The Internet has opened up a great opportunity to curate painting exhibits online. Often times at Bert Gallery we see an interesting connection between paintings either because of subject matter, time period or style. Check out our online exhibits and see how paintings placed within a concept or across time relate in new and interesting ways.
- Figure Studies
- Fashion Illustration
- Ballets Russes
- Whitaker
- Paula Martiesian
- Field & Flower
- Gasbarro: Monotypes
- Hezekiah Anthony Dyer
James Drummond Herbert (1898 - 1970)
Figure Studies
The study of the human figure has long played an important role in an artist’s academic education. Learning the proportion, musculature, and movement of the body is integral to a successful work. Different media are used, ranging from graphite pencil or charcoal, to more permanent tools like ink wash or oil paint. By focusing on how the light and shadows play off the contours of the figure and how it relates to the surrounding physical space, the artist can create an accurate and lifelike representation.
James Drummond Herbert created a vast collection of figures studies, many of which served as preliminary sketches for future works. Sketching and painting models in a wide variety of poses allowed him to gain great understanding of how to convey the grace and movement of a three dimensional body using a two dimensional surface. Herbert’s studies are presented in this exhibit, grouped according to the pose of the model and ranging from quickly executed sketches to more developed pieces.
Curated by: Elizabeth Sawtelle
Size Range: 8" x 10" - 11" x 14"
Figure Studies: Back
Figure Studies: Seated
Figure Studies: Standing
Figure Studies: Reclining
James Drummond Herbert (1898 - 1970)
Fashion Illustration of the 1930s
The online exhibition, James Drummond Herbert: Fashion Illustration of the 1930s, curated by Kylie Waltz, explores Herbert’s interest with the figure, which lead him to devote a significant amount of time to fashion illustration. Herbert was the Associate Art Director on Fashion Publications at Butterick Publications from 1934 to 1936 and went on to become the Art Director of Brides Magazine from 1936 - 1937. In 1947, James Herbert moved to Rhode to teach at RISD, where he played an integral role in the development of the Fashion Illustration program. Through this series of watercolor, pencil, and ink illustrations, Herbert captures the style of the 1930s, while referencing fashion innovation and the changing expectations of the period.
James Drummond Herbert’s fashion illustrations will range from $100-$300.
All framing and matting is available upon request at an additional cost.
Women of the 1930s were quite pale since a suntan was seen as a characteristic of the lower class. Rouge, lipstick, and eyeshadow were used to brighten their faces; while their hair was fairly short and generally styled in finger-waves or soft curls with hardly any body.
Watercolors ranging from 12 1/2" x 17 1/2" to 14 1/2" x 17 1/2"
Throughout the 1930s dresses and suits became slimmer and shorter with an emphasis on practicality. Many bodices and blouses had gathers or darts at the shoulder and waist to give shape and fullness at the bust but still keep a trim waistline.
Herbert pencil & ink measure 6" x 9".
Fox furs with heads and tails became an integral part of women's formal fashion during the 1930s. In addition, men’s pants were wide and high waisted, vest sweaters acted as an alternative to the traditional matching vest of the three piece suit, and hats became mandatory for the well-dressed male.
Herbert watercolors ranging from 6" x 9 3/4" to 9 1/2" x 13 1/2".
In 1935 the Du Pont de Nemours Company successfully synthesized nylon. As a result, the nylon stocking was introduced in the United States in 1940, becoming so popular that there were “nylon riots” as customers fought over the first deliveries.
Herbert watercolors ranging from 7" x 12" to 11" x 14".
Padded, square shoulders and fitted skirts imitating a military uniform became popular, while “Air force blue” became the ‘must-have’ color of the 1930s.
Herbert watercolors ranging from 8" x 12 1/2" to 11" x 14".
Gloves were enormously important throughout the 1930s. Evening gowns were accompanied by elbow length gloves, and day costumes were worn with short or opera-length gloves of fabric or leather.
Herbert watercolors and inks ranging from 8" x 10" to 11" x 14".
