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AVANT-GARDE STYLES
Young artists challenged the optical qualities of impressionism and painted in more personal and symbolic ways, using flat, boldly outlined patterns. Vincent vanGogh, well-known today, is an example of these Post-Impressionist artists. Even more radical styles followed. Critics called a group informally led by Henri Matisse “lesfauves” (the wild beasts) because their brushwork was expressive, fierce, and crudely applied, sometimes revealing bare canvas. Fauvist artists painted spontaneously with vivid and often seemingly arbitrary colors. As a movement, Fauvism was short-lived (ca. 1905-1910), but it helped spawn even newer avant-garde movements, including Expressionism and Cubism.
Herreshoff saw these modern styles when she lived in Paris. Modern European artwork was also included in the“Armory Show” held in New York City in 1913. The exhibition of modern art shocked the public and profoundly influenced American artists. 87,000 people attended, probably including Herreshoff. Her later work incorporated elements of these avant-garde styles, as seen in many of these works, including Three Trees No. 2.
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IMPRESSIONISM IN AMERICA
American Impressionism was more solid in form than its French counterpart. Artists used vivid colors straight from the tube and laid broken brush strokes thickly on the canvas — a method called “impasto.” In addition to painting the natural world, Americans were also interested in depicting modern progress and urban settings. All these elements can be clearly seen in the work of Louise Herreshoff.
In the United States, art colonies were established from coast-to-coast. Cape Ann, Massachusetts, is the olde start colony in America, dating to the 1850s. Early in the 20th century, the summer resort with its tourists, gritty harbors, and regional industries attracted a great number of artists, especially in the summer – including Herreshoff. She painted throughout the area, and exhibited with the Gloucester Art Society, the North Shore Association, and at the Gallery-on-the-Moors.
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LIGHTS OUT!
Man-made paint pigments, like those used in the paintings by Louise Herreshoff Eaton, were invented in the late 19th century. Cadmium sulfide (CdS) is a yellow pigment that reacts to light by browning and darkening; making the pigment unstable over time. In reaction to light, some of Herreshoff’s paintings have begun to discolor.
We cannot see the paintings without light, but we can try to limit its use/effects. The Museums use LED lamps to greatly reduce the harmful effect of light. To ensure the longevity of Herreshoff’s work, the Museums keep the lights off when the gallery is not in use.
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THE HERRESHOFF COLLECTION
How did W&L acquire it?
Herreshoff seems to have stopped painting about 1928, after the deaths of her aunts Lizzie and Cornelia, with whom she had lived. Her interests apparently turned to collecting ceramics, and in 1941 she married Euchlin Reeves, a fellow collector and 1927 alumnus of Washington and Lee University. Together they amassed an impressive collection of Chinese export porcelain and European ceramics.
In 1967 the couple gave to the university their significant collection of ceramics. It was accompanied by a surprise find of almost 200 portraits, landscapes and still life paintings by Louise Herreshoff Eaton.
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A RADICAL STYLE
Impressionism was considered radical when it was new in the 1870s. Young Parisian artists led by Claude Monet challenged traditional long-standing academic painting.
These artists attempted to capture on canvas changing qualities of light and weather. They painted outdoors —en plein air — rather than in the studio, which was made possible by the inventions of new man-made paints sold in easily transportable tubes. They used brighter colors than their predecessors, and their brushwork was broken into dabs to simulate atmosphere. Impressionist subjects were also different — rooted in modern, everyday life rather stories of myth and history.
In 19 th century Europe, artists began to spend time away from cities to paint in the open air of the countryside. Drawn together by natural beauty, lower cost of living, and friendships, artists banded together and formed art colonies. One of the most famous was located in the town of Giverny, France, where Monet lived.
