Granville Redmond (1871-1935)In Southern California (Thought to be Brea Hills) signed and dated 'Granville Redmond 1905-' (lower left) oil on canvas 58 1/4 x 40 3/8 in. framed 65 1/4 x 47 3/8 in.FootnotesProvenance Michael Johnson Fine Arts, Fallbrook, California. Acquired by the present owners from the above, 1995. Exhibited Santa Barbara, Santa Barbara Museum of Art, A Painter's Paradise: Artists and the California Landscape, November 29, 1996 – February 16, 1997, no. 133. Literature Gloria R. Martin and William H. Gerdts, A Painter's Paradise: Artists and the California Landscape, Santa Barbara, Santa Barbara Museum of Art, 1996, p. 56, illustrated. Before turning to the better-known wildflower paintings, Granville Redmond was known as a tonalist painter and accordingly he focused on compositions that exemplified the hazy, foggy conditions of the Northern California landscape. Following his move from Philadelphia, Redmond studied art at the San Francisco School of Design. His teachers included Arthur Mathews and Amédée Joullin both of whom often painted in a similar tonalist style. While training as a painter, Redmond became acquainted with many other artists including tonalists Gottardo Piazzoni and Giuseppe Cadenasso Although Redmond was deaf, it did not hamper his relationships with his fellow artists; his lifelong friend Piazzoni even learned sign language. Redmond distinguished himself as an art student and won the W.E. Brown medal of excellence. In 1893 he was awarded a grant from the California School of the Deaf which enabled him to study at the Académie Julian in Paris under Jean Paul Laurens and Benjamin Constant. While in Paris, Redmond distinguished himself once again when his large tonalist canvas, Matin d'Hiver, was accepted for the Paris Salon in 1895. In 1898, he returned from Paris and settled in Los Angeles, where he painted many scenes in and around Laguna Beach, Catalina Island, and San Pedro. While living in Los Angeles, Redmond became friends with Charlie Chaplin, whom he helped in perfecting his pantomime techniques. Chaplin gave Redmond a studio on the movie lot, collected many of his paintings, and sponsored him in silent acting roles including playing the sculptor in City Lights, and a feature part in You'd Be Surprised. He also became acquainted with Los Angeles artists Elmer Wachtel and Norman St. Clair. All three exhibited paintings with Laguna Beach titles at the annual Spring Exhibition held in San Francisco in 1904. By 1905 Redmond was receiving considerable recognition as a leading landscape painter and bold colorist. Although he recognized the public's preference for his brightly colored poppy pictures, he generally preferred to paint darker, more poetic scenes. In Southern California exemplifies Redmond's considerable talents as a painter on a grand scale. The large vertical format emphasizes the height of the trees and depth of the landscape. Redmond uses a lone figure in red to give the viewer perspective against the looming grove, a technique commonly used by the French Barbizon painters in the mid-19th Century. Even the late day setting sun and golden colors are reminiscent of the same French painters who inspired early California plein air artists such as Granville Redmond and John Bond Francisco. By concealing from the viewer what is behind the trees, the artist creates tension and energy that enlivens the scene. Does a spectacular sunset await if one were able to walk to down the same path and see what is around the next corner? To our knowledge, this is the largest vertical format painting known by Granville Redmond.
Granville Redmond (1871-1935)In Southern California (Thought to be Brea Hills) signed and dated 'Granville Redmond 1905-' (lower left) oil on canvas 58 1/4 x 40 3/8 in. framed 65 1/4 x 47 3/8 in.FootnotesProvenance Michael Johnson Fine Arts, Fallbrook, California. Acquired by the present owners from the above, 1995. Exhibited Santa Barbara, Santa Barbara Museum of Art, A Painter's Paradise: Artists and the California Landscape, November 29, 1996 – February 16, 1997, no. 133. Literature Gloria R. Martin and William H. Gerdts, A Painter's Paradise: Artists and the California Landscape, Santa Barbara, Santa Barbara Museum of Art, 1996, p. 56, illustrated. Before turning to the better-known wildflower paintings, Granville Redmond was known as a tonalist painter and accordingly he focused on compositions that exemplified the hazy, foggy conditions of the Northern California landscape. Following his move from Philadelphia, Redmond studied art at the San Francisco School of Design. His teachers included Arthur Mathews and Amédée Joullin both of whom often painted in a similar tonalist style. While training as a painter, Redmond became acquainted with many other artists including tonalists Gottardo Piazzoni and Giuseppe Cadenasso Although Redmond was deaf, it did not hamper his relationships with his fellow artists; his lifelong friend Piazzoni even learned sign language. Redmond distinguished himself as an art student and won the W.E. Brown medal of excellence. In 1893 he was awarded a grant from the California School of the Deaf which enabled him to study at the Académie Julian in Paris under Jean Paul Laurens and Benjamin Constant. While in Paris, Redmond distinguished himself once again when his large tonalist canvas, Matin d'Hiver, was accepted for the Paris Salon in 1895. In 1898, he returned from Paris and settled in Los Angeles, where he painted many scenes in and around Laguna Beach, Catalina Island, and San Pedro. While living in Los Angeles, Redmond became friends with Charlie Chaplin, whom he helped in perfecting his pantomime techniques. Chaplin gave Redmond a studio on the movie lot, collected many of his paintings, and sponsored him in silent acting roles including playing the sculptor in City Lights, and a feature part in You'd Be Surprised. He also became acquainted with Los Angeles artists Elmer Wachtel and Norman St. Clair. All three exhibited paintings with Laguna Beach titles at the annual Spring Exhibition held in San Francisco in 1904. By 1905 Redmond was receiving considerable recognition as a leading landscape painter and bold colorist. Although he recognized the public's preference for his brightly colored poppy pictures, he generally preferred to paint darker, more poetic scenes. In Southern California exemplifies Redmond's considerable talents as a painter on a grand scale. The large vertical format emphasizes the height of the trees and depth of the landscape. Redmond uses a lone figure in red to give the viewer perspective against the looming grove, a technique commonly used by the French Barbizon painters in the mid-19th Century. Even the late day setting sun and golden colors are reminiscent of the same French painters who inspired early California plein air artists such as Granville Redmond and John Bond Francisco. By concealing from the viewer what is behind the trees, the artist creates tension and energy that enlivens the scene. Does a spectacular sunset await if one were able to walk to down the same path and see what is around the next corner? To our knowledge, this is the largest vertical format painting known by Granville Redmond.
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