Bert Gallery

Post World War II Painting

On December 7, 1941, every American life changed with the attack on Pearl Harbor and the entry of the United States into World War II. WWII touched all facets of American life and challenged the careers of many Rhode Island artists. The structured and precise painting style of many artists, such as Gordon Peers, Florence Leif and John Frazier, pre-war evolved to meet the new realities of a post war art world.

Most artists did not paint war themes but looked to the emerging art movements of Geometric Abstraction and Surrealism by the American vanguard artists to better understand their choices as a painter. The transformation in color, composition and surface paint were significant.

Post WWII Rhode Island artists included in Divine “Providence” are Edgar Corbridge, Gordon Peers, Florence Leif, Louise Marianetti, John Frazier, James Herbert and Eliza Gardiner.

1880 Providence Art Club: Watercolors
A Source of Artist Income

“Two years ago, a trio of local artists banded themselves together for mutual protection, intending to make a united stand against their arch enemy, the dealer.” – Dec 3, 1880 Providence Press

Even with the founding of RISD in 1878, the local artist community recognized a need for their own association and thus organized the Providence Art Club for the purpose of elevating local taste along with exhibiting and selling their art. Evidence of the desire that the Providence Art Club be independent was an early vote by its members in the 1880′s not to merge with RISD. The Providence Art Club and RISD were both housed in the Hoppin Homestead Building and the club rented exhibition space from the school but the institutions remained separate entities in the early years.

Art exhibitions at the Providence Art Club offered artists the opportunity to sell works, receive critical reviews and develop patronage. Watercolors became quite popular because of its affordability to patrons and the income provided for artists. By 1896 a separate Watercolor Club and annual watercolor exhibit emerged at the PAC. Selected sampling of historic Providence Art Club artists currently on view in Divine “Providence” include Charles Stetson, Sydney Burleigh, Elijah Baxter and Stacy Tolman.

1876 Philadelphia Centennial

The Centennial Celebration in Philadelphia marked the 100th anniversary of the founding of the United States and Rhode Island was the fifth highest state contributor to the event. Local painters Edward Bannister, Thomas Robinson were juried into the competitive art tent, along with RI women artists – Rosa Peckham, Emily Selinger and Clara Maxfield Arnold.

By the 1876 Centennial celebration, yet another layer of artists was added to the Providence cultural contingency. This group more sophisticated, more pro-active, well read in the arts and better trained with European instruction in Paris or Munich. Some benefited from instruction at the Lowell Institute, which was running Saturday classes in Providence on Benefit Street. George Whitaker, Rosa Peckham, Charles Stetson, Marie Chapin, Sydney Burleigh, Stacy Tolman and Edward Bannister added to the numbers of professional artists.

At the Centennial Exhibition, not only were Rhode Island artists selected to exhibit but also the triumph for the hard working local artist was sweetened when fellow Rhode Islander Edward Bannister received the bronze painting medal. He became the first African-American artist to receive a national award in 19th century America and he promptly sold his painting Under the Oaks for $1,500 to an enthusiastic Boston buyer. A selected sampling of artists from the Centennial exhibit currently on view in Divine “Providence” includes Edward Bannister, Thomas Robinson and Emily Selinger.

Divine Providence: Laying the Foundation of Art Culture in Providence, Rhode Island

The 1855 Group

Even given a harsh cultural climate in the United States, history shows us that artists are a stubborn lot and in the 1850′s a young determined group of painters assembled in Providence.

Frederick Batcheller (1835-1899), John Arnold (1834-1907), Marcus Waterman (1834-1914), James Lewin (1836-1896) and Thomas Robinson (1834-1888) witnessed Providence emerging as a prominent urban center in New England. Sailing wooden ships unloading China Trade fineries had been displaced by smoke stacks and cogwheels evidence of the surge of industrialism in American society. Providence, as the nation, was forced to grapple with the upheaval caused by rapid growth. A growing body of concerned citizens started to recognize that “the arts” were an important asset for the state.

This “1855 group” was the earliest in Providence to band together to grow their artistic thoughts and talents. The only exhibit opportunities available to them were in the tents of the “Rhode Island Society for the Encouragement of Domestic Industry” – a local community fair. A selected sampling of The 1855 Group of artists currently on view in Divine “Providence” includes John Arnold, Thomas Robinson and Frederick Batcheller.

Our new podcast features an interview with Nancy Grinnell, curator of the Newport Art Museum, discussing the work of contemporary Rhode Island artist, Paula Martiesian. Ms. Grinnell curated It’s a Jungle Out There, a solo exhibition of Martiesian’s in 2003 at the Newport Art Museum.

During the month of July, Bert Gallery is exhibiting the paintings of contemporary Rhode Island artist, Paula Martiesian. Martiesian is well-known for her fearless use of bright, bold colors and strong brushstrokes to represent the natural world around her. She strives not to replicate the precise shapes and colors of a landscape, but to immerse the viewer in her impression of a scene, relating a visual and emotional experience through her canvas.

Paula Martiesian graduated from Rhode Island School of Design in 1976 and has been an active painter in Rhode Island ever since. After graduating, she continued her study of painting with former RISD professor Gordon Peers, until his death in 1988.

Paula Martiesian’s paintings reflect the strong daring style of the abstract expressionists and also of her mentor, Gordon Peers, while never losing a sense of personal identity. The bold choice of colors and sweeping forms are unique to her style, as is her treatment of landscape as natural beauty to be embraced in its untamed state. Download Here!