‎Impressionism‎

‎Clark, Eliot - 1883 ? New York ? 1980‎

‎Impressionistic landscape with trees.‎

‎o.J. Black chalk, surrounded by one line, on brownish handmade paper, verso studio stamp. 22,4:29,1 cm.‎

‎?Son of the prominent Tonalist landscape painter Walter Clark, Eliot Clark came of age in his father?s New York studio surrounded by some of the foremost artists of his time, including John Twachtman, Edward Potthast, Joseph De Camp, and Frank Duveneck. He later recalled that he ?grew unconsciously in the association of artists, of studio talk and that smell of paint and turpentine.? Eliot also accompanied his father on painting trips, traveling in New England and to the American West in 1901. On these excursions, Clark was encouraged to experience, as well as to observe, in order that he might be able to compose landscape works based on memory, as well as detailed sketches. After a brief period of study at the Art Students League, Clark made the obligatory study trip to Europe in 1904. He did not enroll at one of the established academies, but instead traveled extensively on his own, observing old master paintings and painting en plein air at various sites favored by the Barbizon artists. Arriving in London in 1905, he made a special point of viewing a memorial exhibition of the works of James Abbott McNeill Whistler at the New Gallery. Afterwards, he wrote to his father that he admired Whistler?s ?use of color, and subtle arrangement of line and balance of masses.? That influence, and his development of a personal understanding of close color harmonics, is the most identifiable characteristic of Clark?s art. Not long after his return to New York in 1906, Clark opened a studio in the Van Dyke Studio Building where several other Tonalist painters also maintained spaces. From there, he began creating works with powerful light, minimal color differential, and an intentional focus upon the inherent grace of the passing moment. Deeply involved in the city?s art scene, he was elected an associate member of the National Academy of Design in 1917, an affiliation that would prove especially meaningful. Over the course of his career, Clark held the offices of corresponding secretary, vice-president, and finally as president of the organization from 1956?1959. He also served as curator/conservator of the Academy?s collection, stabilizing the large and disparate holdings and eventually publishing a comprehensive history of the institution in 1954. Clark authored a series of monographs on his favorite artists, favoring the work of such Impressionist and Tonalist masters as Childe Hassam and Gustave Courbet over his more modern contemporaries. During this same period, he taught classes at the Art Students League and exhibited widely. As a successful and well connected practitioner of the lingering Impressionist impulse in American art, Clark received invitations to serve as the annual visiting instructor at the Savannah Art Club in 1924 and 1925. For two consecutive winters, Clark reveled in the city?s lush environs, welcoming it as a point of new beginnings. His Savannah ?interlude was delightful. . . The picturesque city with its silvery southern light, its many gardens, and ancient live oaks hung with gray moss? entranced the artist. His work is represented in the Telfair?s permanent collection, as well as the collections of other institutions such as the Smithsonian American Art Museum, Washington, the Parrish Art Museum, Water Mill/New York and the Weisman Art Museum, Minneapolis.? (Zit.: thejohnsoncollection/eliot-clark).‎

Bookseller reference : 108-H

‎Clark, Eliot - 1883 ? New York ? 1980‎

‎Landscape with bush and trees.‎

‎o.J. Black chalk, surround by one line, on handmade paper with watermark ?Lalanne?, signed in blue ?Eliot Clark?, verso studio stamp. 22,4:29,1 cm.‎