Manufacturers and retailers introduced coordinating ensembles of hat, gloves and shoes, or gloves and scarf, or hat and bag, often in striking colors. For spring 1936, Chicago’s Marshell Field's department store offered a black hat by Lilly Daché trimmed with an antelope leather bow in “Pernod green, apple blossom pink, mimosa yellow or carnation blush” and suggested a handbag to match.
Herbert watercolors and pencils ranging from 6 1/2" x 11 1/2" to 7 1/2" x 9 1/2".
The 1930s introduced the idea of different hem lengths for different times of day. The mid-calf length was for day wear, while the long ankle-length style was for the evening.
Herbert watercolor and ink ranging from 9 1/2" x 12 1/2" to 11" x 17".
1930s evening fashion consisted of backless dresses with slightly bloused bodices. A popular formal look was the empire-waisted gown, with ties at the back. The dress might boast butterflies or large, puffy sleeves, as well as a train for a greater emphasis on the importance of an event.
Herbert watercolors ranging from 11" x 14" to 15" x 17 1/2".
Ballets Russes
Costume, Dance, and Modern Art
Between 1909 and 1929, the Ballets Russes had a wildly successful run, founded in Paris and later throughout Europe, under the direction of Serge Diaghilev. The company not only revolutionized the world of dance, but also had tremendous influence on the art world, collaborating with prominent artists such as Pablo Picasso and Georges Braque. Movements of the time such as Expressionism and Cubism were reflected in the performances through costume and set design and musical composition. Diaghilev’s goal was to bring together artists of different media and create an experience in which the “overall impact surpassed the parts.”
Many American artists visited Paris during this time, including James Drummond Herbert, who studied at the Academie Julian during the 1920’s and was profoundly influenced by his colleagues. His sketches and paintings of dancers and performers reflect these modern innovative styles.
Costume
While costume design for the Ballets Russes was initially dominated by Russian aesthetics, designers began to incorporate exotic influences resulting in colorful, striking, and innovative creations. These exciting costumes helped to transform the dancers into completely new characters.
Herbert embraces these exotic influences in his work while also considering the American style sensibilities of the time. In the 1940’s, Herbert was commissioned by the National Ballet Company in New York to create designs for some of its performances.
The Dancer
While Herbert portrayed the on-stage theatrics of a show in his work, he was interested in capturing the dancers in a state of rest and contemplation. He removes the artifice of performance to study the figures as individuals, not merely a construction of the director.
Clowns, Harlequins and Jesters
Clowns, harlequins, and jesters have long been a subject of artistic representation, engrained in the European cultural tradition. Originally part of traveling troupes, these characters were also portrayed in ballets and operas. Depictions range from humorous court jesters, to “Pierrot”, the sad clown, to the motley harlequin.
The position of these characters was to entertain and tell a story, but also to provide insight and commentary through humor.
James Herbert portrays these traditional characters in many of his works, infusing them with a blend of European and American themes and aesthetics.
Scene
The setting for each production of the Ballets Russes was an integral part or the performance, as they were considered a complete work of art, rather than a simple recital of dance. Particular attention was given to backdrops and set design, employing the artistic prowess of renown artists of the time, notably Pablo Picasso, who created his largest known canvas, “Le Train Bleu” for a 1924 performance.
James Herbert demonstrates the importance of creating a visual setting in which to place his characters to create a dynamic scene and transport the audience to a different world.
From the Stock list of George Whitaker (1841 - 1916)
George Whitaker was a critical figure in Rhode Island Art. He was one of the founders of the Providence Art Club in 1880, one of the earliest Providence artists to study with Millet protégés in France bringing back the Barbizon art style to Rhode Island and the first oil painting instructors at the Rhode Island School of Design.
Whitaker was an avid collector of paintings from fellow artists in Providence. This slideshow has several paintings consigned from the descendants of George Whitaker - what a great provenance from his studio through three generations of artists. We added a few extra Whitakers from the Bert Gallery Inventory to round the slideshow out.
