hilcd r,,,irir

urcl *'isps of rlorici), rr'.hitr:;,.i,grrrert

irr rhc lirrcgroLrnd lirLrhtr icircl ;rn inrrnticual serrse o1'disll'drr'" i 930, re fi

likc []aura, Fli:lion

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h:Lnd d;rtes ir ro ca" 192.5- This d:rrc

tvtth abstr;rcrion. The intensc, allnost electt'ic, r:ealizcr'l

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1930, Pierre and Louise bougl-rt and began to rcstore a house irr the charr-ning rnedieval

lrill rowrr oIseirrr Cilq-Lapopie. in sourhw,'sterrr Irlencc in the Lot fuverValley. Dorrrirrared by irs rnagnificenr clrurch rrrcl bell tower. thc vrllrgr'rnd its crrvirorts bccamc a grert inspirat iort l-or L)aula. When rlre arrist nroved tlrt'rt'. tht'poprrlation rrumbercd litrlr'more tharr tltree hurrdrcd.

Tlre bcauty oISainr Cirq-L.rpopie altr-aclu'd various arrisrs rnd writcrs thrrrughottr rhc dccadcs. Today. [)arrla's ]rous,'and studio Forrr :rn irrtcrrrrtional artisrs' r'esidencc under the dircctiorr t

lre l-'rench

govrnrlrcnt: rhc Marsons

Darrra.

Leaving Paris was not easy, as DatLra later reflecred: "It was saying goodbye to a way of thinking, a I-eirh, a plrilosophy of lifc. ro a mechanisrn ol^living" (Pierre Daura Archivcs. tlrrrsctipr oFrnped

convcrsarionsFrorn 1967 tr8).ThemovcloseinLCilq-Lapo[.ieelsomarl<cdachangeoFsryle. lnhis represenrations of the village from the 1930s, Daura's brusl'rstrol<es became bolder arrd more irre gular'. creatirrg rvorl<s Frrll

oFirnprsto (r tcchnique tlrat rvas cvcn n)ole cxaggerarcd in his works from

tlrc t950s). flroug)r still indebrcd to Cezanne. his l.rndscapt's hccanrc morc lyrical arrd lrrslr. Irr arr

arlicl('onDaurawrittcnin IgS4.rhcCatrlanalt cliticJoanMntc:servanaFfirrirybetweenhispainr;: *

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ings and tl-re pastoral or georgic life sustained at Saint Cirq-Lapopie (Art,vol.

March 1934). Mates

describes Daure's worrdcrflrrlly texturcd crr]vasr's as picLorid tepcstrics. iridcsccnr and suprcmcly

eloqucrrr in rlreir abilirl' ro ,'vok,' nostalgie lor rhe idyllic counrtysidc. Morc t-iran jtrsl inr:occnt pf in-

alr rcrrderings. Daura's ivolks of arr arc "irrtellrgcrrr" arrd "irrtrospectivc." rapping inro an insrincrive, Pierre Daura, Saint Cirq-Lapopie uith Yellow Tree, no. )7

BACKGRoUNLI DETAIL: Saint Cirq-l,apopie

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emotional, and, above all, human connection with the environment. Such is the case witl-r his Saint Cirq-Lapopie with Yellow Tree (no. 17). fuchly observed, this vasr landscape reward.s minute and lengthy scrlltiny because Daura patiently recorded. all the d.etails of the scenery He attends co the vicissitudes of the seasons while preserving rhe sense of age of rhe village through its architecture. The house pictured wirh the small tower belonged ro rhe arrisc Henri Marrin and was iacer sold to the surrealist poet and criric Andr6 Brecon. seen

Ic is

helpful to comPare Daura's Saint

Ma Maison civernon: LeJardin

(no.4).rn

Cirq-Lapopie with Yellow Tree

to pierre Bonnard.,s

19L2, Bonnard bought a counrry house called. My

caravan (Ma Roulotte) at Vernon,

a smali town on the Seine not far from Monec,s home at Giverny. He painted numerous views of his handsome residence, both interior and

exterior' Although Bonnard originally joined with Edouard Vuillard and Maurice Denis to form the Nabis (1892-99), a group ofyoung, avanr-garde post-Impressionist arrists, and

followed their symbolic use of strong patterns and vivid. colors, he soon shifted. ro a more atmospheric and naturalistic art, one dominaced by mood and modified. by his innate sense of decoration and design. Despice the impressio n that Ma Maison d,Vet"non: LeJard.in makes, the artist preferred to paint in his studio rather rhan in tl-re open air. This work presenrs ro the viewer Bonnard's comfortable bourgeois life: a well-kept home and fertile garden under

luminous skies. Rather than asserting the primacy of vision so characreristic in the Impressionist landscape ofthe 1870s, Bonnard arranged his compositions in carefully orchestrated

areas of coloq with the rationale here being a harmonious balance of bright blues, greens, pinks, and oranges to create an optimistic tenor. The patches of shad.ow in the trees and traces ofclouds give a sense oftransience to the environmenr. Prene Dawra, Place du Carol, no. 16

