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Frank Weston Benson
A Strike
1907

Name: A Strike
Brand: Frank Weston Benson
Rating: 5 (2 reviews)

$45,000List Price

About the Item

Watercolor on paper, en grisaille, 10 3/4 x 10 3/4 in. Signed and dated (at lower left): F. W. Benson. 1907. RECORDED: Patricia Jobe Pierce, The Ten (Hingham, Massachusetts: Pierce Galleries, Inc., 1976), p. 49 illus. as “Two Men Fishing” EX COLL: [Marine Arts Gallery, Salem, Massachusetts]; [Vincent J. LaFlamme, Castine, Maine]; to Robert C. Vose, Jr., Boston, Massachusetts; [Vose Galleries, Boston, 1975]; to private collection, Tahoe City, California, 1976, until the present One of the most successful painters working in Boston during the late nineteenth and early twentieth centuries, Frank Benson melded the light and coloristic concerns of Impressionism with the solid draftsmanship, structured designs, and fine craftsmanship associated with academicism––an approach that collectors and critics of his day found highly appealing. A dedicated artist who created his own niche in a highly competitive art world, Benson explored a variety of motifs that reflected his personal life and interests, ranging from joyous portrayals of his wife and children to sparkling views of the New England coastline and countryside where he spent his summers. Benson also set himself apart from his contemporaries by creating classic sporting scenes and images of wildfowl, deftly melding accuracy of representation with his enduring concern for light. He also applied his brush to sensuous still lifes featuring exotic family heirlooms. Benson’s aesthetic versatility was also manifested through his use of different media and his innate command of oil, watercolor, and etching. Born into one of the oldest families in Salem, Massachusetts, Benson was the son of George Wiggin Benson, an affluent cotton merchant, and his wife, Elisabeth Frost Poole, an amateur painter. Along with his five siblings, he grew up in a comfortable house owned by his grandfather, Samuel Benson, a sea captain in the China trade who accumulated an enviable collection of oriental antiques during his travels to the Far East. Having been exposed to art and culture while growing up, Bensondecided to pursue an artistic career at age sixteen. He subsequently received a thorough grounding in traditional painting techniques at the Boston Museum School, where he studied under Otto Grundman and Frederic Crowninshield from 1880 to 1883. In 1883, accompanied by his friend and classmate Edmund C. Tarbell (1862–1938), Benson went to Paris, refining his skills as a figure painter at the Académie Julian under Gustave-Rodolphe Boulanger and Jules-Joseph Lefebvre. During the summer of 1884, he investigated plein-air painting techniques while visiting Concarneau, Brittany, a popular gathering place for artists of all nationalities. Benson was no doubt pleased when his After the Storm (1884; Peabody Essex Museum, Salem, Massachusetts), a portrayal of a Breton peasant woman and her daughter standing by the sea, was featured in the annual exhibition of the Royal Academy in London in 1885. Benson first delved into teaching in 1881, when he taught evening drawing classes for the town of Salem. He continued this pursuit upon returning from Europe in 1885, giving instruction in drawing and painting techniques at the Portland Society of Art in Maine in 1887 and 1888. In 1889, Benson began a lengthy tenure at the Museum School (where Tarbell had also received an appointment), initially teaching the antique class. Four years later, he was appointed an instructor at his alma mater, teaching drawing and painting classes until 1912, when he changed his status to that of a visiting instructor. During these years, Benson undertook portrait commissions from well-to-do Bostonians in addition to painting outdoor landscapes on seasonal visits to New Hampshire. He also began exhibiting his work locally, as well as in New York, at the annuals of the Society of American Artists and at the National Academy of Design, where he would later be elected an associate member (1897) and a full academician (1905). Following his marriage in 1888 to Ellen Pierson (who also hailed from Salem), Benson settled in his hometown but maintained a studio at various locales in Boston