Snow White in New York

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Charles FitzGerald, “Mr. Robert Henri and Some ‘Translators,’” New York Evening Sun, April 8, 1902, quoted in Bennard B. Perlman, Robert Henri: His Life and Art (New York, 1991), 49. Some critics deemed Henri “a skillful handler of the brush,” and found his work “vital and strong.” [7] [7] The thing about Matt Phelan is that he rarely does the same story twice. About the only thing you can count on with him is that he loves history and the past. Indeed, between showing off a young Buster Keaton ( Bluffton) and a ravaged Dust Bowl setting ( The Storm in the Barn) it’s possible “Snow White” is just an extension of his favorite era. As much a paean to movies as it is fairytales and graphic novels, Phelan limits his word count and pulls off a tale with truly striking visuals and killer emotional resonance. I don’t think I’ve ever actually enjoyed the story of Snow White until now. Hand this book to graphic novel fans, fairytale fans, and any kid who’s keen on good triumphing over evil. There might be one or two such children out there. This book is for them. Leslie Katz, “The World of the Eight,” Arts Yearbook 1 (1957): 70. Henri’s urban snowscape is fundamentally different from those by impressionist artists of the same period (see, for example, [fig. 2] [fig. 2] Camille Pissarro, The Boulevard Montmartre on a Winter Morning, 1897, oil on canvas, The Metropolitan Museum of Art, New York, Gift of Katrin S. VIetor, in loving memory of Ernest G. Vietor, 1960): it depicts an unspectacular side street in the vicinity of his studio, rather than an imposing view of a major avenue; there is nothing narrative, anecdotal, or prettified about the image; the straightforward, one-point perspective composition is devoid of trivial details; the exceptionally daring, textured brushwork (especially noticeable in the center foreground) has more in common with a preparatory oil sketch, or pochade, than a finished oil painting; and the somber palette creates an oppressive atmosphere. Although more conventional artists exploited snow for its picturesque quality, Henri’s snow is streaked with mud and gravel, a phenomenon that he emphasized in his thumbnail sketch of the painting in his Record Book. His fluid technique conveys a sense of energy and immediacy, and reflects an extensive firsthand knowledge, gained primarily through Henri’s numerous excursions to Europe, of the art of Frans Hals (Dutch, c. 1582/1583 - 1666), Diego Velázquez (Spanish, 1599 - 1660), and Edouard Manet (French, 1832 - 1883). [4] [4] Brown, Milton W. One Hundred Masterpieces of American Painting from Public Collections in Washington, D.C. Washington, D.C., 1983: 124-125, color pl. Because of its literal objectivity, Snow in New York has traditionally been interpreted by art historians as exemplifying Henri’s penchant for matter-of-fact reportage of urban subjects. Such a view is reflected in Milton W. Brown’s characterization of it as “a paradigm of the new realism in American painting of the turn of the century that became known as the Ashcan school.” [8] [8]

Snow White in New York : French, Fiona : Free Download

Robert Henri’s energetic but stark image of New York in the snow deviates from impressionist urban snow scenes of the period in several ways: it represents a common side street rather than a major avenue; there is nothing narrative, anecdotal, or prettified about the image; the straightforward, one-point perspective composition is devoid of trivial details; the exceptionally daring, textured brushwork resembles a preparatory study rather than a finished oil painting; and the somber palette creates a dark, oppressive atmosphere. In his Record Book, Henri described Snow in New York as, “N.Y. down E. on 55th St. from 6 Ave. Brown houses at 5 Ave. storm effect. snow. wagon to right.” Wilmerding, John. American Masterpieces from the National Gallery of Art. Rev. ed. National Gallery of Art, Washington, D.C., 1988: 154, repro. American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1992: 199, repro.Williams, William James. A Heritage of American Paintings from the National Gallery of Art. New York, 1981: color repro. 167, 199, 201. For an interesting comparison, see Manet’s Effect of Snow on Petit-Montrouge, 1870, oil on canvas, National Museum Cardiff. The gloomy ambience, enlivened by only a few touches of red, is indicative of the artist’s essentially realist proclivities.

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American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1980: 174, repro. Samuel Swift, New York Mail & Express, April 8, 1902; the Brooklyn Eagle, April 4, 1902; both quoted in Bennard B. Perlman, Robert Henri: His Life and Art (New York, 1991), 49. Nevertheless, Snow in New York was one of only two pictures that sold (the second has not been identified). Henri alluded to Snow in New York in a diary entry of March 5, 1902: “Painted snow storm. street. high houses with well of sky between. gray looming sky. brownish houses near horizon. figures. red note electric street lamp. snow.” He identified the exact subject in his Record Book: “N.Y. down E. on 55th St. from 6 Ave. Brown houses at 5 Ave. storm effect. snow. wagon to right.” [2] [2] Wilmerding, John. American Masterpieces from the National Gallery of Art. National Gallery of Art, Washington, D.C., 1980: 134, repro. American Paintings and Sculpture: An Illustrated Catalogue. National Gallery of Art, Washington, 1970: 66, repro.Chambers, Bruce. “Robert Henri’s Street Scene with Snow (57th Street, N.Y.C.): An Ideal of City ‘in Snow Effect.’” Yale University Art Gallery Bulletin 39 (Winter 1986): 30-39; 37-38, fig. 7. Paintings other than French in the Chester Dale Collection. National Gallery of Art, Washington, 1965: 47, repro., color repro. as frontispiece, as New York Street in Winter. Lest we forget, the city itself is also a character. Having lived in NYC for eleven years, I’ve always been very touchy about how it’s portrayed in books for kids. When contemporary books are filled with alleyways it makes me mighty suspicious. Old timey fare gets a pass, though. Clever too of Phelan to set the book during the winter months. As Snow says at one point, “snow covers everything and makes the entire world beautiful . . . This city is beautiful, too. It has its own magic.” So we get Art Deco interiors, and snow covered city tops seen out of huge plate glass windows. We get theaters full of gilt and splendor and the poverty of Hoovervilles in the park, burning trashcans and all. It felt good. It felt right. It felt authentic. I could live there again.