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Like l]onnarcl, Daura was a great observer of his sr-rrror-tr-rdings, :rnd he never ceased to record the daily occtlrrences

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changcs at

Saint Cirq-Lapopie throtr.gh rrumeLous sketcl-res and dr;ru'ings. Jn PLace ilu Carol (no.16), Daura provitlcs a graccflr-rlvieu" of tl're village,

looking

r-rph.i.ll,

*'here he ofrcn sau' thc loc.rl u'onren carq/i11g their

goo,1s.rrr.l letrndry trP ro lhe towrr. Altlrotlgll Irt skt'tclrcd irr

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,,,Irhesc figures. rrreinly lo gir','r scttsc olts, ale end topogreplri''el elevatiou, l)aura al1ows

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vernacular and clisrinctively medieval

buildings to dominate the scene. Above all, Sair.rt Cilq-Lapopie con.rts ilcross irs a hurnett ettt'it',rnm.'nt. Whereas in Daura's work on.c finc1s an Jlmost organic it-rtegration

of the richness and varier;'of tl're l.rndscape u irh rhe manmacle, both formally ancl conceptnalll', tlle oppositc is tltLc l'or the Italian artisr L)rtorrc Rosri.rallo larolccl llorcntitlcsl.t,','t sccttcsIttd rItcTtLsc,rn Irills es srrbiecrs. Larqcly s,'lF-t.rtrghr, I{t,sai .tclrrrilcrl ert ists rerrgirrg

from Giorgio Morancli to

C6zanr-re, and adapted

rlleit

serrsc oFcom-

;rositional orcier and geometrics to his orvn artistic visiorr. ln Pa':s'r'.;u'or.k on paper', Ilosai applies ,qio, Llorence (r-ro. 57), a highly resolved st1'or.rg, forceful irorizontal strokes for the viilage rooftops, u'hich stancl_

in marked conrrast to the c{iagonals and culves of rhe

overlapping planes create

hi1ls.

Thc

scnst' o[.1cpth and perspective u4-rile the

open brushu,ork adils a touch of rr-Lggedness and atrnosphele to tl-ris

rhoughcfully structtlred work.

Otronc Rosai.

Pdesaggio, Florence' tto. 57

V{rgxx{* ''

Daurals firsc rrip ro dre Uniced Sfates occr.rrred in 1934-35, six years afrer

I.re

rl'

:.):,;::':1'\

.t, .

rnerried Lotrist'in Paris. Lorrise irrrroduced Ircr husbarrd and daughter, Malrha (u lro

:Lt-'' lt.

was born in Frtance), ro the extencled family, and rhey visired Rockbridge Baths, once a

relort community ten miles west of Lexington renowned lor irs mint'ral baths. The

Blair family owqed these barhs rhar had been E, Lee, and, as a

favorite of General and Mrs. Robert

wedding present, Louise and Pierre leceived the old icehouse and a log cabin. In 1939, the Dauras relocated to Rockbridge Barhs, u,here tl-rey set up pennanent residctrce. SrrLrsccluelrrli,. in 1943, Pierre and Marr ha becam,' nat

ralized U.S. citizerrs. Irr an;pproaclr similal ro Arrrt'r'icarr Scr,nt'painrels

an aFfi n iry wir lr rhe ru ral comrr

oIrhc cra, Darrra Felt

iry oI Rockbriclgt' Barhs, bor h irs people

irs rrrggcd nerural bcrury. Reflccr irrg on his irririal fcclings as a Europearr rakirrg in rhis ncw lancl. lre colrrrncnr,'d rlrer "tlris villagc of Rocl<briclgc Barhs... produced on me tl-re impression of a very wi)d, nearly.savage councrp grandiose

like nothing I had ever known, Iike norhing I had ever seen. Yet, in some places around, when I carne ro forger that I was in America, in Virginia, I couldn2r

lrclp bur thinl< ol-some places irr rlrc Lor. in Flance. in Sainr Cir.q, some places in Caralouia. Monrsegtrr, and ... oFtht'Pylcnees" (Piclre Daura Archivcs. r

ranscripr oF r aped convcrsar ion fi orn l ()67). Cazcbo and

Foot tsridge

(no.

