Guy Rose, (1867-1925)
Foggy Morning, Veules (Normandy Coast) 23 3/4 x 28 3/4in framed 32 1/4 x 36 1/2in
Foggy Morning, Veules (Normandy Coast)
signed 'Guy Rose' (lower left) and titled on a period label (on the reverse)
oil on canvas
23 3/4 x 28 3/4in
framed 32 1/4 x 36 1/2in
Painted circa 1909.
Provenance
Guy Chaffee Earl III and Paula Tye (née Turner) Earl, Newport Beach, California.
Guy Granville Earl and Virginia Alison (née Benvenuto) Earl, Murrieta, California, gift from the above.
Edenhurst Gallery, Palm Desert, California, 2007.
The Collection of Margaret Jonsson Rogers, Carmel, California and Dallas, Texas.
Literature
E. Stendahl, Stendahl Art Galleries, Guy Rose, Memorial Exhibition, Los Angeles, 1926, No. 22, p. 55, illustrated.
The noted Los Angeles art critic Antony Anderson wrote a fitting introduction for the Stendahl Galleries 1922 exhibition catalog Guy Rose, A biographical sketch and appreciation, Paintings of France and America. In it he writes: 'It is good for the disquieted soul to meet a painter who is an artist by every instinct in this nature, who is a thoroughly trained craftsman in his work, and who is modern without wild vagaries. A frank disciple of Monet and his school – in fact, he has lived and worked in Giverny, the home of Monet – Guy Rose shows in his canvases the tonic influence of these sincere students of plein-air. Like them, he paints the out-of-doors, its colors broken into beauty by brooding sunlight, caressing airs, and moving winds. Needless to say that he paints much in the "high key", which is the key of nature'.1
Working in France in the first two early decades of the 20th century, Guy Rose seems spiritually closer to 19th century American artists such as George Inness, Alexander Wyant and Homer Dodge Martin for whom the painting functioned as a mediating device between nature and a near-pantheistic perception of nature. These artists, themselves influenced by the French Barbizon painters, hoped to wrest from earth and sky an eloquent grandeur in sufficient quantity to invest their own canvases with life-enriching experience. The attitude toward nature – poetic, humble and subservient – lay beneath the carefully crafted visions of Guy Rose.2
Foggy Morning, Veules is a good example of this attention to nature's sublime subtleties. Painted along the coast of northern France, Guy Rose takes a potentially colorless and featureless morning fog and brings out all the colors and life that are hidden within the shoreline. Foggy Morning, Veules depicts a simple juxtaposition of sea and shore and dense atmosphere with an overall muted tone. With an almost abstract eye, Rose manages to create more with less, much like James McNeill Whistler was able to accomplish a few years earlier.
1 A. Anderson, Guy Rose, Los Angeles, Stendahl Art Galleries, 1922, p. 9.
2 W. South, W.H. Gerdts, J. Stern, Guy Rose: American Impressionist, Irvine, The Irvine Museum, 1995, p. 50.
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Foggy Morning, Veules (Normandy Coast) 23 3/4 x 28 3/4in framed 32 1/4 x 36 1/2in
Foggy Morning, Veules (Normandy Coast)
signed 'Guy Rose' (lower left) and titled on a period label (on the reverse)
oil on canvas
23 3/4 x 28 3/4in
framed 32 1/4 x 36 1/2in
Painted circa 1909.
Provenance
Guy Chaffee Earl III and Paula Tye (née Turner) Earl, Newport Beach, California.
Guy Granville Earl and Virginia Alison (née Benvenuto) Earl, Murrieta, California, gift from the above.
Edenhurst Gallery, Palm Desert, California, 2007.
The Collection of Margaret Jonsson Rogers, Carmel, California and Dallas, Texas.
Literature
E. Stendahl, Stendahl Art Galleries, Guy Rose, Memorial Exhibition, Los Angeles, 1926, No. 22, p. 55, illustrated.
The noted Los Angeles art critic Antony Anderson wrote a fitting introduction for the Stendahl Galleries 1922 exhibition catalog Guy Rose, A biographical sketch and appreciation, Paintings of France and America. In it he writes: 'It is good for the disquieted soul to meet a painter who is an artist by every instinct in this nature, who is a thoroughly trained craftsman in his work, and who is modern without wild vagaries. A frank disciple of Monet and his school – in fact, he has lived and worked in Giverny, the home of Monet – Guy Rose shows in his canvases the tonic influence of these sincere students of plein-air. Like them, he paints the out-of-doors, its colors broken into beauty by brooding sunlight, caressing airs, and moving winds. Needless to say that he paints much in the "high key", which is the key of nature'.1
Working in France in the first two early decades of the 20th century, Guy Rose seems spiritually closer to 19th century American artists such as George Inness, Alexander Wyant and Homer Dodge Martin for whom the painting functioned as a mediating device between nature and a near-pantheistic perception of nature. These artists, themselves influenced by the French Barbizon painters, hoped to wrest from earth and sky an eloquent grandeur in sufficient quantity to invest their own canvases with life-enriching experience. The attitude toward nature – poetic, humble and subservient – lay beneath the carefully crafted visions of Guy Rose.2
Foggy Morning, Veules is a good example of this attention to nature's sublime subtleties. Painted along the coast of northern France, Guy Rose takes a potentially colorless and featureless morning fog and brings out all the colors and life that are hidden within the shoreline. Foggy Morning, Veules depicts a simple juxtaposition of sea and shore and dense atmosphere with an overall muted tone. With an almost abstract eye, Rose manages to create more with less, much like James McNeill Whistler was able to accomplish a few years earlier.
1 A. Anderson, Guy Rose, Los Angeles, Stendahl Art Galleries, 1922, p. 9.
2 W. South, W.H. Gerdts, J. Stern, Guy Rose: American Impressionist, Irvine, The Irvine Museum, 1995, p. 50.
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