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 |
https://collections.lib.utah.edu/ark:/87278/s6zs2vsj |
Identifier |
012.gif |
Title |
Basket of Chips, introduction xiii |
Description |
Introduction the painter in this medium that have a more freely expres- sionistic quality than is usual in his oils. A third point is that we are looking at Harwood from a much changed point of view in time than that existing in the 1960s. The search for sugges- tions of modernism in the works of our earlier artists had reached near hysterical proportions in some quarters by I96O- 63, in this as well as other regions of the nation. Within what is sometimes called the "post-modern" period of today, perhaps the Harwood restraint and more studied ap- proach to painting do not seem overly reserved or too conserva- tive. One can only hope that we are able to enjoy both the ordered statements of Harwood and the emotional fervor of "Utah's fauve," Henri Moser (1876-19X), for what they A validation of the late Harwood approach are - different. is stated bv a local writer as follows. He used a modernistic handling of color rendered with a sub- tlety that makes one feel the charm of the old world. Harbor scenes, studies of the sea and the shipping lanes along the Marseilles water front were deftly handled by him. He worked with ardor and joy that renewed itself in the blending of his pigments. He understood the sea and its changing moods. His mother told him many stories of the sea, and his love for water stayed with him all the days of his life.lO One thing is clear - Harwood was a talented and sub- stantial artist to such an extent that he is one who, among the ranks of Utah's early artists, can be criticized and discussed in the way one does the far above average practitioner. He does not have to be dealt with as the vulnerable, though loveable, pioneer struggler. He was instead, and as he himself said, by "profession, an artist." This last statement is never more the case than when deal- ing with the color prints of Harwood's last two decades of life. lo Elsie S. Heaton, ed., Pioneers of Utnh Art (Logan, Utah: Kaysvilie Art Club-Educational Printing Service, 1968), 75. . . . x222 |
Format |
application/pdf |
Source |
A Basket of Chips: An Autobiography |
Setname |
uum_ttb |
Date Created |
2005-04-14 |
Date Modified |
2005-04-14 |
ID |
327475 |
Reference URL |
https://collections.lib.utah.edu/ark:/87278/s6zs2vsj/327475 |