12li,

a beautifully balanced composirion realizecl in violet rones and late autumn

hues,iI1ustratesDaura,spictorialresponsetothat..savagecounlry.,, The new sr-rrroundings so impressed Daura thae he painred doze ns of landscapes

on his inir ial visir. ln Milhing(no. l l ), hc ol^lcrs an irrrirnare view t hrouglr

rlre frces arrd a wrndow into discovele<J irr rhc Pierre Daura, GazeboarulFootBidge, no. !2 It

\, KulruUNl) tr' t qtt : Rucl<bIirlgc llarlrs. Virgini:r

fourteen i i

rrrlrl daily

lil-c.

r ncw r) pe oIr.usric idyll rlrar

Virgirria countryside. His agilc brush crrares splaslrcs oFcolor

and a dance of light on the t,:ees.

T1-re licl-rr-ress

and lurnilrosity

his palette evoke a long tradition of Spanisl-r painting, and rhe

.ieraii oFrhc people mill<ing a corv is leminiscenr of Flt'nclr gcnlc painting of the nineteenth century. ln Baths, Daura celebrates

Although

tl-ris

t1're

1-ris

harmony of

paintings oFllockbridge

mar-r

exhibition provides oniy

and nature. glinrpsc oI Dar-rt'a's

prol ifi c rvork :rs a lrrrdscrpe rfl isr. it scrvcs I () conr cxt rralize his

art and reveal its important relationship to contelrrporary artists working in

Er-Lrope

and rhe United Srates. Despite changes in

.,1, ,rt::i..u:, ft

style in the paintings he produced tl-rrougl'rout the 1920s and 1930s, one feature remains consistent: textllre.

is significant

ri' ,{ ,f ,kit*,

tl-rar Daura took carefr-rl notes on aTimc arricle (Apri1 10, 1939)

devoted to the connoisseur Bernard Berensolr (DarLra archirres,

u,ritings by Daura on art). Daura zeroed in on thc imporrancc

:t:

11,

:,:,t)Yla

.,r.

to describe those mate-

rial qualities in a painting that stimulate the sense of toucl.r. Not

,'li'rti

I & s

.'.t

'i,j

^ '.:

uorl< surFaces in rhis period end in latcryeers. The Iandscrpes he

produced harre a profound presence, and it is the materiality of

::'

,:,

by coincidence, an increasir.rgly physical din-rension to Daura's t l

l-ris

painr surface that arvakens the senses.

{.l|e:l*a{L*.{i*,r*,ztz* i l}rr.,r i..,,."L,.r -;::.ri,,1

.::{ ,i:i

"tactiie values" in art, a term coincd by Rercnson inhis F'lorentine Painters of the Renaissance (1896) and used

,i,

l&t

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it,

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Writing in 7907, Cl'rarles Caffin, in his Srory of American Painting, argred thar rurn-of-rhe-century painters, "through communing with nature[,] acquired so strong a symparhy wirh their subject rhat the mood of their own spirit became reflected in nature; rheir works interprered their own souls in terms of nature; they were nature poets." Just as Pierre Daura was painting landscapes of France, Spain, and, eventually, Virgini4 American artists were working wirhin a conrexr and a rradition

of depicting nature and the human environment in the Uniced Srares. A reacher, illustraror, and printmakeqJoseph Pennell admired che poetic etchings ofJarnes A. McNeill Whistler (1834-1903).

