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Martha WalterGoat Herders: North Africacirca 1930
circa 1930
$3,800
£2,891.24
€3,331.30
CA$5,394.81
A$5,787.67
CHF 3,104.39
MX$69,682.73
NOK 39,134.42
SEK 35,685.17
DKK 24,889.27
About the Item
A woman artist, in the 1930's traveling to North Africa and around the globe!
Martha Walter's training with William Merritt Chase is evident in the saturated colors and plein-air subject matter in her early Impressionist work with bold dashing brush strokes in conjunction with total color control and well-organized composition. This style translated into a use of rich saturated colors, combined with a very successful application of black paint. Since black was a pigment extraordinarily difficult to master and often omitted in the general course of American Impressionism. Walter is one of the few American Impressionists who used black in her palette. Goat herders is a great example of Walter’s fluid use of black. Although the brushstrokes are fluid in this watercolor, Walter’s sparingly application of black propels the animals forward along with the men, with the cityscape fading into the background.
Signed Martha Walter lower left
Provenance: Estate of the artist
Sheet size is 4 x 6 1/4 inches.
- Creator:Martha Walter (1875-1976, American)
- Creation Year:circa 1930
- Dimensions:Height: 12 in (30.48 cm)Width: 14.25 in (36.2 cm)Depth: 2 in (5.08 cm)
- Medium:
- Movement Style:
- Period:
- Condition:Ready to hang - good condition. Some patination to frame that works!
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU1413215689652
Martha Walter
Walter was born in Philadelphia in 1875. She enrolled at the Pennsylvania Academy of the Fine Arts, where she studied under William Merritt Chase, who became her primary mentor. At his insistence, she entered a number of Academy student competitions and eventually won a prestigious Cresson Traveling Scholarship in 1908. This award enabled her to travel throughout Europe, where she continued her art education at the Grande Julien in Paris. Soon disenchanted with the academicism of the Parisian schools, Walter set out on her own and began producing plein-air paintings in the manner of the French Impressionists. At the outbreak of World War I, she returned to the United States and took up painting at various East coast beach resorts such as Coney Island and Gloucester. In her beach scenes of this period, colorful bathing suits, gowns and umbrellas punctuate a tranquil, pastel surface. Her expertise in the treatment of light and shadow is evident in her depictions of these settings at various times of day.
In 1922, she spent some months painting the thousands of immigrants kept in the detention hall at Ellis Island. The dreadful, crowded conditions inspired a group of paintings that were exhibited that year in the Galerie Georges Petit in Paris. One was selected for the permanent collection of the Musée de Luxembourg. An exhibition at the Art Club of Chicago in 1941 featured a group of watercolor paintings inspired by the artist's travels through Spain and North Africa. These works were intensely colored visions of such subjects as Algerian street scenes, mosques and Spanish fishermen.
Walter worked well into her nineties, continuing to paint portraits of women and children, beach scenes, gardens and marketplaces. Before her death in 1976, she had exhibited widely, and her works are included in major national and international private and public collections. Hammer Galleries had several exhibitions of her work during her lifetime, the last taking place in 1975 when the artist was one hundred years old.
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