Basket of Chips, introduction xi

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Identifier /tanner/image/basket_chips.xml
Title A Basket of Chips: An Autobiography
Creator Harwood, James Taylor, 1860-1940
Subject Artists; Painters; Artists' writings
Subject Local Harwood, James Taylor, 1860-1940; Artists--Utah--Biography; Harwood, Harriett Richards, (1870-1922)
Description These memoirs of Utah artist and teacher James T. Harwood cover a wide range of subjects including farming, gardening, bird watching and cooking. But, primarily, "A Basket of Chips" is about his early love, Harriett Richards, and their life together.
Publisher Tanner Trust Fund University of Utah Library, Salt Lake City, Utah
Contributors Olpin, Robert S.; Ward, Margery W.; Cooley, Everett L.; Madsen, Brigham D.; Tyler, S. Lyman
Date 1985
Type Text
Format application/pdf
Language eng
Relation Is part of: Utah, the Mormons, and the West, no. 12
Coverage 1860-1940
Rights Management University of Utah, Copyright 2001
Holding Institution J. Willard Marriott Library, University of Utah.
Source Physical Dimensions 14.5 cm x 22.75 cm
Source Characteristics Printed Hard Cover Book
Scanning Technician Karen Edge
Metadata Cataloger Kenning Arlitsch; Jan Robertson
Call Number N 6537 H364 A2 1985
ARK ark:/87278/s6zs2vsj
Topic Artists; Painters; First person narrative
Setname uum_ttb
Date Created 2005-04-20
Date Modified 2011-04-07
ID 327930
Reference URL

Page Metadata

Identifier 010.gif
Title Basket of Chips, introduction xi
Description Introdtiction scape in straight lines - they have wandered from the original im- pressionistic concept . . . . They used to worry me, these painters and their unusual paintings. I could not understand what their pic- tures meant, and I thought perhaps the fault was in me. But now I only smile at such paintings. That is all one can do.5 Harwood was right not to worry any further about such developments. After all, he had grown to young manhood in an essentially conservative environment (in the artistic con- text), and trained with romantic realists in Utah and California and traditional academicians in France. He then returned (more or less permanently) to the general environment of his origins for what turned out to be the remainder of his career. And yet, given all of that, the painter managed to evolve stylistically from the figurative romantic realism of his youth and early maturity, to a realist-impressionist orientation in his middle years that ultimately developed into a reserved, but painterly neoimpressionism. written: Of this final development, Haseltine has . . . It is sad to learn that the artist felt the works dating from the late 1920s to the end of his life to be his "most perfect means of expression." A mechanical kind of impressionism, they only serve to underscore the soliditv of his earlier work.6 I used to agree with this estimation wholeheartedly. The earlier work is so often impressive as to the skill and total understanding of the painter regarding his aims and means to accomplish them. In those pictures, a quiet dignity and clarity, a soft-spoken sophistication with honest feeling, all exist as ele- ments I have always found very appealing. The sudden shift from the earlier Harwood to the older pointillist landscapist he became can still be a wrenching experience. This is especially the case in regard to the change from images where a sense of style is a secondary awareness to later examples in which the style is the first thing with which the viewer must contend. Yet, 5 Ibid. 6 Ibid. xi
Format application/pdf
Source A Basket of Chips: An Autobiography
Setname uum_ttb
Date Created 2005-04-14
Date Modified 2021-05-06
ID 327473
Reference URL