7921.,

Pennell and his wife lived in Brooklyn Heights in an apartment rhat had

view of the

Manhattan skyline. In his drawin g Ciry at Nigbt (no. 53), he renders the New York cityscape wirh its buildings, elevated train, and soLlrces of manmade lighr. Influenced by the French Impressionists and the American painter George Inness, Bruce Crane created landscape paintings reflecting elegiac moods and tonai uses of color. Crane studied with the American landscape artist Alexand.er Wyant and traveled to France in the early 1880s. Like many other American Impressionists, Crane painred in rural NewJersey, upstate New York, Connecticut, and other New England locales. His lyrical painring

(no.9) exhibits his typical subdued luminosicy, sofr colors, and fluent brushstrokes. Although created in the early twentieth century, rhe poeric images of Crane and Pennell reflect a lateConnecticwt Scene

nineteenrh-cenrury sensibiliry

For

mood and emol ion. European avanr-garde painrirrg had a proftound impacL on a generarion oFAmerican ar.risrs who. in turn, incorporated European aesrherics inro images ol-rhe natural world. In rwenrierh-cen-

turyAmerican art hisrory. William HenryJohnson serves as an example of an AFrican American "van Gogh," both in scyle and in personal biography. Born in Florence, South Carolina, in 1901,Johnson

grewuPinpoverryandleFlhrsnativestarel-orNewYorl<in

Lglg.Evenrually.heenrolledarrheNational Academy of Design. srudying with Charles Hawrhorne. Irr 1926, wirh rhe help o[Hawthorne. Johnson went to Paris and became intrigued by the work of Post-Impressionists like paul Gauguin and Chaim Soutine. After traveling throughout Europe,Johnson returned. ro the Unired Stares

ABOVE: Stuart Davts, Snou ontbe

BA.KC FOU

Hills, no. 34

D DL I At L: Homer Boss. Artist's

H ouse,

Santa Fe, New Mexico, no.

,irtuun

{

L929. He exhibited his art in his hometown of Florence before being unjustly arrested;

Johnson fled and did not return to South Carolina for fourteen years. He again travclcd ro Europe and lived in boch Denmark and Tunisia with his artisr wiFe. Holcha Krake. In 1938. rhe couple moved back ro New York. and he was hired by Lhe Works Progress Administrat-ion

to reach ar a community arr center. In early 1943, fotlowing Krake's death from breasr cancer. Johnson began a gradual decline into severe mental illness. He wenr ro Denmark in I 946 ro

visir his wiFe's family ancl traveled to Norway

For an

exhibition, where he was f,ound conFused

and lost in the streets of Oslo. He returned to New York, was hospitalized, and never painted again. He died in 1970. High Peahs (no.43) was likely painted in Europe during the 1930s. The

work, rich with the heavy use of paint on the surface of the canvas) reflects the sryle of rhe German Expressionists and the French Post-Impressionists thatJohnson found so captivatrng. Higb Peaks has a

powerful, intense use of color, andJohnson's individual brushstrokes

heighLen the emorional narure of rhe painring.

Many American artists urilized European aesrhetics to present lhe American landscape. Renowned as a sculpror, William Zorach was born in Lithuania and moved to rhe Unired Stares as a young child. He grew up in Cleveland and arrained rwo years of formal srudy ar rhe Narional Acaclemy of Design

from

1908 ro 1910. After encounrering Posr-lmpressionism,

Fauvism. and Cubism in Paris duringa sojourn From

Unired Srates and became

t9l0 to l9l I, Zorach returned to rhe

pioneer of American modernism. He exhibited in rhe infamous

1913 lnternational Exhibirion of Modern

Art (the Armory Show) and evenrually abandoned

painring for sculpture in rhe 1920s. His warercolo r Summer (no. 68) shows che influence

European modernism on rhe young American painter. Meanwhile. Rockwell Kenr was a grear traveler and visited a number of Far-flung locations. including Tierra del Fuego. Puerro Rico, Greenland. Brazil, and Alaska. A drawing f'rom his rime spent on Fox Island in Alaska dares to 1979 andshows his simplified yet realistic representation of the natural world. His drawing.

,"uuna""n

Alashan coast (no' 46),was reProduced. as the headpiece of rhe introduction to his 1920 bookwilderness: AJoumal of Aduentwre in Alasha. Georgia o'Keeffe's paindngs Quiet

intermingle quinressenrially American subject matter and themes with European-influenced. mod.ernist aestherics of abstraction' she was exposed to avant-garde European art through rhe exhibitions and ensuing debares galreries of her husband Arfred sdegritz. \x4rile o,Kee

