DOI Heft:
The international Studio (September, 1907)
DOI Artikel:Coburn, Frederick W.: Edmund C. Tarbell
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.28252#0440
Edmund C. Tarbell
of groups of up-to-date young persons arrayed in
white duck. No one at that time, I suspect, had
the technical equipment to do so.
In 1894 Mr. Tarbell exhibited with Joseph De
Camp, Frank W. Benson, Theodore Wendel.
Dawson Watson, Philip L. Hale, Frederic P.
Vinton and Lilia Cabot Perry at Chase’s Gallery,
Boston. On an old catalogue of this exhibition I
find marked against the Tarbell contributions,
22. Girl in Pink, and 23. Study in Sunlight, the
words, “His best.” He has since done much
better.
His first one-man exhibition was held at the
St. Botolph Club,
Boston, in 1898. A
second exhibition
was opened at the
same place in 1904,
at a time when the
Whistler Memorial
Exhibition was on
at Copley Hall.
Many of us who
took in both these
shows felt that the
Tarbells did not
suffer by compari-
son with the Whist-
lers. In illustration
of this impression a
portion of an elo-
quent appreciation
in the Boston Tran-
script by a fellow-
artist, Philip L.
Hale, is worth quo-
ting. It indicates,
certainly, the honor
in which Mr. Tar-
bell is held among
painters of his own
persuasion; other
groups in his home
city do him scarcely
less. Mr. Hale at
that time wrote:
“Don’t let us, as
we go to the Whist-
ler show and admire
his finer works, pray
don’t let us forget
that there’s a show
in town where
marjorie by Edmund c. tarbell equally fine things
brilliant outdoor canvases, The Girl and the Horse
and In the Orchard, and by a portrait, My Sister
Lydia. In the official handbook of the exhibition,
many of whose illustrations have begun to appear
archaic, these still retain their look of freshness
and modernity. Arrived in Chicago from the
national capital, then unaccustomed to art more
stimulating than Bodenhausen’s Madonna, or
Thomas Hovenden’s Jerusalem the Golden, I recall
vividly a feeling of admiration for a man who had
the audacity thus to paint conventional society
without artistic conventions. No one in Washing-
ton, in the early nineties, was making masterpieces
LXXXVI
of groups of up-to-date young persons arrayed in
white duck. No one at that time, I suspect, had
the technical equipment to do so.
In 1894 Mr. Tarbell exhibited with Joseph De
Camp, Frank W. Benson, Theodore Wendel.
Dawson Watson, Philip L. Hale, Frederic P.
Vinton and Lilia Cabot Perry at Chase’s Gallery,
Boston. On an old catalogue of this exhibition I
find marked against the Tarbell contributions,
22. Girl in Pink, and 23. Study in Sunlight, the
words, “His best.” He has since done much
better.
His first one-man exhibition was held at the
St. Botolph Club,
Boston, in 1898. A
second exhibition
was opened at the
same place in 1904,
at a time when the
Whistler Memorial
Exhibition was on
at Copley Hall.
Many of us who
took in both these
shows felt that the
Tarbells did not
suffer by compari-
son with the Whist-
lers. In illustration
of this impression a
portion of an elo-
quent appreciation
in the Boston Tran-
script by a fellow-
artist, Philip L.
Hale, is worth quo-
ting. It indicates,
certainly, the honor
in which Mr. Tar-
bell is held among
painters of his own
persuasion; other
groups in his home
city do him scarcely
less. Mr. Hale at
that time wrote:
“Don’t let us, as
we go to the Whist-
ler show and admire
his finer works, pray
don’t let us forget
that there’s a show
in town where
marjorie by Edmund c. tarbell equally fine things
brilliant outdoor canvases, The Girl and the Horse
and In the Orchard, and by a portrait, My Sister
Lydia. In the official handbook of the exhibition,
many of whose illustrations have begun to appear
archaic, these still retain their look of freshness
and modernity. Arrived in Chicago from the
national capital, then unaccustomed to art more
stimulating than Bodenhausen’s Madonna, or
Thomas Hovenden’s Jerusalem the Golden, I recall
vividly a feeling of admiration for a man who had
the audacity thus to paint conventional society
without artistic conventions. No one in Washing-
ton, in the early nineties, was making masterpieces
LXXXVI