3 ways to look at…cows?

3 ways to look at…cows?

The beauty of art is how artists approach the canvas from their individual thoughtful perspective. The result is great art from different perspectives and a range of styles.

Here are three, actually four perspectives of the same topic.

One of my favorite drives is along the Shenandoah Valley where you see the most incredible farms with acres of crops and lots of cows and sheep in the fields. As you go through the terrain it is hard not to see the daily rhythms of farm animals.

Cows & sheep  were a favorite subject for Providence painters.   The capital city transitioned to an energetic urban city and there was a nostalgia for the farmlands replaced by bustling factory buildings. The challenge for artists was to alter the images so a household could collect many different renditions of the subject matter.

Thus, you see:

Cows meandering in a moonlight village with their farmer, sheep enjoying a sunny day in the fecund summer landscape, close ups of grooming and grazing and just meandering on the hillside.

1.George Hays (1854-1945),   Moonlight in the Village, 1915

Oil on Canvas 18” x 24”                          $2,500. SALE $2,200.

2.George Hays (1854 – 1945)  Two Cows in Front Field     

Watercolor 10.5” x 15”                               $800. SALE $600.

3.G.A. Hays, signed lower right   Two Cows on the Hillside

Watercolor/paper; 9.5″ x 13.5″                    $1,200. SALE $900.

4.Wesley Webber (1841-1914)     Sheep on Hillside                                 

Oil on canvas 20” x 24”                                $2,300. SALE $2,100.

Biography: Wesley Webber  1839-1914
Landscape and marine painter Wesley Webber was born in Gardiner, Maine and died in Wollaston, Massachusetts in November 1914. He lived in Boston from 1870 to 1890 and in New York City from 1892 and was self-taught. He is considered one of the finer landscape painters who painted from life in the Conway area of New Hampshire and along the New England coast and he is reminiscent of the Hudson River School in style and manner.

Webber served in the Civil War (Company B of the Sixteenth Maine Volunteer Infantry Regiment) and was present at General Lee’s surrender at Appomattox. His original sketches made at the surrender, along with his finished illustrations of the Civil War were shown at the Boston Art Club and brought Webber considerable fame, recognition and fortune. Many of his Civil War scenes were published as wood engravings in Harper’s Weekly and as a lithograph published by J.H. Bufford of Boston. He was discharged from Civil War service in Augusta, Maine, June 15, 1865 and he opened a studio in Gardiner, where he became a carriage painter. Thereafter, Webber earned a fine reputation as a marine and landscape painter, but at the end of his life (ca. 1900-1914) he became an alcoholic and his style weakened along with his reputation.

Webber shared a Boston studio in Pemberton Square and then shared a Boston studio with marine painter William P. Stubbs (1876-) and kept other studios in New York City until his death. Every summer he went to Conway, New Hampshire to paint the hillside, where painters John J. Enneking, Frank Shapleigh and others joined him to paint. He also painted in Manchester-by-the-Sea, in Nova Scotia and in Canada. Two of his most famous paintings are “Kennebec River”, “Maine Boat Shop and Unidentified Vessels Ice-bound at Gloucester” (both at the Peabody Museum, Salem, MA). He is also represented in the permanent collections of the Boston Athenaeum; New York Public Library; the Brooklyn Museum; Portland Museum of Art (Maine) and elsewhere.

From 1897 to 1914 Webber’s New York City studio at 11 East 14th Street was filled with artists. In 1914, he left the city for his daughter’s home in Wollaston, MA, where he died. In February 1915, his family sold the contents of his studio at the Boston auction house of C.F. Libbie and Company. The artist is buried in Gardiner, Maine.

References: American Art Analog, vol. 1; Who Was Who in American Art, vol. 3, p. 3489; Campbell, New Hampshire Scenery, p. 171.