Specialist in the artwork of Rockwell Kent (1882-1971)
 
Essays on Rockwell Kent
FOOTNOTES


1 Irwin Edman, ed. (1951). Essays by Ralph Waldo Emerson. New York: Harper Colophon Books, 191.

2 Edman 1951, 255.

3 Rockwell Kent (1948). Stationery logo text.

4 Edman 1951, 251.

5 Luminism is a twentieth-century categorization of a predominantly nineteenth-century realist manner of treatment, in which atmospheric effect and spiritual emotion is conveyed by the use of stacked, overlapping modeled forms that recede to the horizon, and which contrast foreground detail against the often seamless tonal modulations of the sky.

6 Alfred Kazin and Daniel Aaron, eds. (1958). Emerson: A Modern Anthology. Boston: Houghton Mifflin, 97. Cited in Barbara Novak (1979). American Painting of the Nineteenth Century, Realism, Idealism, and the American Experience. New York: Harper & Row, Publishers, 123.

7 Edman 1951, 251.

8 The painting Adirondacks is but one composition that Kent painted on this theme. Another painting, also entitled Adirondacks (private collection), and two others, Old Man, Old Horse, Old Barn, Old Mountains: Adirondacks (Kiev Museum), and And this, my child, is where your mother was born (The Rockwell Kent Gallery), continue his theme on the human condition.

9 Royal Cortissoz (1942). "Rockwell Kent and Divers Others." New York Herald Tribune, 8 February, section VI, 8. Kent's painting This Is My Own was one of the paintings that Cortissoz was referring to in this description. Cortissoz also thought that the "modest ascent in scale" of this painting and December Eight, 1941 gave the painter "a greater luminosity." It is also interesting to note that Kent reworked This Is My Own to reflect the lengthening of the barn and the addition of a silo to increase his dairy production during World War II.

10 Elizabeth Hayt (1998). "In an Era of Humanoid Art, A Forerunner Finds a Place." New York Times, 13 December, 35 and 39.

11 Edman 1951, 390.

12 Ibid., 387.

13 Sally Kent (1943). "America Fêtes Soviet Students." Fraternal Outlook 5, no. 2 (February-March): 6-7, 25.

14 Rita Reif (1996). "Posters that once Stirred a Nation." New York Times, 25 February, 39. Kent had received numerous Soviet posters and anti-Nazi cartoons from the Soviet Consulate during the 1940s; the purpose of which was to distribute them to agencies in the United States and Canada that would exhibit them and therefore promote anti-Nazism and Russian War Relief.

15 The illustration — without text — for this poster, is pictured on page 543 of It's Me O Lord and is referred to on page 146 of Dan Burne Jones (1975). The Prints of Rockwell Kent.

16 Kent discusses his abhorrence of violence and war in several formats including in It's Me O Lord (318, 487, and 541, for example), in a 12 September 1957 interview with John Wingate of WABD in New York City, and in Carl Harris's 13 September 1940 Daily Worker artide, "Artists Oppose Conscription and War, Says Rockwell Kent."

17 In a 7 July 1959 letter to Jacquie and Dan Burne Jones, Kent writes that he had been "making drawings for a book calling for an end to atomic test and war — a book on peace... I had sold them on the idea of using Michaelangelo's 'Creation of Man' [Stanley Collection] on the cover, with a line or two of text from the Book of Genesis, and on the back cover a painting of the same scene with Adam blasted to pieces."

18 Hope Springs Eternal depicts an Adirondack landscape surrounding a foreboding woman and carefree child. A similar painting, Lone Woman (private collection), depicts Monhegan and Manana Islands in Maine, and the carefree child has been painted over. With the use of ultraviolet light and X rays, the child in Lone Woman is seen clearly, but other former elements of this painting are not. Some of the faint lines of underpaint imply mountains and a structure which suggest that Kent may have over-painted Hope Springs Eternal with the new composition Lone Woman. During the 1950s Kent's relationship with the Farnsworth Museum of Art in Rockland, Maine, soured when they suddenly retracted on their offer to host an exhibition of Kent's work, and ultimately, rejected Kent's gift of his "Great Kent Collection" (see Rockwell Kent's Forgotten Landscapes).

19 Life and "Art" appears on page 1 of the 16 February 1909 issue of The New York Evening Call; Charity on page 6 of the 11 March 1909 issue; and See No Evil, Hear No Evil, Speak No Evil on page 8 of the 3 April 1909 issue.

20 Jeffrey L. Duncan, ed. (1972). Thoreau: The Major Essays, 205 , cited in John Wilmerding (1991) American Views: Essays on American Art. Princeton: Princeton University Press, 69.

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