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拍品专文
Maxfield Parrish was inspired by the landscape from the earliest stages of his career. "Even when painting the most commercial advertisement or making illustrations which called for interior scenes, his interest in landscapes persisted. There nearly always was a small landscape tucked away in the background or seen through an open arch or window." (C. Ludwig, Maxfield Parrish, New York, 1973, p. 171) Although Parrish consistently incorporated landscape elements into his compositions, it was not until the 1930s when he began to approach it as the primary subject. Painted in 1952, Peaceful Valley (Homestead) is a superb example of Parrish's mature work, exhibiting many of the most compelling features of his celebrated style.
Parrish began experimenting with landscape painting in the 1890s, painting and sketching around Cape Ann, Massachusetts and introducing landscape elements into his magazine and book illustrations. The turn of the century brought two consecutive commissions from Century Magazine, which had a profound effect on his landscape painting. During the winters of 1901 to 1902 and 1902 to 1903, Parrish traveled to and around Arizona to produce a series of paintings for Ray Stannard Baker's article "The Great Southwest." Parrish was immediately fascinated by the area's brilliant range of color and dramatic light, both of which created impressive effects against the unusual terrain. As Coy Ludwig points out, "the southwestern sunrises and sunsets, with their reflections of brilliant orange hues and shadows of purple and blue, and the craggy terrain of the canyons became forever a part of Parrish's artistic vocabulary." (Maxfield Parrish, p. 171) In between trips to the Southwest Parrish went on another influential excursion, this time to Italy where he spent three months observing and gathering material to illustrate Edith Wharton's Italian Villas and Their Gardens. The subtle light and coloring Parrish found in Italy served as a balance to the dramatic topography and atmosphere of the Southwest. As in his best landscapes, the influence of both these Southwestern and Italian sojourns can be seen here in the present work.
Peaceful Valley (Homestead) exhibits all of the hallmarks of Parrish's best landscape paintings. The composition is comprised of a majestic tawny elm in the center left, under the branches of which Parrish has depicted the familiar structure of his home, The Oaks, in Cornish, New Hampshire with the accompanying barn staggered just behind. A recurring element in his landscapes, Parrish's inclusion of The Oaks establishes the location and adds a personal touch to the tranquil scene. The Oaks also provides a vehicle through which he explores the effects of the shadows cast by the towering tree. Beyond the massive oak is a second tree, only the trunk of which is visible, and then the foliage a third tree which Parrish incorporates to further establish depth to the scene. With a more subdued palette and softer brush, he employs the silhouette of a mountain to anchor the horizon, fully capturing the profundity of landscape. The large trees and rocks that are featured prominently are painted in a manner unique to Parrish, using both cut-out silhouettes and photography and can be said to be the single most common element of his landscapes. As Parrish noted, "each and every picture must represent one grand good place to be in." (as quoted in Maxfield Parrish, p. 175)
Parrish's talent for color is also demonstrated in Peaceful Valley (Homestead). The high-keyed palette of blues and greens of the water and grass are contrasted with darker tones of forest green and complementary violets of the foliage with ochre accents of the imposing tree and the richer orange of the rocks. All of these elements are set against the cool, vibrant blues of the sky and surrounding water.
In 1935, Parrish began painting landscapes for calendars with Brown & Bigelow Publishing Company. Peaceful Valley (Homestead), which demonstrates his mastery of color and detail, is included in the group, as it was published for a 1955 calendar. Parrish explained his approach to landscape painting, which comes to fruition in Peaceful Valley (Homestead), "I feel that the broad effect, the truth of nature's mood attempted, is the most important, has more appeal than the kind of subject. 'Broad effect' is a rather vague term, but what is meant is that those qualities which delight us in nature--the sense of freedom, pure air and light, the magic of distance, and the saturated beauty of color, must be convincingly stated and take the beholder to the very spot. If these abstract qualities are not a painting it is a flat failure." (as quoted in Maxfield Parrish, 1973, p. 175)
Parrish began experimenting with landscape painting in the 1890s, painting and sketching around Cape Ann, Massachusetts and introducing landscape elements into his magazine and book illustrations. The turn of the century brought two consecutive commissions from Century Magazine, which had a profound effect on his landscape painting. During the winters of 1901 to 1902 and 1902 to 1903, Parrish traveled to and around Arizona to produce a series of paintings for Ray Stannard Baker's article "The Great Southwest." Parrish was immediately fascinated by the area's brilliant range of color and dramatic light, both of which created impressive effects against the unusual terrain. As Coy Ludwig points out, "the southwestern sunrises and sunsets, with their reflections of brilliant orange hues and shadows of purple and blue, and the craggy terrain of the canyons became forever a part of Parrish's artistic vocabulary." (Maxfield Parrish, p. 171) In between trips to the Southwest Parrish went on another influential excursion, this time to Italy where he spent three months observing and gathering material to illustrate Edith Wharton's Italian Villas and Their Gardens. The subtle light and coloring Parrish found in Italy served as a balance to the dramatic topography and atmosphere of the Southwest. As in his best landscapes, the influence of both these Southwestern and Italian sojourns can be seen here in the present work.
Peaceful Valley (Homestead) exhibits all of the hallmarks of Parrish's best landscape paintings. The composition is comprised of a majestic tawny elm in the center left, under the branches of which Parrish has depicted the familiar structure of his home, The Oaks, in Cornish, New Hampshire with the accompanying barn staggered just behind. A recurring element in his landscapes, Parrish's inclusion of The Oaks establishes the location and adds a personal touch to the tranquil scene. The Oaks also provides a vehicle through which he explores the effects of the shadows cast by the towering tree. Beyond the massive oak is a second tree, only the trunk of which is visible, and then the foliage a third tree which Parrish incorporates to further establish depth to the scene. With a more subdued palette and softer brush, he employs the silhouette of a mountain to anchor the horizon, fully capturing the profundity of landscape. The large trees and rocks that are featured prominently are painted in a manner unique to Parrish, using both cut-out silhouettes and photography and can be said to be the single most common element of his landscapes. As Parrish noted, "each and every picture must represent one grand good place to be in." (as quoted in Maxfield Parrish, p. 175)
Parrish's talent for color is also demonstrated in Peaceful Valley (Homestead). The high-keyed palette of blues and greens of the water and grass are contrasted with darker tones of forest green and complementary violets of the foliage with ochre accents of the imposing tree and the richer orange of the rocks. All of these elements are set against the cool, vibrant blues of the sky and surrounding water.
In 1935, Parrish began painting landscapes for calendars with Brown & Bigelow Publishing Company. Peaceful Valley (Homestead), which demonstrates his mastery of color and detail, is included in the group, as it was published for a 1955 calendar. Parrish explained his approach to landscape painting, which comes to fruition in Peaceful Valley (Homestead), "I feel that the broad effect, the truth of nature's mood attempted, is the most important, has more appeal than the kind of subject. 'Broad effect' is a rather vague term, but what is meant is that those qualities which delight us in nature--the sense of freedom, pure air and light, the magic of distance, and the saturated beauty of color, must be convincingly stated and take the beholder to the very spot. If these abstract qualities are not a painting it is a flat failure." (as quoted in Maxfield Parrish, 1973, p. 175)