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A Basket of Chips where, the Harwood influence goes on today not only in his home state, but in every region of the country. This is especially true when one realizes that there is another group of associates and friends with whom Harwood traded "tips" and ideas.3 What these two lists of individuals represent is a virtual "Who's Who of Early Utah Art," and when the students and associates of all these persons are also taken into consideration, the fdl impact of Harwood as the "dean of Utah painters" begins to take shape. What was the Harwood accomplishment and influence? Of the artist's own work in oil, the critic, James L. Haseltine, has correctly written that no early Utah painter "possessed greater natural gifts." And further, "Harwood's strengths were a fine sense of structure, . . . a deeply rooted feeling for profession- alism and craftsmanship, and a good control of muted color." On the other hand, in the words of the same critic, the artist "missed the point" of the `later movements" (i.e., the vari- ous directions taken by the Post-Impressionists and their fol- lowers) .' As Harwood stated himself: . . . the founders of the impressionistic school were right both in theory and practice, I believe. But some of their followers - these men who draw fantastic figures that have little recognizable meaning for an average mortal, or who, for example, paint a land- 3 The Utah luminaries that come to mind within this context are his teachers in early days Dan Weggeland, George Ottinger, John Tullidge, and Alfred Lam- bourne; such older artists as George Beard, G. Wesley Browning, H. L. A. Cul- mer, and Samuel H. Jepperson; Willis Adams, a good friend; his Lehi playmate and another University of Utah Art Department chairman, Edwin Evans; Har- wood's close artist friends Cyrus Dallin, John Hafen, and George Henry Tag- gart, along with Mary Teasdel, the painter's student and colleague; other Parisian trainees from Utah of around the same time, John W. Clawson, John B. Fair- banks, Henri Moser, Lorus Pratt, and Lewis A. Ramsey; and younger associates and fellow educators Corrinne Adams, Bessie Alice Bancroft, Avard and J. Leo Fairbanks, Calvin and Irene Thompson Fletcher, Mabel Frazer, Harvey Gardner, Maud Hardman, B. F. Larsen, Edith Maguire, Waldo Midgely, Mary Moorhead, Rena Olsen, Caroline Parry, Cornelius Salisbury, Le Conte Stewart, Minerva Teichert, Caroline Van Evera, Florence Ware, and the architect/artist, Taylor Woolley. 4 James L. Haseltine, 100 Yems of Utah Pninhg, Selected Wads from the 1840s to the 1940s (Salt Lake City: Salt Lake Art Center, 1965), 19. X |
