Soren Emil Carlsen American, 1848-1932 A Clearing Beyond the Trees (Connecticut), 1928 Signed Emil Carlsen and dated 1928 (lr) Oil on canvas 50 x 40 inches Provenance: Gloria and Richard Manney Collection Exhibited: New York, Spanierman Gallery, LLC, The Spirit of America: American Art from 1829 to 1970, Nov. 1, 2002-Feb. 15, 2003, color illus., cat. 55. Literature: The Spirit of America: American Art from 1829 to 1970. New York: Spanierman Gallery, LLC, 2002, color illus., cat. 55. After moving to Falls Village, Connecticut, in the early 1900s, Emil Carlsen changed his focus from the elegant still lifes, for which he had attained national renown, to Impressionist landscapes, a shift encouraged by his friends Julian Alden Weir Childe Hassam John Henry Twachtman, and Willard Metcalf. The collector and critic Duncan Phillips wrote of Carlsen's art in 1917: "It seems to me that he is trying to find a formal symbolical expression for the thought that nature exerts at times an influence curiously hypnotic." This statement seems particularly true of A Clearing beyond the Trees, in which Carlsen portrayed his favorite subject of the forest glade-paintings of which were often described as "forested cathedrals." The subded palette of this work and its harmonious effects are typical of the artist's late career. C The Spanierman Gallery, LLC Collection of American Art
Unlined; no restoration visible under UV light.
Soren Emil Carlsen American, 1848-1932 A Clearing Beyond the Trees (Connecticut), 1928 Signed Emil Carlsen and dated 1928 (lr) Oil on canvas 50 x 40 inches Provenance: Gloria and Richard Manney Collection Exhibited: New York, Spanierman Gallery, LLC, The Spirit of America: American Art from 1829 to 1970, Nov. 1, 2002-Feb. 15, 2003, color illus., cat. 55. Literature: The Spirit of America: American Art from 1829 to 1970. New York: Spanierman Gallery, LLC, 2002, color illus., cat. 55. After moving to Falls Village, Connecticut, in the early 1900s, Emil Carlsen changed his focus from the elegant still lifes, for which he had attained national renown, to Impressionist landscapes, a shift encouraged by his friends Julian Alden Weir Childe Hassam John Henry Twachtman, and Willard Metcalf. The collector and critic Duncan Phillips wrote of Carlsen's art in 1917: "It seems to me that he is trying to find a formal symbolical expression for the thought that nature exerts at times an influence curiously hypnotic." This statement seems particularly true of A Clearing beyond the Trees, in which Carlsen portrayed his favorite subject of the forest glade-paintings of which were often described as "forested cathedrals." The subded palette of this work and its harmonious effects are typical of the artist's late career. C The Spanierman Gallery, LLC Collection of American Art
Unlined; no restoration visible under UV light.
.jpg "Source: Christie's")
.jpg "Source: Christie's")
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
