MS01.01.03.B02.F16.001
Facsimile
Transcription
[HANDWRITTEN ON YELLOW LINED PAPER]
There is to be observed in America still
life painting of the 19th century a lively passion for clarity of
form and a convincing way of making a visual statement that
showed [crossed out] as to [/crossed out] how well [crossed out] an
[/crossed out] nature and related objects were seen [crossed out] felt
[/crossed out] by the artist [crossed out] used [/crossed out]
and also felt and understood [crossed out] by the artist and [/crossed out].
Nowhere is this observation more astutely adhered to than in the
works of Charles Ethan Porter, a Rockville, Connecticut painter who
created [crossed out] of [/crossed out] a variety of subjects in which
objects such as fruits, flowers and fauna are [crossed out] arranged to
emphasize [/crossed out] painted in a manner which give a romantic
look at [crossed out] the [/crossed out] a staged but pictures are world.
[crossed out] new of nature? [/crossed out].
Porter often referred to in the literature of his day as "a painter of
flowers" was a contemporary of Henry O. Tanner and Edmonia
Lewis, two Black American artists [crossed out] who were all of which [/crossed out] were born in the same decade [crossed out] as [/crossed out] as [crossed out] Porter [/crossed out] he, yet his art has not
received the critical attention [crossed out] that [/crossed out]
given Tanner's or Lewis' sculpture. His relative obscurity, until
recent years, is perhaps due in part to the fact that his work had
little exposure outside the Springfield and in Rockville Hartford
communities where he lived [crossed out] he lived [/crossed out]
during the most productive years of his life. [crossed out] And [/crossed out] Although he contributed at the National Academy of Design
in New York City, little is known of the impact these works made on
collectors nor persons building American Museum collections
during his day. [* INSERT] Artists of Color were often neglected
because of their race. [crossed out] And [/crossed out] Most
often rebuffed when they tried to exhibit their work in few of
exhibition halls of the nation. [crossed out] little resistance for
white artists. [/crossed out] Porter's style in his day and noted
that and the profound way he saw nature, particularly in the
forms of Still Life painting, set him aside as an artist of fine
sensibilities exhibiting [crossed out] artistic [/crossed out] traits,
equal in the style in the display of picturesque and romantic
appeal in [crossed out] to [/crossed out] academic painting
[crossed out] ally [/crossed out] to the work of [crossed out]
Robert S. Duncanson and Edward M. Bannister [/crossed out]
Edward M. Bannister. While the literature does not in any way
imply that Porter [crossed out] his knowledge [/crossed out]
knew Bannister or ? [crossed out] these artists [/crossed out]
his paintings were offered for display [crossed out] exhibition
[/crossed out] at some of the same exhibition halls
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