Who Was George Whitaker (1840 - 1916)
George Whitaker’s excellence in art is equaled by his contribution to the development of a Rhode Island art community. He was instrumental in recognizing the need for an organization to nurture and support the talented artists within the state. The Providence Art Club was formally instituted by Whitaker and his friends E. M. Bannister and Charles Walter Stetson. The club provided not only a formal association with fellow artists but a public forum in which to present his work. It is within this environment that Whitaker developed into a leading figure in the community. His writings for the A.E Club and other journals show a keen sense and aesthetic appreciation. References to this man are invariably prefaced by the respected title, “The Dean of Rhode Island Artists.”
E.A. Parker (1876 - 1958)
Parker was a popular female artist who specialized in flowers, children and landscapes. Her Providence connection is that she attended RISD in 1895 and studied under Stacy Tolman and Sydney R. Burleigh.
This painting is documented in the George Whitaker Stock List
Norman Black (b.1883 )
Norman Black is listed in Who Was Who in American Art and at first it seems mysterious how this painting came into Whitaker’s collection. Certainly it is clearly documented in Whitaker’s Stock List but Black appears never to have set foot in Rhode Island? But with a little sleuthing we discover the Whitaker connection.
Norman’s wife, Mrs. Norman Black, was born in 1884 in Providence, Rhode Island went on to study at the Eric Pape School in Boston, the Academie Julian in Paris and then onto Munich. During this career path she was a member of the Providence Art Club! While the Blacks eventually settled in Bermuda, it is likely that thru Mrs. Black’s Providence connections and membership to the Providence Art Club Whitaker encountered Mr. Black and acquired his painting. The European subject matter also makes sense given Black’s study in Munich.
This painting is documented in George Whitaker’s stock list.
Mabel A. Sanders
Here is another mystery painting in the Whitaker collection. Very little is known about Mabel Sanders other than she visited California and painted this little work. Her landscape of Santa Barbara is lovely.
Is it possible that C.W. Stetson was the mediator for getting this painting to Providence, to Whitaker? We know that Stetson was back and forth to Pasadena, California for a while - perhaps he brought this Sanders painting to Providence? We may never know where Whitaker acquired the work.
C.A. Slade 1882 - 1961
Slade is known for his scenes in and around Venice, Italy and in France and Arabia, and his brushwork is fluid and confident. Slade was born in Acushnet, Massachusetts in 1882, and he maintained a studio in Truro, Massachusetts near that of Edward Hopper. He studied at Brown University, the Art Students League with Frank Vincent DuMond and at the Academie Julian in Paris with Jean Paul Laurens, Schommer and Bachet (1907).
Whitaker had not only this Venice scene by Slade listed in his Stocklist but also two other paintings - so he rather liked Slade’s work.
This painting is in Whitaker’s Stock List
George Whitaker (1841 - 1916) and Family Photo Circa 1911 - 1912
The paintings in this collection are from the descendants of George Whitaker through Whitaker’s daughter Lillian and her husband. Lillian is seated on the ground with her two sons.
W. Staples Drown 1856 - 1915
Drown was a respected New England artist in his day. This recognition was achieved after many years of intense personal study and extensive travel in the pursuit of artistic advancement. His habit was to seek and work among the area's best artists. As a result, his development as a painter included both a mastery of draftsmanship and coloring.
G. Whitaker noted that Drown “in a truly poetical way dreamed over his gray day canvas. Few artists have excelled him in this direction.” (Providence Journal, June 8, 1916).
The majority of success W. Staples Drown had was in painting very delicate tints in landscape. His mastery of charm in coloring and quiet atmospheric effects was said to be “Reflective on the man's own quiet personality.” (Providence Journal, June 8, 1919).
This painting is listed in Whitaker’s stock list.
George Whitaker (1841 - 1916)
This work shows Whitaker’s mastery of landscape. Moved by the surrounding fields in North Providence, this scene was first composed in his sketch book and Identified as Fruit Hill. What makes this painting exceptional is his balance of the high sky horizon and the curvy path cutting through the canvas. The artist remained true to his early dedication to capturing the natural landscape around him.