::j:]::")...":.n wlth the New Mexico

aEeq

Homer Boss, Arrrsr\ House, Santa

Fe, Neu

Mexico,

is usualy associ_

iandscape or her flower paintings, many of her signature absffactions, including the Georgia Museum ofArt's image (no. S2),wereexecured at the Stieglitz family farmat Lake George' New York' Several other American ardsts in rhis exhibition, includ.ing stuart Davis, Marsden Hartley,Judson smith, and Elizaberh shippen Green Elliott, created. modernist, absrract images of American cityscapes and land.scapes. The landscape of the American west remained a popular subjecr marrer for painters during the 1930s and 1940s' Homer Boss, a student ofRobert Henri

and \xzilliam Merritr Chase, loved. rhe landscape of New Mexico and painted it throughout his career as an artisr. HisAttist,s Howse, santa Fe' New Mexico (no' 5) exemplifies Boss's revitalized interest in depicting the land.scape and in combining a freer use of modernist color with naturalism.

similarly, E. trving Couse received. artistic training in New York and Paris and perfected a classic rechnique and strong d.raftsmanship. couse spent his summers working in the American southwesr and his winrers exhibiting his art in New York' A frequent visitor to the artists'colony at Taos, New Mexico, he painted pweblo(no. Taos

the mid-1930s' Peter Hurd, a native of New Mexico, spenr most of his adulr life living in the region and painting its people and landscape. Hurd studied ar the pennsyivania Acad.emy of Fine Arrs an. was a private student ofN' c' wyeth. After abrief military career, Hurd married wyeth,s d.aughter, Henriette, and the couple purchased a two-hund.red.-acre ranch in san patricio, New Mexico. The rolling hills around San Patricio, as in his Rancberia(no. 41), served. as rhe natural se*ing for many of his egg rempera painrings.

eishteen I

In the 1930s and 1940s, American Scene painters found inspiration in the details of the regional landscapes and cityscapes of the United States. Lamar Dodd, Georgia's most recognized artist of the

American Scene era, created works that featured Southern landscapes, peoples, history, and industry. Reared in LaGrange, Georgia, Dodd studied in New York wich George Luks and at the Art Students League under Boardman Robinson. Profoundly influenced by George Bellows,John Sloan, and other artiscs of the Ashcan School, Dodd returned to the South, first to Birmingham, Alabama, then to

chair the art department at the University of Georgia, which would be later named in his honor. His

Noth

Peter Hurd, Rancberia, no. 47

Citl @o. 37) exhibits his interest in the raw landscape of north Alabama. For Thomas Hart Benton, possibly the most famous painter of this of Prax

generation of American artists, painting served as the integration of high art, popular culture, and American history. His study for The Planters (no. 1)

waspartofhismural cycleTheAmericanHistoricalEpic.Francis Speight's\VPA 'Worker"s

Grading a Plalground (no. 64) provides

both

a landscape

view and a

positive commentary on President Franklin Delano Roosevelt's New Deal programs. \Xzilliam Schwartz, a Midwestern artist born in Russia, created

numerous murals, paintings, and prints of Wisconsin, Illinois, Micl-rigan, and the other states of the Great Lakes region. His Briclge in Baraboo,'Wisconsin (no.

'lli,rllir

11,

lrll

, l:t:,:::â&#x201A;Źrri

61) includes color choices and elements of geometric abstraction that show

., ,,, ...,;iilrlrln!. ril{w}e*Wwtrr,{lt

.....

if t$.$;,

the influence of European modernism. Another Midwestern painter, born

',li:

in Milwaukee, Edmund Lewandowski attended the Layton School of Art in Wisconsin in the early 1930s. In 1936, Edith Halpert, an important New York

,,W&

dil,rr

arr dealer, invited Lewandowski to join the Downtown Gallery. He executed

, r, "'

several post office murals in Minnesota, Illinois, and Wisconsin as part of the

J r'

! rr|li

Federal Art Project during the Depression. Lewandowski's afEliation with

i{s

nrneteen

.,i1'

u* rrt :'td..r';l

illil Slil#

rH+uj':

tli"iH

Precisionism, with its sratic imagery of the American environmenr, corresponds wirh his cime ar rhe Downrown Gallery and his mentoring by Charres sheerer. rnThird Auenue'N.y.c. (no. 47),;; '" dowski shows rhe urban randscape in hard-edged rines and sharp ,."-"ro.rr";;r. one of the major uncertainties rhat afflict mosr deliberarions of regionalist arr is wherher painrings reflecting the realistic arritude of cheir American locales hru..-rrry place in rh" hisrory of modernism. The art of Dod.d, Benron, ."a

,l-;..ff;.;;.

i::":i"

;;;;_,

"ri"rr, American avanr-gard.e commitred to the hisrory oFabstracrion as purely ,,modern.,, .onrlr,"..r", a be underappreciated for irs modernisr aesrherics and tend.encies. These American scene painters, ' cellered on rhe land.scape and peopre of rheir home regions. were arso superb

,, ,..,"rrrrrr rrro irrop.rrr"-od.r,

utilizing an American mythology while adapring rhe compositionai ideas of ,h. artls rs.

