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“Summer Landscape” American Painting Attributed to Robert Bruce Crane, Signed

$4,900List Price

About the Item

"SUMMER LANDSCAPE" Attributed to Robert Bruce Crane (American, 1857-1937) In oil on canvas; signed lower center "R BRUCE CRANE NY"; circa 1880-90 Item # 009RXP18S A rich and vibrant pastoral scene depicting a bright lit meadow with golden grasses feeding a flock of sheep before a grove of trees, these shading the grass from the heat of the sun and allowing brilliant green grass to continue growing while cattle graze. This incredibly well-painted scene shows an abundance of color build-up and a complexity of brush work ranging from an impressionistic heavy impasto in the rocks and tree trunks to development of minute differences in detail with pointed touches of the brush in the leaves overhead. Beautiful clouds give texture to the clear blue skies. The work is housed in an impressive period early hand-carved plein air frame. Born in New York City in October of 1857, Robert Bruce Crane is believed to have studied under his father, Solomon Bruce Crane, an amateur painter before formally training under American landscape painter Alexander Wyant from 1876 through 1877. He continued his education at the Art Students League of New York for the next four years before traveling to France to study. There he was exposed to the Barbizon School and the influence of their work would impact his painting for the rest of his life. Upon returning to the United States, Crane set up his studio in New York but spent a great deal of time painting in New Jersey, Long Island, throughout upstate New York in the Adirondacks and Catskills as well as Old Lyme, CT. Throughout the 1880s, Crane was focused on developing his own style and experimented in a wide range of studies. He painted bright landscapes with farm animals, pastoral studies of sheep, streams and waterfalls and the hayfields and barns of rural East Hampton. He wrote to his father from the Adirondacks that among the influential painters working nearby at the time were Eastman Johnson, George and James Smillie, and Samuel Coleman, and he described the dramatic terrain: "Went to the famous Rainbow Falls which several artists have tried to paint . . . Wyant and Hart among them . . . over the top comes tumbling the water which strikes every few feet throwing a spray which catches the sun giving a most charming as well as wonderful appearance." Crane spent time in East Hampton, on the eastern end of Long Island, during the summer of 1880 or 1881 and possibly during other summers. From there he wrote his father that the painters "Stimson, Dellenbaugh, Moran, Robbins and Coleman are here . . . I have finished the study of an old house . . . and the artists say that [it] is exceedingly good." In another note he described some of his typical subjects at this time: "I have been working on a 20 x 30 [inch] subject, a row of apple trees, gigantic in size . . . I commence in a few days the study sheep." In these early works, Crane painstakingly reproduced the pastures, hayfields, and barnyards of rural East Hampton. A critic later remarked that "Troubled or placid skies, the bright luminous atmosphere of a summer's day, or the gray tones of autumn were given in these pictures, not only with truth to nature and a certain poetic sentiment, but with a brilliant sparkling quality of effect. He was heavily influenced by Jean-Charles Cazin while studying in France at the colony of Grez-sur-Loing in 1882 and also by James Abbott McNeill Whistler. Around the turn of the century he joined the Old Lyme Art Colony in Connecticut and began to develop his style as a Tonalist painter. These brilliant Tonalist works captured landscapes with rich color and carefully balanced symmetry of elements. In 1914 he moved his studio from New York City to Bronxville, New York where he completed many of these paintings aided only by memory of his travels. His work continued to develop into exquisite scenes heavy with atmosphere: meadows with lifting mist, flowering trees after a storm, lonely snow covered roads in rural fields. These golden toned landscapes are at the same time lonely and hopeful. His paintings are held in major museum collections including the Brooklyn Museum of Art, the Corcoran Gallery of Art, the Metropolitan Museum of Art, the National Gallery of Art, Pennsylvania Academy of the Fine Arts, the Smithsonian American Art Museum, the Addison Gallery of American Art, the Butler Institute of American Art, the Chrysler Museum of Art, the Denver Art Museum, the Hunter Museum of American Art, the New Jersey State Museum and Phoenix Art Museum. His memberships would include the the Salmagundi Club, the National Academy of Design, the American Water Color Society, the Society of American Artists, the Union Internationale des Beaux-Arts et des Lettres, the Lotus Club, and the Grand Central Art Galleries. He died in Bronxville, NY in 1937. Artist Listings Bibliography: Bruce Crane, Tonalist Painter, Charles Teaze Clark, Antiques Magazine, November, 1982 E. Benezit Dictionary of Artists, vol IV, Gründ, 2006, p. 155 Mantle Fielding's Dictionary of American Painters, Sculptors Engravers, Glen Opitz, 1983, p. 198 The Annual Exhibition Record of the National Academy of Design 1901-1950, Peter Hastings Falk, 1990, p. 151-52 Measurements: 14" H x 20" W [canvas]; 27 1/8" H x 33 1/8" W [frame] Note: we describe this painting only as "attributed" due to the irregularities of conservation around the signature, as we have no record from prior conservators on what restoration was completed in this quadrant of the canvas. It otherwise appears to be an authentic work by Crane, true to his style of brush work and the relatively distinct style of his 1880-1890 period of painting. The signature is also correct for this period of painting, with later work post-1900 generally being signed "BRUCE CRANE N.A." or simply "BRUCE CRANE". We have the painting priced with the "attribution" status in mind. Condition Report: Relined; professionally cleaned and conserved; surface is bright and vibrant with only minor craquelure. Under UV showing areas of conservation: lower right quarter in the pink flowers a repaired tear and associated inpainting, a group of three small lines of inpainting lower right extreme edge, upper-left in the trees a few small spots of restoration with a large associated area of fresh varnish (flaring and somewhat obscuring surface beneath), the bottom-center with flaring varnish somewhat obscuring underlying restoration continuing from the lower edge through the center boulder - note, this envelopes the signature and leaves the fidelity of of the signature uncertain. The three areas of more recent varnish are more glossy than surrounding areas from the varnish being applied slightly thicker than the rest of the surface.

Attributed to:
Robert Crane (Painter)
Dimensions:
Height: 27.16 in (68.99 cm)Width: 33.16 in (84.23 cm)Length: 27.16 in (68.99 cm)
Style:
Barbizon School (Of the Period)
Materials and Techniques:
Paint
Place of Origin:
United States
Period:
Late 19th Century
Date of Manufacture:
circa 1880-1890
Condition:
Repaired: Relined; professionally cleaned and conserved; surface is bright and vibrant with only minor craquelure. Under UV showing areas of conservation: lower right quarter in the pink flowers a repaired tear and associated inpainting, a group of three. Wear consistent with age and use. See condition notes in descriptive text.
Seller Location:
Shippensburg, PA
Reference Number:
Seller: 009RXP18S1stDibs: LU1059021368442

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