Thursday, November 21, 2013
Thursday, November 14, 2013
Six Degrees of Separation
Mortimer Luddington Menpes, Piazzetta and Ducal Palace, c. 1910.
Etching and drypoint. Private collection.
The vedute paintings and prints of the 17th century made a point of capturing many monuments and points of interest within one image, sometimes sacrificing accuracy light, precise locations and other details. The artists in this exhibition, Reflections and Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, direct their attentions to favorite cafes, back alleys, hidden paths and courtyards--places visitors would have either no interest or access to in their pilgrimage--ideas of displaying Venice in the eyes of the Venetians. The influences of each artist on one another other are evident and, as mentioned in a previous blog, Whistler as the keystone, launches the inspiration for several generations.
The web between them is well-connected, as sort of a "who begat whom."
James McNeill Whistler: Joseph Pennell
Clifford Addams (American)
Frank Duveneck (American) and established the Duveneck "boys"
Roth, familiar with Whistler's work, travels to Venice, and he becomes associated with other artists.
Ernest Roth's friends: Jules Andre Smith (British, architect)
John Taylor Arms (American, architect)
Louis Rosenberg (American, architect)
Jan Charles Vondrous (a student with Roth at the National
Academy of Design
Fabio Mauroner (Italian by birth, longtime resident of Venice)
Fabio Mauroner Emanuel Brugnoli (friend)
Edward Millington Synge (Mauroner's printmaking instructor)
There are other artists in the exhibition who are not included in Roth's personal associations, and they too are inspired by Whistler's vision and technique.
There are many sources for these artists, but for starters, check out Menpes "Facebook" page and compare source ideas and images.