Paul Manoguerra I Curator of American Art

oPPOSITE DETAIL: Lamar D odd, Nortb of praX City, no. 37

*"nv

C*nclwsion The works in Redefiningthe Modern Landscape provide a fresh look at the development of the modern landscape in Europe and the United States' The

installation ofpaintings, drawings, and prints by artists seldom discussed in relation to one another and rarely displayed in the same venue challenges visitors to rethink traditional models of cultural authority that have shaped the history of modern art. Artists such as Pierre Daura,Jean H61ion, and

Ottone Rosai will be new to many of the museum's visitors, and their works are

included both for viewers' enjoyment and to benefit future curatorial

research. This exhibition is also historically rich; although not necessarily

documentary in nature, the images caPture the various ways artists responded to the changing environment and provide a window into the past. The permanent collection of American art, EuroPean art, and the decorative arts and long-term loans will continue to play a significant role in the future of the Georgia Museum of Art. The museum's exhibition schedule and its art

collections reflect the academic study of the history of art-in this particular case,

of trans-Atlantic modernism and the landscape.

*""w-*o I

Selected

Bibtiographj

Alcimtara i Gusart, M. "I-iesperit patltic [rne 1929):143-44.

de1

Mediterrani."

Gaseta de les Arts 2, no.

Baigell, Matthew. A Concise Historlt of American Painting and scalpture. Boulder, CO: Weswiew Press, revised edition, 1996. Boronat, J. "Una conversa amb

pintor Daur a" EITemps (Aptil 6' 1929)' 19.

Collection Art Modeme: la collection du Cen*e Pompidou, Paris: Editions du Centre Pompido:u,20O6.

Mus6e national

d'art modern.

comingHome: American Paintings, 19j0-1950, from the scboen Collection Exhibition catalogue. Athens: GeorgiaMuseum ofArt, University of Georgia, 2003. Corn, Wanda M. The Great American Thing Mod,em Art Berkeley: University of California Press, 1999.

and.

National ldentiry, 1915-1935.

Daura, Pierre. "De commoratione in insula Menorca." Janus 3'no. 2 (September 1924):26-30 Davis, Virginia Irby. A Biograp@ ofthe Catalan-American Artist Pierre Daura, 1896-1976: Tbe Man NY: Edwin Mellen Press,2001.

and,His Art. Lewiston,

Dennis,James M . Renegad.e Regionalists: The Modem Ind.ependence of GrantWooy' Tbomas Benton, and,Jobn Stetudrt CurrJ. Madison: University ofWisconsin Press, 1998.

Eilmd,

Hart

W'i11iam U . Tbe Tmth in Tbings: The Life and. Career of lnmar Dod.d. Athens:

University ofGeorgia Press, 1996.

Hultun, Pontus, and Germano Celnq eds. Arte ltaliana Exhibition catalogue. Milan: Bompiani, 1989. Mxld,Teresa.

Pier're Daura (1896-1976). Barcelona:

Presenze 7900-1945.

Ambit,

Mates, Joan. "Pere Daura a Saint-Citq;' Art 1 (March

1999.

793\: A7-82.

Rmmussen, \Villiam M. S. "Ttte Beaury of the Land": Piene Daura'sVision ofVirginia' Exhibition catalogue. Richmond: Virginia Historical Society, 2006.

Robinson, WilliamH.,et

al.

Barcelona andModemity: Picaso, Gaud{,Mir6, Dali.NesvHaven:

Yale Universiry Press, 2006.

Watkins, Nicholas. Bonnard. London: Phaidon, 1993'

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Partial suPPort for che exhibitions and programs at rhe Georgia Museum ofArr is provided by the W. Newton Morris Chariable Foundation, the Friends of the Museum. and the Georgia Council for the Arts through the appropriations of rhe Georgia General Assembly. The Council is a parrner agency of the National Endowment for the Arrs. Ind.ivicluals, foun4acions, an4 corporations provide addicional support through their gifts ro che Arch Found.ation and rhe University of Georgia Foundarion.

GE0RGTAMUSHUMQFART

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Performing and Visual Arts Complex WSM 706.542.GMOA I www,uga.edu/gamuseum

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