‎?Son of the prominent Tonalist landscape painter Walter Clark, Eliot Clark came of age in his father?s New York studio surrounded by some of the foremost artists of his time, including John Twachtman, Edward Potthast, Joseph De Camp, and Frank Duveneck. He later recalled that he ?grew unconsciously in the association of artists, of studio talk and that smell of paint and turpentine.? Eliot also accompanied his father on painting trips, traveling in New England and to the American West in 1901. On these excursions, Clark was encouraged to experience, as well as to observe, in order that he might be able to compose landscape works based on memory, as well as detailed sketches. After a brief period of study at the Art Students League, Clark made the obligatory study trip to Europe in 1904. He did not enroll at one of the established academies, but instead traveled extensively on his own, observing old master paintings and painting en plein air at various sites favored by the Barbizon artists. Arriving in London in 1905, he made a special point of viewing a memorial exhibition of the works of James Abbott McNeill Whistler at the New Gallery. Afterwards, he wrote to his father that he admired Whistler?s ?use of color, and subtle arrangement of line and balance of masses.? That influence, and his development of a personal understanding of close color harmonics, is the most identifiable characteristic of Clark?s art. Not long after his return to New York in 1906, Clark opened a studio in the Van Dyke Studio Building where several other Tonalist painters also maintained spaces. From there, he began creating works with powerful light, minimal color differential, and an intentional focus upon the inherent grace of the passing moment. Deeply involved in the city?s art scene, he was elected an associate member of the National Academy of Design in 1917, an affiliation that would prove especially meaningful. Over the course of his career, Clark held the offices of corresponding secretary, vice-president, and finally as president of the organization from 1956?1959. He also served as curator/conservator of the Academy?s collection, stabilizing the large and disparate holdings and eventually publishing a comprehensive history of the institution in 1954. Clark authored a series of monographs on his favorite artists, favoring the work of such Impressionist and Tonalist masters as Childe Hassam and Gustave Courbet over his more modern contemporaries. During this same period, he taught classes at the Art Students League and exhibited widely. As a successful and well connected practitioner of the lingering Impressionist impulse in American art, Clark received invitations to serve as the annual visiting instructor at the Savannah Art Club in 1924 and 1925. For two consecutive winters, Clark reveled in the city?s lush environs, welcoming it as a point of new beginnings. His Savannah ?interlude was delightful. . . The picturesque city with its silvery southern light, its many gardens, and ancient live oaks hung with gray moss? entranced the artist. His work is represented in the Telfair?s permanent collection, as well as the collections of other institutions such as the Smithsonian American Art Museum, Washington, the Parrish Art Museum, Water Mill/New York and the Weisman Art Museum, Minneapolis.? (Zit.: thejohnsoncollection/eliot-clark).‎

Bookseller reference : 104-H

‎Clark, Eliot - 1883 ? New York ? 1980‎

‎Landscape with small river.‎

‎o.J. Black chalk, surround by one line, on handmade paper, signed in blue ?Eliot Clark?, verso studio stamp. 22,4:29,1 cm.‎

‎?Son of the prominent Tonalist landscape painter Walter Clark, Eliot Clark came of age in his father?s New York studio surrounded by some of the foremost artists of his time, including John Twachtman, Edward Potthast, Joseph De Camp, and Frank Duveneck. He later recalled that he ?grew unconsciously in the association of artists, of studio talk and that smell of paint and turpentine.? Eliot also accompanied his father on painting trips, traveling in New England and to the American West in 1901. On these excursions, Clark was encouraged to experience, as well as to observe, in order that he might be able to compose landscape works based on memory, as well as detailed sketches. After a brief period of study at the Art Students League, Clark made the obligatory study trip to Europe in 1904. He did not enroll at one of the established academies, but instead traveled extensively on his own, observing old master paintings and painting en plein air at various sites favored by the Barbizon artists. Arriving in London in 1905, he made a special point of viewing a memorial exhibition of the works of James Abbott McNeill Whistler at the New Gallery. Afterwards, he wrote to his father that he admired Whistler?s ?use of color, and subtle arrangement of line and balance of masses.? That influence, and his development of a personal understanding of close color harmonics, is the most identifiable characteristic of Clark?s art. Not long after his return to New York in 1906, Clark opened a studio in the Van Dyke Studio Building where several other Tonalist painters also maintained spaces. From there, he began creating works with powerful light, minimal color differential, and an intentional focus upon the inherent grace of the passing moment. Deeply involved in the city?s art scene, he was elected an associate member of the National Academy of Design in 1917, an affiliation that would prove especially meaningful. Over the course of his career, Clark held the offices of corresponding secretary, vice-president, and finally as president of the organization from 1956?1959. He also served as curator/conservator of the Academy?s collection, stabilizing the large and disparate holdings and eventually publishing a comprehensive history of the institution in 1954. Clark authored a series of monographs on his favorite artists, favoring the work of such Impressionist and Tonalist masters as Childe Hassam and Gustave Courbet over his more modern contemporaries. During this same period, he taught classes at the Art Students League and exhibited widely. As a successful and well connected practitioner of the lingering Impressionist impulse in American art, Clark received invitations to serve as the annual visiting instructor at the Savannah Art Club in 1924 and 1925. For two consecutive winters, Clark reveled in the city?s lush environs, welcoming it as a point of new beginnings. His Savannah ?interlude was delightful. . . The picturesque city with its silvery southern light, its many gardens, and ancient live oaks hung with gray moss? entranced the artist. His work is represented in the Telfair?s permanent collection, as well as the collections of other institutions such as the Smithsonian American Art Museum, Washington, the Parrish Art Museum, Water Mill/New York and the Weisman Art Museum, Minneapolis.? (Zit.: thejohnsoncollection/eliot-clark).‎

