I hate when the holidays interrupt work...and I was on such a roll...time to pick the blog back up with one or two of the books that is never far from hand:

John Henry Twachtman (August 4, 1853 – August 8, 1902) was an American painter

best known for his impressionist landscapes, though his painting style varied widely

through his career. Art historians consider Twachtman's style of American Impressionism 

to be among the more personal and experimental of his generation.

He was a member of "The Ten", a loosely allied group of American artists dissatisfied

with professional art organizations, who banded together in 1898 to exhibit their works

as a stylistically unified group.)

(First book: "John Twachtman, A Painter's Painter" and the second mentioned herein: "John Twachtman, Connecticut Landscapes"

are just two of the books in which I can disappear)

After several difficult days surrounding the holidays (typical stress still ongoing), my mind fights back to images created by

Twachtman. 

Desperately needing a respite his works never fail to relieve that stress, anxiety, or tension.

His elegantly simple palette and deft use of value, his brushstrokes that speak of the surface they create~

from a ghost-like blush of pigment to a thick impasto, his paintings run the gamut. From rich, raw pigmented build-up,

to raw underpainted canvas showing through, it seems the essence of the place mattered more than

explaining everything.

This painting was the first of his works I was introduced to:

(Icebound, 1889-19oo)

I'm not even certain as to why I was so taken by his work. The atmosphere? The palette? The edges? The subject?

Perhaps all of these or none of them specifically. It spoke to me then as it does now even years later and with much

more exploration into the man and his work, I still can't put my finger on it exactly. As the title of the first book states,

Twachtman was a painter's painter. Working at learning how to paint, I can just barely grasp how and why

he painted as he did. For now, as I study his work, learn more about him, and work at my own painting, his work

 continues to be a safe haven from stress and tensions. For me, just looking at few pieces of his work can bring on

an instantaneous sense of relief.

This one in particular:

(Round HIll Rd,, 1890-1900)   

This painting has always mystified me. Many of his works, that carry so much atmosphere, with the

values and tones so close together...are to me, ethereal ~ yet REAL. 

To know that not everything has to be explained...to know that some things are

better left to the viewer's imagination...to know that the feeling you get is as important as the detail that is left out! 

Another:

(Along the River, 1885) 

Tracks in the snow, leading into a misty distance. The low horizon line as well as the simplicity of the value changes.

Perhaps it is the simplicity and ease of feeling I get from his works. As an artist, I know how difficult it is to get that simplicity! 

(Snow Scene, 1882) 

Here is an example of a limited palette more than likely, but the stark contrast in values is delicious to me.

The beautiful organic lines of the tree, the brush strokes building volume in the snow,

and the variety of grays, without it being a gray painting. In person, this is SO alive!

(Venetian Sailing Vessel, 1878)

Twachtman spent time in Europe along with Frank Duveneck (1848-1919), and William Merritt Chase(1849-1916). '

They were roomates in Venice. This piece is very much a sketch, but shows Twachtman's versatility.

His style hadn't really established itself, but I can see elements of it in the scumbling, swirling brushstrokes.

Often times, he seemed to leave toned canvas showing through, and other areas would be built up

with impasto strokes laden with paint that helped to create focal points, or areas for light to catch. 

I like that variety finding it energetic. 

(Road Scene Cincinnati, 1878)

This appears to have been done the same year as the previous piece. It also looks to have been painted with the same,

limited palette.  The scumbled, thin areas show in the foreground, and the sky has a wash-like appearance to it.

Dark and brooding, it does not suggest his lighter, more impressionistic works to come. 

(Hemlock Pool--Autumn, 1894)

His palette obviously changed. The suggestion of color meaning more than the objects themselves. 

Since knowing Twachtman's work,  I "see" things more this way, than the detailed, "identifiable as objects" way of seeing.

The essence of the thing per se. Now if I could just paint the way I see....

(The Quai, Venice, 1885)

A new favorite!  This picture out of the book does NOT do this justice. I haven't seen it in person,

but even the picture in the book is better than this. Sharing it here for the sole reason that the

seemingly random strokes, and snatches of pigment laden areas create an image without adhering to structure.

This is beautifully abstract while holding to the tenets of representationalism.

Scumblimg, or impasto, or scraping...all together to create edges of illusion without insulting the viewer. 

While writing this blog, it has occurred to me that my attraction to Twachtman might also lie in the

fact that my vision has always been weak. Having to wear glasses since the age of 4,I have lived in fear of going blind.

So far, so good!  However, the way I see without my glasses has always intrigued me. I think these paintings show

the world to me on purpose, the way I see accidentally. Even with my glasses, though,

Twachtman has always spoken to me in a way that makes my heart sing,

so much so, that if I need a pick me up, I will google him and just sift through his paintings to get that relief! 

If an artist speaks to you as Twachtman does to me, invest yourself in finding out why!. 

THIS is the purpose of art. To speak to the spirit, to engage the heart and soul of life, to help us see the world differently...

hopefully better. NOT to shock us...to BE different, but to encourage the spirit of life. Good, bad, scary...all aspects of life.  

My opinion and I'm sticking with it.