George Whitaker (1841 - 1916)
Whitaker loved to paint dark and mysterious scenes. This landscape hints of an early morning sunrise when the hills are dark and a golden glow peeks over the horizon. The tiny figure creeping up the hill is fully engage in their morning chores. Whitaker often celebrated the hard working farmers and field hands of Rhode Island.
George Whitaker (1841 - 1916)
While we would call the Hudson River artists the first generation of tree huggers, American Barbizon painters such as Whitaker loved their trees. Take this painting of the Old Beech at Hunts Mills. Whitaker paints this “portrait” of the Beech tree to document its individual character and memorialize a natural wonder in its local surroundings at Hunt Mills.
George Whitaker (1841 - 1916)
Whitaker always liked to experiment within the boundaries of his Barbizon style landscapes. In this scene we see a lightly painted canvas that has these wonderful vertical paint strokes that jitter up and down. They layer to effectively demarcate the thick forest trees with dappled light coming through the trees.
George Whitaker (1841 - 1916)
This is another beautiful example of George Whitaker’s mastery of landscape. From a distance you see the hilltop and its many layers of field and trees. Whitaker had a studio at the Providence Art Club as well as at home in North Providence. At the time North Providence was surrounded by fields and farmlands where the artist could roam and paint. Many of his landscapes were the result of his surrounding environs.
George Whitaker 1841 - 1916
Whitaker was a hard working painter. His personal collection of paintings numbered well over 1,400 works of art and he was fond of painting historical properties and sites in Rhode Island. This painting is of the Whipple Farm. Since 1659 the name Whipple has been identified with Rhode Island life and affairs and many generations spread out across the towns of Providence county. The Cumberland Whipples form one of the oldest and most distinguished branches of the family. Arlon Mann Whipple, for many years prior to his death in 1910,one of the foremost farmers and stock raisers of Providence county, was a native of Cumberland. So, with this work we have a real time view of Whipple Farm in 1880.
George Whitaker 1841 - 1916
This powerful landscape by Whitaker continues to evidence Whitaker’s love of the sun dappled paths and lush landscape of Rhode Island. Mentored by French Barbizon painters, Whitaker found spirituality in nature that brought peace and inspiration. This expertly painted canvas was completed in 1880 - the year Whitaker help to found the Providence Art Club.
Paula Martiesian - Contemporary Painter
“Martiesian’s oils explore the relationship between nature and color, and present us, at first blush, a view of landscape unfettered and gardens unkempt. Her colors are bold, applied in sweeps and splashes, in tiny squares and sturdy lines, in semi-transparent washes and dense opacities. Yet these paintings are intricate and organized, their perfect composition belying their overt disorder. I feel the clash of the spirits of landscape and color-rich Post-Impressionist school of Fauvists, such as Matisse, Van Gogh, Cezanne, and that of the rigorous nonrepresentational abstract expressionists.“
- Roger Birn, The Jamestown Journal, November 19, 2003
Field & Flower
“Martiesian’s oils explore the relationship between nature and color, and present us, at first blush, a view of landscape unfettered and gardens unkempt. Her colors are bold, applied in sweeps and splashes, in tiny squares and sturdy lines, in semi-transparent washes and dense opacities. Yet these paintings are intricate and organized, their perfect composition belying their overt disorder. I feel the clash of the spirits of landscape and color-rich Post-Impressionist school of Fauvists, such as Matisse, Van Gogh, Cezanne, and that of the rigorous nonrepresentational abstract expressionists.“
- Roger Birn, The Jamestown Journal, November 19, 2003
Frank Gasbarro: Monotypes
Price Range: $150 - $250
Hezekiah Anthony Dyer (1892 - 1943)
“My creed is still to bring into my work the charm of an old world town, the glory of dawn on a giant mountain, or the purple twilight that envelops the evening hour on a Como or Garda. If I can entrap a bit of the thrill that such places gives, if I can reproduce some of the lovely color nature reveals, if I can take some poor, tired shut-in nearer happiness...then I feel I have delivered my message.”
- H. A. Dyer