Bookseller reference : 079-H

‎Clark, Eliot - 1883 ? New York ? 1980‎

‎Leda and the Swan.‎

‎o.J. Pastel, on grey paper, signed with pencil ?Eliot Clark?, verso studio stamp. 30:15,6 cm. ? Two edges ? only small pieces ? teared of.‎

‎?Son of the prominent Tonalist landscape painter Walter Clark, Eliot Clark came of age in his father?s New York studio surrounded by some of the foremost artists of his time, including John Twachtman, Edward Potthast, Joseph De Camp, and Frank Duveneck. He later recalled that he ?grew unconsciously in the association of artists, of studio talk and that smell of paint and turpentine.? Eliot also accompanied his father on painting trips, traveling in New England and to the American West in 1901. On these excursions, Clark was encouraged to experience, as well as to observe, in order that he might be able to compose landscape works based on memory, as well as detailed sketches. After a brief period of study at the Art Students League, Clark made the obligatory study trip to Europe in 1904. He did not enroll at one of the established academies, but instead traveled extensively on his own, observing old master paintings and painting en plein air at various sites favored by the Barbizon artists. Arriving in London in 1905, he made a special point of viewing a memorial exhibition of the works of James Abbott McNeill Whistler at the New Gallery. Afterwards, he wrote to his father that he admired Whistler?s ?use of color, and subtle arrangement of line and balance of masses.? That influence, and his development of a personal understanding of close color harmonics, is the most identifiable characteristic of Clark?s art. Not long after his return to New York in 1906, Clark opened a studio in the Van Dyke Studio Building where several other Tonalist painters also maintained spaces. From there, he began creating works with powerful light, minimal color differential, and an intentional focus upon the inherent grace of the passing moment. Deeply involved in the city?s art scene, he was elected an associate member of the National Academy of Design in 1917, an affiliation that would prove especially meaningful. Over the course of his career, Clark held the offices of corresponding secretary, vice-president, and finally as president of the organization from 1956?1959. He also served as curator/conservator of the Academy?s collection, stabilizing the large and disparate holdings and eventually publishing a comprehensive history of the institution in 1954. Clark authored a series of monographs on his favorite artists, favoring the work of such Impressionist and Tonalist masters as Childe Hassam and Gustave Courbet over his more modern contemporaries. During this same period, he taught classes at the Art Students League and exhibited widely. As a successful and well connected practitioner of the lingering Impressionist impulse in American art, Clark received invitations to serve as the annual visiting instructor at the Savannah Art Club in 1924 and 1925. For two consecutive winters, Clark reveled in the city?s lush environs, welcoming it as a point of new beginnings. His Savannah ?interlude was delightful. . . The picturesque city with its silvery southern light, its many gardens, and ancient live oaks hung with gray moss? entranced the artist. His work is represented in the Telfair?s permanent collection, as well as the collections of other institutions such as the Smithsonian American Art Museum, Washington, the Parrish Art Museum, Water Mill/New York and the Weisman Art Museum, Minneapolis.? (Zit.: thejohnsoncollection/eliot-clark).‎

Bookseller reference : 089-H

‎Clark, Eliot - 1883 ? New York ? 1980‎

‎New York, East River, nocturne (II).‎

‎o.J. Black and white chalk, surround by one line, (1910), on grey paper, signed ?Eliot Clark?, verso studio stamp. 16,2:19,4 cm.‎