until 1944. Throughout the late 1880s and early 1890s, Benson focused his attention on intimate depictions of genteel young women in well-appointed interiors illuminated by subdued artificial light, as in works such as By Firelight (1889; private collection). However, as he became increasingly interested in the effects of outdoor luminosity, Benson changed course and after 1898 turned his attention to dazzling, impressionist-inspired images of family members (notably his wife, son, and three daughters) relaxing in idyllic sun-dappled settings, as in The Sisters (1899; Terra Foundation for American Art, Daniel J. Terra Collection). Throughout these years, Benson exhibited his work in solo and group exhibitions at local venues such as the Boston Art Club, the St. Botolph Club, and Chase’s Gallery. His profile on the national art scene was given a major boost through his membership in Ten American Painters, an informal exhibiting organization composed of well-established artists (primarily impressionists) from New York and Boston who banded together in opposition to the restrictive policies set forth by the now more conservative Society of American Artists. Along with his fellow members––Tarbell, J. Alden Weir, Robert Reid, Thomas Wilmer Dewing, Edward Simmons, Willard Metcalf, Joseph De Camp, Childe Hassam, John Henry Twachtman––Benson displayed some of his finest work at the annuals of The Ten, which continued to exhibit together until 1918. (After Twachtman’s death in 1902, his place was taken by William Merritt Chase.) Benson also participated in other major group shows at museums and galleries throughout the country. In fact, his paintings received so many awards and honors, including silver medals at the Paris Exposition (1900) and the Pan-American Exposition in Buffalo (1901) and a gold medal at the Louisiana Purchase Exposition, held in St. Louis in 1904, that he became known as the most medaled American artist of his day. Benson made a good living from the sale of his art, so much so that in 1906 he purchased Wooster Farm, a colonial farmhouse in North Haven, Maine, on Penobscot Bay, where he and his family had been spending their summers since 1901. In the ensuing years, Benson’s commercial success continued as he expanded his repertoire of media and motifs. Indeed, in the wake of the Armory Show of 1913, as the stylish Boston School paintings of lovely young ladies came to be seen as outmoded, Benson (in keeping with the business acumen he inherited from his father and grandfather) shifted his iconographical concerns from the feminine to the masculine domain by turning increasingly to fishing and hunting themes––motifs that first occupied his attention during the late 1890s. (For this aspect of Benson’s oeuvre, see Faith Andrews Bedford, The Sporting Art of Frank W. Benson [Boston: David R. Godine, 2000].) An avid outdoorsman, Benson’s earliest sustained forays into sporting art took the form of etchings and drypoints that be began creating in 1912. However, during the 1920s and 1930s he explored this imagery in oil and watercolor, taking a special interest in the portrayal of birds in flight, as in Pintails Decoyed (1921; Museum of Fine Arts, Boston). His unique ability to combine a realistic rendering of his subject while continuing, as he put it, to “follow the light, where it comes from [and] where it goes to,” soon brought him widespread patronage, especially from fellow sporting enthusiasts, as well as a commission to design the Federal Duck Stamp in 1935 (Frank W. Benson, as quoted in Faith Andrews Bedford, “Frank W. Benson: Master of Light,” in Faith Andrews Bedford, et al., The Art of Frank Benson: American Impressionist, exhib. cat. [Salem: Peabody Essex Museum, 2001], p. 11). A prolific artist, Benson’s later oeuvre also includes opulent, light-filled still lifes. Prior to his death in Salem on November 14, 1951, he was honored with several retrospectives, the most significant of which was a joint exhibition with Tarbell held at the Museum of Fine Arts in Boston in 1938. Benson’s love of piscatorial pursuits––especially salmon and trout fishing––is apparent in A Strike , which features two figures perched on a rocky ledge on the edge of a northern lake. While his comrade looks on, the man on the right steadies himself as he