{"id":822,"date":"2020-11-11T15:52:29","date_gmt":"2020-11-11T15:52:29","guid":{"rendered":"http:\/\/blogs.rollins.edu\/cfam\/?p=822"},"modified":"2020-11-12T17:56:26","modified_gmt":"2020-11-12T17:56:26","slug":"ernest-lawson-and-the-materiality-of-paint","status":"publish","type":"post","link":"https:\/\/blogs.rollins.edu\/rma\/2020\/11\/11\/ernest-lawson-and-the-materiality-of-paint\/","title":{"rendered":"Ernest Lawson and the Materiality of Paint"},"content":{"rendered":"\n

I have long wanted to discuss the\nrelated disciplines of art conservation and technical art history on this blog\nbut hadn\u2019t found the right angle until now. In part, that\u2019s because I\nhaven’t been able to travel to look at works in person<\/a> as much as I would\nhave normally, and it can be hard to comment on the materiality of paint using\nonly digital images. Conservation–the technical study\nand treatment of works of art<\/a>\u2014and technical art history, which makes use of\nanalytic tools from conservation and other scientific disciplines to shed light\non the material histories of art objects, both thrive in the art work\u2019s\nimmediate presence. This week, however, my research has touched directly on\nboth topics. In working on Bend in the River<\/em> by the American painter\nErnest Lawson, I noted a condition report in the object record, part of the curatorial\nfile<\/a> I am working with. Condition reports are made by conservators and\ncollections management staff to detail any damage or potential issues with the\nobject. In the case of Bend in the River<\/em>, a conservator noted in 1996\n(the year the painting came into the collection) \u201cWatch for structural\ninstability, surface needs to be evened, sky overpainted, very thick, heavy\npaint has developed craquelure, losses widely scattered\u2026.\u201d<\/p>\n\n\n\n

This is a pretty standard condition report, indicating that the painting is in overall stable condition, but might need treatment before it can travel on loan to another museum. The term craquelure<\/em> is one of those great art historical terms, and refers to a network of fine cracks that develop in the surface of a painting, usually as a result of the fact that paint\u2014particularly oil paint\u2014is a slow-drying, organic substance, one which does not behave in an entirely orderly fashion. Thanks to high-quality digital photography, we can examine a portion of the painting close-up and see, sure enough, that it is covered in a fine, spidery web of cracks. <\/p>\n\n\n\n

\"Ernest
Ernest Lawson, (American, 1873-1939), Bend in the River<\/em>, (detail), ca. 1906, Oil on panel, 16 x 20 in., Gift of Samuel B. and Marion W. Lawrence, 1996.1<\/figcaption><\/figure>\n\n\n\n

Normally, I might hardly notice such a note. Craquelure is quite common, especially in works by painters who use thicker paints, but also just because of the natural aging process. Another work in the collection, Landscape with Sheep<\/em> by Albert Pinkham Ryder<\/a>, shows heavy craquelure, for example. But as I was digging into the research on Lawson, I came across an article written by the art historian Ross Barrett that comments directly on the materiality of Lawson\u2019s painted surfaces. In the essay, which is titled \u201cSpeculations in Paint: Ernest Lawson and the Urbanization of New York,\u201d Barrett argues that Lawson\u2019s oeuvre<\/em>, which is dominated by scenes of the rapidly urbanizing northern frontier of Manhattan, is inextricably bound up in the economic and social process of that urbanization, which involved a great deal of real estate speculation.1<\/sup> Though it can be hard to imagine a time before Manhattan was covered in dense construction, it is perhaps less surprising that real estate speculation\u2014one of the great New York City pastimes even today<\/a>\u2014was a part of that process. <\/p>\n\n\n\n

\"Ernest
Ernest Lawson, (American, 1873-1939), Bend in the River<\/em>, ca. 1906, Oil on panel, 16 x 20 in., Gift of Samuel B. and Marion W. Lawrence, 1996.1<\/figcaption><\/figure>\n\n\n\n

Lawson is not known to have kept careful records, and he frequently repeated the same subjects, so it can be difficult to precisely date and locate his works. Nevertheless, we are fairly certain that Bend in the River<\/em> depicts upper Manhattan, perhaps the Harlem River, in part because nearly all of Lawson\u2019s work from this period of his life (he moved downtown from Washington Heights in 1906) does so.2<\/sup> Though it may seem to be a bucolic rural scene, it actually thus depicts land on the ragged edge of America\u2019s largest city, land that might even then have been earmarked for the speculative construction of apartment blocks. Barrett notes that Lawson\u2019s contemporaries often considered him a kind of pioneer, one who opened up the urban fringe for painterly consideration in a way that had not been done before.3<\/sup> That insight alone adds valuably to our understanding of Bend in the River<\/em>. But Barrett goes further, arguing that Lawson\u2019s very artistic style was bound up in this process of speculation:<\/p>\n\n\n\n

The artist employed a method of\npaint application and a compositional approach that were uniquely suited to the\nuneven dynamics of speculative development, and he returned to specific spots\non the urban border that allowed the richest explorations of these dynamics.\nLawson frequently loaded his canvases with thick pigment, heaping up paint with\na palette knife in a manner that viewers associated with building and\nconstruction.4<\/sup> <\/p>\n\n\n\n

And that brings us back to the\nconservator\u2019s report with which I began this post. Lawson\u2019s thick impasto, the\nway in which he piles up the paint on the surface, has resulted in a painting\nthat is perhaps more delicate than a smoothly painted work of a similar age. But\nin the traces of his palette knife, in the peaks and valleys of this work,\nLawson calls forth the process of building up that would soon overtake this\nserene spot on the river. Conservation and technical art history thus allow us\nto see this work as both a physical and intellectual act of becoming.
<\/p>\n\n\n\n

\n\n\n\n

1<\/sup> Ross Barrett, \u201cSpeculations in Paint: Ernest Lawson and the Urbanization of New York,\u201d Winterthur Portfolio<\/em> 42, no. 1 (March 2008): 1\u20133<\/a>.<\/p>\n\n\n\n

2<\/sup> Barrett, 3\u20134. Even after he moved downtown, Lawson took the elevated trains and subway back uptown to consider his explorations.<\/p>\n\n\n\n

3<\/sup> Barrett, 4.<\/p>\n\n\n\n

4<\/sup> Barrett, 10.<\/p>\n","protected":false},"excerpt":{"rendered":"

I have long wanted to discuss the related disciplines of art conservation and technical art history on this blog but […]<\/p>\n","protected":false},"author":16,"featured_media":824,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"footnotes":""},"categories":[55],"tags":[9,85,29],"class_list":["post-822","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-research-highlights-insights-into-the-american-art-collection","tag-cornell-fine-arts-museum","tag-ernest-lawson","tag-rollins-college"],"aioseo_notices":[],"yoast_head":"\nErnest Lawson and the Materiality of Paint - Rollins Museum of Art<\/title>\n<meta name=\"description\" content=\"In working on Bend in the River by the American painter Ernest Lawson, I noted a condition report in the object record, part of the\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/blogs.rollins.edu\/rma\/2020\/11\/11\/ernest-lawson-and-the-materiality-of-paint\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Ernest Lawson and the Materiality of Paint - 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