DOI issue:
Nr. 332 (January 1925)
DOI article:Berry, Rose V. S.: A painter of California
DOI Page / Citation link:https://doi.org/10.11588/diglit.19984#0074
mceRnACioriAL
these rocks, as Rose has given
them. The low, clinging cypress
trees, scarcely more than bushes,
with roots deeply intrenched in
the crevices of the rocks, please
the painter's love for design,
and obtain the observer's sym-
pathetic admiration as living
things which have clung to life
in spite of tempestuous battles
with infuriated ocean winds.
A totally different effect is
obtained from "The Sea," where
Rose depends entirely upon the
activity of the bounding surf for
interest, and where he allows
the spotting of his canvas to re-
volve around the same restless
source. "Off Point Lobos" and
"The Carmel Coast" have been
selected for other beauties. The
painter builds up his masses of
"monterey cypress" by guy rose ,. , i i t • t ,
light and shade with a keen
are also pictures tense and stern, of forbidding sense of artistic design, and the canvases are
subjects, with strong dramatic massing and power- satisfying in their balanced divisions, with the
ful pattern. coast and sea almost equal in their claim upon
"Point Lobos" is one of the pictures painted the observer's attention,
on a clear day in California, when the ocean in Some of the loveliest of Guy Rose's paintings
color rivals the blue of an Italian sea, and when are those which reveal his love of line and pattern,
something of the vastness of the Pacific may be Several of the pictures used as illustrations would
apprehended from the distance of the horizon line. make exquisite etchings. "The Monterey Cy-
The large rocks in the foreground lose none ol press" would lend itself to the etcher's needle
their massive quality nor their adamantine char- w ithout any loss o( charm. These trees are among
acter by the detailed handling of their formation, the treasures of California's art lovers and the
And they have been out-door artist. But
made none the less .w riAK.„ by guy rose those seeing them for
the first time must be
prepared to find them
small. For countless
ages these trees have
wrestled with the mer-
ciless winds of the
Pacific for their exist-
ence. They are living,
growing things,
though they have
been beaten, battered,
broken, twisted,
gnarled, severed and
bent to earth; some
having survived only
by way of having been
able to intertwine and
unite a weakened body
with a stronger trunk.
There is a dramatic-
imp ressive by the
painter having used
them in a high key as
light surfaces, ad-
juncts of his brilliant
sunshine. The fluid
mass of the calm sea
loses none of its weight
or impenetrable depth
by Rose's technique,
while the low hills to
the right give a va-
riety and a different
appeal to the horizon
line. Rose has painted
the famous Point Lo-
bos in rather minute
detail at the left of the
canvas. Many fail to
grasp the beauty of
three thirty-four
jan u a r y I925
these rocks, as Rose has given
them. The low, clinging cypress
trees, scarcely more than bushes,
with roots deeply intrenched in
the crevices of the rocks, please
the painter's love for design,
and obtain the observer's sym-
pathetic admiration as living
things which have clung to life
in spite of tempestuous battles
with infuriated ocean winds.
A totally different effect is
obtained from "The Sea," where
Rose depends entirely upon the
activity of the bounding surf for
interest, and where he allows
the spotting of his canvas to re-
volve around the same restless
source. "Off Point Lobos" and
"The Carmel Coast" have been
selected for other beauties. The
painter builds up his masses of
"monterey cypress" by guy rose ,. , i i t • t ,
light and shade with a keen
are also pictures tense and stern, of forbidding sense of artistic design, and the canvases are
subjects, with strong dramatic massing and power- satisfying in their balanced divisions, with the
ful pattern. coast and sea almost equal in their claim upon
"Point Lobos" is one of the pictures painted the observer's attention,
on a clear day in California, when the ocean in Some of the loveliest of Guy Rose's paintings
color rivals the blue of an Italian sea, and when are those which reveal his love of line and pattern,
something of the vastness of the Pacific may be Several of the pictures used as illustrations would
apprehended from the distance of the horizon line. make exquisite etchings. "The Monterey Cy-
The large rocks in the foreground lose none ol press" would lend itself to the etcher's needle
their massive quality nor their adamantine char- w ithout any loss o( charm. These trees are among
acter by the detailed handling of their formation, the treasures of California's art lovers and the
And they have been out-door artist. But
made none the less .w riAK.„ by guy rose those seeing them for
the first time must be
prepared to find them
small. For countless
ages these trees have
wrestled with the mer-
ciless winds of the
Pacific for their exist-
ence. They are living,
growing things,
though they have
been beaten, battered,
broken, twisted,
gnarled, severed and
bent to earth; some
having survived only
by way of having been
able to intertwine and
unite a weakened body
with a stronger trunk.
There is a dramatic-
imp ressive by the
painter having used
them in a high key as
light surfaces, ad-
juncts of his brilliant
sunshine. The fluid
mass of the calm sea
loses none of its weight
or impenetrable depth
by Rose's technique,
while the low hills to
the right give a va-
riety and a different
appeal to the horizon
line. Rose has painted
the famous Point Lo-
bos in rather minute
detail at the left of the
canvas. Many fail to
grasp the beauty of
three thirty-four
jan u a r y I925