sweeps his rod backwards to secure the hook in the mouth of a struggling fish, a procedure known as “striking.” The painting was presumably inspired by a fishing outing that Benson may have taken during his annual summer visit to North Haven in 1907, when his roster of visitors that year included Willard Metcalf, who “enjoyed his peaceful times with Benson fishing and bird watching,” (Faith Andrews Bedford, “Frank W. Benson: A Biography,” in Faith Andrews Bedford, et al., Frank W. Benson: A Retrospective, exhib. cat. [New York Berry-Hill Galleries, 1989], p. 63). Benson also fished local, regional, and eastern Canadian waterways with his son, George, and other family members, as well as with artists such as Abbott Thayer and Philip Little. Suffice to say, he took great delight in the companionship of his fellow anglers––so much so that he often gave away his black-and-white sketches to the numerous friends and guides who accompanied him on his expeditions. (See Lucien Price, “Introduction: Portrait of Benson,” in Frank W. Benson, Edmund C. Tarbell: Exhibition of Paintings., Drawings, and Prints, exhib. cat. [Boston: Museum of Fine Arts, 1938], p. 9.) As well as demonstrating Benson’s early penchant for sporting subjects, A Strike is notable in that it represents one of his earliest excursions into watercolor, a medium he began experimenting with in the 1890s, at which time his creative energies were focused on oil painting. Indeed, although Benson was initially dismissive of watercolor, he soon came to appreciate its creative potential, finding himself drawn to its spontaneity and easy portability, as well as its transparent, light-reflecting quality. One of only two members of The Ten who would develop an affinity for watercolor painting (the other being Childe Hassam), Benson took up watercolor on a sustained basis in 1921. As hereminisced years later, “I had always looked upon watercolors rather indifferently, most of the ones I had seen had been soft and pretty. But, I came to realize that the medium was one which could be exceedingly strong and expressive” (Frank Benson, Boston Sunday Herald, June 9, 1935, as quoted in Frank W. Benson: Watercolors (1862–1951), exhib. cat. [Boston: Vose Galleries, 1997], opposite title page). A Strike is one of several grisaille watercolors that Benson created in 1907, among them Redhead Ducks. (See Susan E. Strickler, ed., American Traditions in Watercolor: The Worcester Art Museum Collection [New York: Abbeville Press, 1987], p. 156. For a reproduction of Redhead Ducks, see Faith Andrews Bedford, “Frank W. Benson: A Biography,” in Faith Andrews Bedford et al., Frank W. Benson: A Retrospective, exhib. cat. [New York: Berry-Hill Galleries, 1989], p. 63.) His decision to forego the vibrant hues of Impressionism in favor of the monochromatic color schemes that distinguish these works may have derived from his familiarity with the hunting scenes of Winslow Homer, who is known to have worked in grisaille from time to time, as well as by the tradition of Japanese and Chinese ink brush painting. (Strickler). In terms of technique, Benson’s characteristically fluent handling is very much in evidence, especially in his interpretation of the water and the woodland forest in the distance, which are rendered as broad, painterly masses. Certainly, in viewing A Strike , one gets a vital feeling of light and shadow and the drama of the moment at hand, as well as evidence of Benson’s burgeoning talents as a watercolorist––a challenging medium that he would use on a regular basis after 1921. Likewise, the subject matter––with its emphasis on angling and the rugged corners of nature––anticipates Benson’s future recognition as “the father of American sporting art” (Jane M. Winchell, “Benson as Naturalist and Sportsman,” in Faith Andrews Bedford et al., The Art of Frank W. Benson: American Impressionist [Salem, Massachusetts: Peabody Essex Museum, 1999], p. 99).

Creator:
Frank Weston Benson (1862-1951, American)
Creation Year:
1907
Dimensions:
Height: 10.75 in (27.31 cm)Width: 10.75 in (27.31 cm)
Medium:
Paper,Watercolor
Movement Style:
American Realist
Period:
21st Century
Condition:
Gallery Location:
New York, NY
Reference Number:
Seller: APG 21236D.0021stDibs: LU2310061512

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