Editor's note: The Wiegand Gallery at Notre Dame de Namur University provided source material to Resource Library Magazine for the following article. If you have questions or comments regarding the source material please contact the Wiegand Gallery directly through either this phone number or web address:
The Society of Six: American Masters of Color
The Wiegand Gallery, on the campus of Notre Dame de Namur University in Belmont, presents The Society of Six: American Masters of Color from March 11 to April 19, 2003. (left: Selden Gile, Tiburon, 1926, 16 x 20 inches, oil on board)
This is a substantial show of Society of Six paintings with works from numerous private collections and the Oakland Museum of California. A 16-page catalog with 11 color images will accompany this exhibition.
They were once deemed "too rough and audacious for the refined Bay Area art establishment." Now the works of 'The Six' are regarded as the most advanced painting of the early 20th century in Northern California.
The Society of Six -- Selden Conner Gile, August F. Gay, Maurice Logan, Louis Siegriest, Bernard von Eichman and William H. Clapp -- were plein air painters who worked closely together in Northern California from about 1915 to 1930, and who came to be celebrated for their fresh and direct approach. (right: Selden Gile, Cows and Pasture, n.d., 11 1/2 x 15 1/2 inches, oil on canvas)
Nancy Boas writes in her essay from the catalog accompanying the exhibition, "As the canon of American art has evolved, it has become clear that the purposes and achievements of the painters of the Society of Six had to do with larger issues of modernism. It wasn't the scenery that distinguished their painting but the formal issues they addressed and the advances they made in the boldness of color and painterly ability to turn pigment into idea." Nancy Boas quotes Terry St. John, "The members sensed they were...making new art...with an exhilaration that was born from overthrowing subservient attitudes toward previously sanctified art modes. They were a part of the Bay Area art scene in the Twenties, but they had an allegiance primarily to themselves."
Read more articles and essays concerning this institutional source by visiting the sub-index page for the Wiegand Gallery at Notre Dame de Namur University in Resource Library Magazine.
Resource Library features these essays concerning Northern California art:
A Society for Six by Sarah Beserra
Jennie V. Cannon: The Untold History of the Carmel and Berkeley Art Colonies, vol. one, East Bay Heritage Project, Oakland, 2012 by Robert W. Edwards
Landscape Painters of Northern California 1870-1930 by Harvey L. Jones
The Carmel Monterey Peninsula Art Colony: A History by Barbara J. Klein
The San Francisco Art Association by Betty Hoag McGlynn
The Santa Cruz Art League by Betty Hoag McGlynn
The Carmel Art Association by Betty Hoag McGlynn
Monterey: The Artist's View, 1925 - 1945 by Kent Seavey
Maurice Logan, Artist and Designe by Marvin A. Schenck
The Society of Six by Terry St. John
Towards Impressionism in Northern California by Raymond L. Wilson
and these articles:
Artists at Continent's End: The Monterey Peninsula Art Colony, 1875-1907 is a 2006 exhibit organized by the Crocker Art Museum, including some 70 paintings, photographs and works on paper drawn from museums and private collections throughout California and beyond. It features work by eight artists of major importance to California's, and America's, art history -- Jules Tavernier, William Keith, Charles Rollo Peters, Arthur Mathews, Evelyn McCormick, Francis McComas, Gottardo Piazzoni and photographer Arnold Genthe. The exhibition also includes the work of more than 25 other artists, both well- and little-known, who each contributed to the reputation of what is now widely recognized as one of America's most important art colonies.
The Art Of Mount Shasta is a 2010 Turtle Bay Museum at the Turtle Bay Exploration Park exhibit for which William Miesse and Robyn G. Peterson, Ph.D, co-curators, say; "Most of the works in this exhibition, lent by museums, institutions, and private collections from around the country, stem from that San Francisco Art Boom. And these paintings are only the tip of the iceberg relative to the large number of Mount Shasta paintings in museums and private collections around the country. The current exhibition is representative of the extensive art history of the Mount Shasta region."
The Lighter Side of Bay Area Figuration is a 2000 Kemper Museum of Contemporary Art exhibit which contains 56 humorous, whimsical and satirical works of art by San Francisco Bay artists such as Wayne Thiebaud, Robert Arneson, Roy De Forest, Richard Diebenkorn, and Viola Frey. Comic art in the Bay area began to flourish during the late 1950s in deliberate defiance of New York's avant-garde. San Francisco's distance from the center of commerce and criticism fostered a renegade mentality and a tendency toward personal forms of expression. Bucking mainstream trends by combining humor with lowbrow artistic media and techniques became a badge of honor for many Bay Area artists. The hub of humorous figurative art was the University of California in Davis, a sleepy and relatively remote campus town 70 miles north of San Francisco. Although their aesthetics differed, most of the Davis artists explored humorous narratives, whether in clay sculpture or representational painting. The UC-Davis art department included artists Arneson, De Forest, Thiebaud, Manuel Neri, and William Wiley. There, Thiebaud painted his whimsical still lifes of ordinary objects from gumball machines and yo-yos to pies and cakes, like the exhibition's painting Cakes and Pies, 1994-95. Roy De Forest painted his canvases filled with wild-eyed, pointy eared dogs, and printmaker William Wiley produced his quirky alter ego, "Mr. Unatural." (right: Joan Brown, Portrait of Bob for Bingo, 1960, oil paint oncanvas, 29 x 28 inches, Collection of Joyce and Jay Cooper, AZ, Photo, Jay Cooper)
The Lighter Side of Bay Area Figuration is a 2000 exhibit at the San Jose Museum of Art, a compelling exhibition of approximately 70 works that deftly examines the historical, social, cultural, and aesthetic development of humorous Bay Area art. The exhibition -- the first to identify and examine this genre -- highlights the work of artists associated with the University of California at Davis, such as Robert Arneson, Roy De Forest, and Wayne Thiebaud, and with artists associated with the East Bay, such as Robert Colescott, Joan Brown, M. Louise Stanley, and James Albertson.