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Along the River (unfinished), ca. 1925
Oil on canvas
Signed LE
Exhibitions: Gloucester Society of Artists (n.d);
Exhibition of Paintings by Louise Herreshoff
Eaton, Providence Art Club (1925)
Gift of Mr. and Mrs. Euchlin D. Reeves in memory of Mrs. Chester Green Reeves and Miss Lizzie H. Dyer, UR1967.1.27
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Along the River (unfinished), ca. 1925
Oil on canvas
Signed LE
Exhibitions: Gloucester Society of Artists (n.d);
Exhibition of Paintings by Louise Herreshoff
Eaton, Providence Art Club (1925)
Gift of Mr. and Mrs. Euchlin D. Reeves in memory of Mrs. Chester Green Reeves and Miss Lizzie H. Dyer, UR1967.1.27
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Beach Sand No. 2, n.d.
Oil on canvas
Signed L H Eaton
Gift of Mr. and Mrs. Euchlin D. Reeves in memory of Mrs. Chester Green Reeves and Miss Lizzie H. Dyer, UR1967.1.144
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Beach Sand, n.d.
Oil on canvas
Unsigned
Gift of Mr. and Mrs. Euchlin D. Reeves in memory of Mrs. Chester Green Reeves and Miss Lizzie H. Dyer, UR1967.1.54
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Boats on the Wall, ca. 1925
Oil on canvas
Signed Louise Eaton
Exhibition: Exhibition of Paintings by Louise Herreshoff Eaton, Providence Art Club (1925)
Gift of Mr. and Mrs. Euchlin D. Reeves in memory of Mrs. Chester Green Reeves and Miss Lizzie H. Dyer, UR1967.1.26
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Fisherman, n.d.
Oil on canvas
Signed LE
Gift of Mr. and Mrs. Euchlin D. Reeves in memory of Mrs. Chester Green Reeves and Miss Lizzie H. Dyer, UR1967.1.24
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Fisherman’s Hut, n.d.
Oil on canvas
Signed L H Eaton
Gift of Mr. and Mrs. Euchlin D. Reeves in memory of Mrs. Chester Green Reeves and Miss Lizzie H. Dyer, UR1967.1.51
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Harbor Scene, n.d.
Oil on canvas
Unsigned
Gift of Mr. and Mrs. Euchlin D. Reeves in memory of Mrs. Chester Green Reeves and Miss Lizzie H. Dyer, UR1969.2.52
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Harbor, n.d.
Oil on canvas
Signed L H Eaton
Gift of Mr. and Mrs. Euchlin D. Reeves in memory of Mrs. Chester Green Reeves and Miss Lizzie H. Dyer, UR 1967.1.56
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Hazy Morning Gloucester, n.d.
Oil on canvas
Signed L H Eaton
Gift of Mr. and Mrs. Euchlin D. Reeves in memory of Mrs. Chester Green Reeves and Miss Lizzie H. Dyer, UR1967.1.164
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Parrot (Self-portrait), n.d.
Oil on canvas
Signed lower right: L. Eaton
Gift of Mr. and Mrs. Euchlin D. Reeves in memory of Mrs. Chester Green Reeves and Miss Lizzie H. Dyer, UR1967.1.17
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Rocks and Water, n.d.
Oil on canvas
Unsigned
Gift of Mr. and Mrs. Euchlin D. Reeves in memory of Mrs. Chester Green Reeves and Miss Lizzie H. Dyer, UR1967.1.174
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Sapphire, Amethyst and Topaz, ca. 1925
Oil on canvas
Signed Louise Eaton
Exhibition: Exhibition of Paintings by Louise Herreshoff Eaton, Providence Art Club (1925)
Gift of Mr. and Mrs. Euchlin D. Reeves in memory of Mrs. Chester Green Reeves and Miss Lizzie H. Dyer, UR1967.1.11
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Seagulls, n.d.
Oil on canvas
Signed Louise Eaton
Gift of Mr. and Mrs. Euchlin D. Reeves in memory of Mrs. Chester Green Reeves and Miss Lizzie H. Dyer, UR1967.1.84
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Seascape with Lighthouse, n.d
Oil on canvas
Unsigned
Gift of Mr. and Mrs. Euchlin D. Reeves in memory of Mrs. Chester Green Reeves and Miss Lizzie H. Dyer, UR1969.2.31
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Seascape, n.d.
