Paintings of 1922: Landscapes

George Bellows (1882–1925), The White Horse (1922), oil on canvas, 86.7 × 111.8 cm, Worcester Art Museum, Worcester, MA. Wikimedia Commons.

The remaining two articles looking back at paintings completed a century ago in 1922 show a selection of landscapes, and conclude with a couple of still lifes at the end of tomorrow’s article.

Félix Vallotton (1865–1925), The Old Olive Tree (1922), oil on canvas, 72 x 60 cm, Musée du Petit Palais, Geneva, Switzerland. Wikimedia Commons.

In the final few years of Félix Vallotton’s career he painted a series of realist landscapes, including The Old Olive Tree. This could be almost anywhere in southern Europe, although the stack of cut reeds resting against the tree adds a slightly surreal effect. In the distance, the terraced fields on the hillsides are brown and parched from the summer heat.

Sir George Clausen (1852–1944), Morning in November (1922), oil on canvas, dimensions not known, Private collection. Wikimedia Commons.

Sir George Clausen’s depiction of the cold and mist of a Morning in November refers back to Pissarro’s Hoar Frost at Ennery from 1873.

Unusually, I have two paintings from this year by Icelandic landscape artists.

Þórarinn B. Þorláksson (1867-1924), Hekla from Laugardalur (1922), media not known, 96.5 x 128 cm, location not known. Wikimedia Commons.

Þórarinn B. Þorláksson shows the huge active volcano Hekla from Laugardalur. Known to visitors as the Gateway to Hell, it last erupted in early 2000. Þórarinn captures it bathed in the low, warm light of sunset, seen from a park on the outskirts of Reykjavík. If this looks praeternatural, it’s because it is.

Guðmundur Thorsteinsson (“Muggur”) (1891-1924), Snæfellsjökull (1922), further details not known. Wikimedia Commons.

Guðmundur Thorsteinsson’s painting of Snæfellsjökull from 1922 shows another of Iceland’s volcanoes, also near Reykjavík in the far west. It last erupted in about 200 CE, and features as the entrance to the passage taking Jules Verne’s characters in their Journey to the Centre of the Earth (1864). For the whole of recorded history until 2012, its peak and most of its upper reaches have been covered by a glacier. However, as a result of climate change, in August 2012 its summit became free of ice for the first time.

From there we hurry on to the warmer climate of California, and one of Anna Althea Hills’ landscapes.

Anna Althea Hills (1882-1930), After the Storm, Hemet, California (1922), oil on panel, 50.8 x 61 cm, Laguna Art Museum, Laguna Beach, CA. The Athenaeum.

After the Storm, Hemet, California is one of her finished works, probably based on quick plein air sketches. Hemet, and its conjoining city of San Jacinto, are far inland, in the San Jacinto Valley, well to the northeast of her studio in Laguna Beach.

Willard Metcalf (1858–1925), Indian Summer, Vermont (1922), oil on canvas, 127.6 x 152.7 cm, Dallas Museum of Art, Dallas, TX. Wikimedia Commons.

Willard Metcalf had gone through a bad patch in 1920, but by 1922, he had recovered and resumed painting in the countryside of Vermont. Indian Summer, Vermont shows this deeply rural landscape in early autumn/fall, in unusually fine conditions.

Willard Metcalf (1858–1925), Hillside Pastures — September (1922), oil on canvas, 66 x 73.3 cm, Metropolitan Museum of Art, New York, NY. Wikimedia Commons.

Hillside Pastures — September appears to be another view of the Vermont countryside, this time most probably painted in front of the motif.

Julian Onderdonk (1882–1922), Dawn In The Hills (1922), oil on canvas, 76.2 × 101.6 cm, Private collection.

In San Antonio, Texas, the Impressionist painter of bluebonnets Julian Onderdonk painted this view of Dawn In The Hills, probably his last work. He died suddenly on 27 October at the age of forty, having just entered his prime.

George Bellows (1882–1925), The White Horse (1922), oil on canvas, 86.7 × 111.8 cm, Worcester Art Museum, Worcester, MA. Wikimedia Commons.

George Bellows painted The White Horse on a farm near Woodstock, New York. Seen in the late fall colours of November, the scene is heightened by the light cast through broken shower clouds, making the white horse look almost supernatural.

Hans Andersen Brendekilde (1857–1942), A Fountain in Rome (1922), oil on canvas, 50 x 40 cm, location not known. Wikimedia Commons.

The Danish artist Hans Andersen Brendekilde visited Rome, where he painted A Fountain in Rome, an accomplished plein air oil sketch of one of the many tucked away in the city’s gardens.

Hans Andersen Brendekilde (1857–1942), Summer Day in Villa Borghese in Rome (1922), oil on canvas, 51 x 41 cm, location not known. Wikimedia Commons.

Brendekilde’s Summer Day in Villa Borghese in Rome shows this large public park, originally landscaped in ‘English style’ from a former vineyard. It was bought by the city and made fully public in 1903, and has since hosted many events, including part of the 1960 Olympic Games.

Pierre Thévenet (1870-1937), The Tuileries Gardens in Autumn (1922). Wikimedia Commons.
Pierre Thévenet (1870-1937), The Tuileries Gardens in Autumn (1922). Wikimedia Commons.

My last landscape for today, The Tuileries Gardens in Autumn, was painted by Pierre Thévenet in Paris. This shows the gardens that were formerly the grounds of the Tuileries Palace, which was demolished after it was burned down during the Paris Commune in 1871.