Made in California: Art, Image, and Identity, 1900-2000 / Section 1: 1900 - 1920 / Section 2: 1920 - 1940 / Section 3: 1940 - 1960 / Section 4: 1960 - 1980 / Section 5: 1980 - 2000 is a 2000 multi-part exhibit at the Los Angeles County Museum of Art. The exhibition goes beyond a standard presentation of California art to offer a revisionist view of the state and its cultural legacy. It considers both "booster" images of California and other coexisting and at times competing images, reflecting the wide range of interests and experiences of the state's diverse constituencies. The exhibit approaches the past 100 years thematically, presenting works that engage in a meaningful way with the California image. As opposed to a survey exhibition, Made in California moves beyond the established canon of artists and art works to include lesser-known works by celebrated figures as well as a wider range of artists, more in keeping with the diversity of California's population. It is the shared conviction of the exhibition organizers that this approach, intended to initiate a broader dialogue on California art rather than establish a new canon.
Made in Monterey a 2009 exhibition at the Monterey Museum of Art, is a sweeping exhibition of the most beloved and important works from the permanent collection created by artists in Monterey or by those inspired by the region. Beginning with the pioneering artists who sojourned on the Central Coast in the late 19th century (including Jules Tavernier and Raymond Dabb Yelland), the exhibition features significant works of Monterey modernists such as Armin Hansen and Margaret Bruton as well as photography visionaries Edward Weston and Ansel Adams. Two renowned works by Armin Hansen, Nino and Men of the Sea, have been conserved and make their stunning debut in this new presentation.
Majestic California: Prominent Artists of the Early 1900's is a 2007 exhibition at The Irvine Museum. At one time, California was considered a distant Eden, isolated within its own beauty. From snow-capped peaks of the Sierra Nevada Mountains to the desolate splendor of the Mojave Desert; from flower-covered hills to countless secluded valleys and meadows; from the dazzling beaches of the south to the rocky coves of the north, it was a world of its own. The enthralling beauty of California is the principal reason that, starting in the middle of the 19th century, artists began to take the long, hazardous journey to paint its unique splendor. By the early 1900's, California had its own group of prominent artists who proclaimed that beauty throughout the country.
Moods of California, a 2007 exhibition at The Irvine Museum, portrays California as experienced by three differing yet equally passionate artistic points of view. Percy Gray (1869-1952), a superb watercolorist who was fascinated by the soft, gentle light and haze of northern California; Paul Grimm (1887-1974), a landscape painter who in his later years moved to Palm Springs and became famous for paintings of the desert; and Emil Kosa, Jr. (1903-1968) who became one of Hollywood's best known scenic painters and set designers, while distinguishing himself as a bold painter of urban Los Angeles as well as light-filled views of the countryside.
The Not-So-Still Life: A Century of California Painting and Sculpture, held in 2003 at the San Jose Museum of Art, includes more than 100 works of art by such artists as Guy Rose, Franz Bischoff, Armin Hansen, Lorser Feitelson, Stanton McDonald-Wright, Hans Burkhardt, Helen Lundeberg, Paul Wonner, Wayne Thiebaud, Mildred Howard, Edward Ruscha, Ed Kienholz, George Herms, Richard Shaw, Peter Shelton, Alan Rath, and Robert Therrien. Divided into three sections: 1900-1930, 1920-1950 and 1950- 2000, the exhibition traces the intriguing evolution of still life in California over the last century. It is a revisionist examination of the genre. According to the curators, what was once the most conservative form of artistic practice has been transformed into one of the more radical forms of expression. Contemporary still life is no longer "still" -- it has not only moved off the table, but off the wall and into three dimensions. The exhibition examines a great variety of styles and media, from Impressionist paintings of apples and oranges to witty ceramic sculpture, funky assemblage art, and electronic media.
Old California is a 2000 exhibition at the California Art Club Gallery featuring original paintings and sculptures inspired by the romance and hardships that built a land named after the 16th century Spanish fable describing the treasure island, "California." The exhibition features prominent genre and figure artists of the California Art Club: Kalan Brunink, William George, Dan Goozeé, Joseph Mendez, Joel Phillips, Vic Riesau, and early CAC artist, Theodore Lukits (1897-1992).
Also see California Art History and Pacific Coast Painting: Alaska, California, Hawaii, Oregon, Washington: 19th-21st Centur
We recommend that readers search within the TFAO website to find detailed information for any topic. Please see our page How to research topics not listed for more information.
Search for more articles and essays on American art in Resource Library. See America's Distinguished Artists for biographical information on historic artists.
This page was originally published in 2003 in Resource Library Magazine. Please see Resource Library's Overview section for more information.
Copyright 2012 Traditional Fine Arts Organization, Inc., an Arizona nonprofit corporation. All rights reserved.