Oil on canvas
Signed L. Eaton
Gift of Mr. and Mrs. Euchlin D. Reeves in memory of Mrs. Chester Green Reeves and Miss Lizzie H. Dyer, UR1967.1.57
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The Blue Ocean, ca. 1925
Oil on canvas
Signed L H Eaton
Exhibition: Exhibition of Paintings by Louise Herreshoff Eaton, Providence Art Club (1925)
Gift of Mr. and Mrs. Euchlin D. Reeves in memory of Mrs. Chester Green Reeves and Miss Lizzie H. Dyer, UR1967.1.58
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The Dock, Violet and Blue, n.d.
Oil on canvas
Signed L. H. Eaton
Gift of Mr. and Mrs. Euchlin D. Reeves in memory of Mrs. Chester Green Reeves and Miss Lizzie H. Dyer, UR1967.1.158
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The Furled Sail, ca. 1920
Oil on canvas
Signed L H Eaton
Exhibition: 16th Annual Thumb-Nail Exhibition, Providence Art Club (1920)
Gift of Mr. and Mrs. Euchlin D. Reeves in memory of Mrs. Chester Green Reeves and Miss Lizzie H. Dyer, UR1967.1.79
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The Red House, n.d.
Oil on board
Unsigned
Gift of Mr. and Mrs. Euchlin D. Reeves in memory of Mrs. Chester Green Reeves and Miss Lizzie H. Dyer, UR1967.1.187
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Three Trees, No. 1, n.d.
Oil on canvas
Unsigned
Gift of Mr. and Mrs. Euchlin D. Reeves in memory of Mrs. Chester Green Reeves and Miss Lizzie H. Dyer, UR1967.1.41
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Three Trees, No. 2, n.d.
Oil on canvas
Unsigned
Gift of Mr. and Mrs. Euchlin D. Reeves in memory of Mrs. Chester Green Reeves and Miss Lizzie H. Dyer, UR1967.1.15
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Untitled (Trolley Tracks, Gloucester,
MA) n.d.
Oil on canvas
Signed L H Eaton
Gift of Mr. and Mrs. Euchlin D. Reeves in memory of Mrs. Chester Green Reeves and Miss Lizzie H. Dyer, UR1969.2.42
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Untitled, n.d.
Oil on canvas
Signed L H Eaton
Gift of Mr. and Mrs. Euchlin D. Reeves in memory of Mrs. Chester Green Reeves and Miss Lizzie H. Dyer, UR1967.1.28
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Untitled, n.d.
Oil on canvas
Unsigned
Gift of Mr. and Mrs. Euchlin D. Reeves in memory of Mrs. Chester Green Reeves and Miss Lizzie H. Dyer, UR1967.1.154
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Weathered Boats – Rockport, ca.
1925
Oil on canvas
Signed LE
Exhibition: Exhibition of Paintings by Louise Herreshoff Eaton, Providence Art
Club (1925)
Gift of Mr. and Mrs. Euchlin D. Reeves in memory of Mrs. Chester Green Reeves and Miss Lizzie H. Dyer, UR1967.1.25
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This exhibition highlights a selection of bold and expressive oils paintings by Louise Herreshoff Eaton (1876–1967) that were created during visits in the 1920s to Cape Ann, Massachusetts – a popular New England tourist resort and artist colony. Herreshoff incorporates into her paintings an understanding and exploration of early modern art movements, including impressionism, post-impressionism and fauvism.
Who was Louise Herreshoff?
Not many people have heard of this artist, but that is not surprising. She represents a majority of women artists who, in spite of their talent, were ignored or marginalized in relation to their male counterparts because of social norms of the period.
Herreshoff studied with education pioneer Mary C. Wheeler in Providence, Rhode Island, and later in Paris, where new art movements were multiplying. She painted for over thirty years (1895–1928), exhibiting at the Paris Salon and in group shows with well-known artists, including Childe Hassam, a pioneer in American Impressionism, and Maurice Prendergast, an American Post-Impressionist. Herreshoff’s own work became more avant-garde over time, as she experimented and excelled in these early modern styles.
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