‎?Son of the prominent Tonalist landscape painter Walter Clark, Eliot Clark came of age in his father?s New York studio surrounded by some of the foremost artists of his time, including John Twachtman, Edward Potthast, Joseph De Camp, and Frank Duveneck. He later recalled that he ?grew unconsciously in the association of artists, of studio talk and that smell of paint and turpentine.? Eliot also accompanied his father on painting trips, traveling in New England and to the American West in 1901. On these excursions, Clark was encouraged to experience, as well as to observe, in order that he might be able to compose landscape works based on memory, as well as detailed sketches. After a brief period of study at the Art Students League, Clark made the obligatory study trip to Europe in 1904. He did not enroll at one of the established academies, but instead traveled extensively on his own, observing old master paintings and painting en plein air at various sites favored by the Barbizon artists. Arriving in London in 1905, he made a special point of viewing a memorial exhibition of the works of James Abbott McNeill Whistler at the New Gallery. Afterwards, he wrote to his father that he admired Whistler?s ?use of color, and subtle arrangement of line and balance of masses.? That influence, and his development of a personal understanding of close color harmonics, is the most identifiable characteristic of Clark?s art. Not long after his return to New York in 1906, Clark opened a studio in the Van Dyke Studio Building where several other Tonalist painters also maintained spaces. From there, he began creating works with powerful light, minimal color differential, and an intentional focus upon the inherent grace of the passing moment. Deeply involved in the city?s art scene, he was elected an associate member of the National Academy of Design in 1917, an affiliation that would prove especially meaningful. Over the course of his career, Clark held the offices of corresponding secretary, vice-president, and finally as president of the organization from 1956?1959. He also served as curator/conservator of the Academy?s collection, stabilizing the large and disparate holdings and eventually publishing a comprehensive history of the institution in 1954. Clark authored a series of monographs on his favorite artists, favoring the work of such Impressionist and Tonalist masters as Childe Hassam and Gustave Courbet over his more modern contemporaries. During this same period, he taught classes at the Art Students League and exhibited widely. As a successful and well connected practitioner of the lingering Impressionist impulse in American art, Clark received invitations to serve as the annual visiting instructor at the Savannah Art Club in 1924 and 1925. For two consecutive winters, Clark reveled in the city?s lush environs, welcoming it as a point of new beginnings. His Savannah ?interlude was delightful. . . The picturesque city with its silvery southern light, its many gardens, and ancient live oaks hung with gray moss? entranced the artist. His work is represented in the Telfair?s permanent collection, as well as the collections of other institutions such as the Smithsonian American Art Museum, Washington, the Parrish Art Museum, Water Mill/New York and the Weisman Art Museum, Minneapolis.? (Zit.: thejohnsoncollection/eliot-clark).‎

Bookseller reference : 090-H

‎Clark, Eliot - 1883 ? New York ? 1980‎

‎Riverscape with trees and bush.‎

‎o.J. Black chalk, surround by one line, on handmade paper, verso studio stamp. 22,3:29,1 cm.‎

‎?Son of the prominent Tonalist landscape painter Walter Clark, Eliot Clark came of age in his father?s New York studio surrounded by some of the foremost artists of his time, including John Twachtman, Edward Potthast, Joseph De Camp, and Frank Duveneck. He later recalled that he ?grew unconsciously in the association of artists, of studio talk and that smell of paint and turpentine.? Eliot also accompanied his father on painting trips, traveling in New England and to the American West in 1901. On these excursions, Clark was encouraged to experience, as well as to observe, in order that he might be able to compose landscape works based on memory, as well as detailed sketches. After a brief period of study at the Art Students League, Clark made the obligatory study trip to Europe in 1904. He did not enroll at one of the established academies, but instead traveled extensively on his own, observing old master paintings and painting en plein air at various sites favored by the Barbizon artists. Arriving in London in 1905, he made a special point of viewing a memorial exhibition of the works of James Abbott McNeill Whistler at the New Gallery. Afterwards, he wrote to his father that he admired Whistler?s ?use of color, and subtle arrangement of line and balance of masses.? That influence, and his development of a personal understanding of close color harmonics, is the most identifiable characteristic of Clark?s art. Not long after his return to New York in 1906, Clark opened a studio in the Van Dyke Studio Building where several other Tonalist painters also maintained spaces. From there, he began creating works with powerful light, minimal color differential, and an intentional focus upon the inherent grace of the passing moment. Deeply involved in the city?s art scene, he was elected an associate member of the National Academy of Design in 1917, an affiliation that would prove especially meaningful. Over the course of his career, Clark held the offices of corresponding secretary, vice-president, and finally as president of the organization from 1956?1959. He also served as curator/conservator of the Academy?s collection, stabilizing the large and disparate holdings and eventually publishing a comprehensive history of the institution in 1954. Clark authored a series of monographs on his favorite artists, favoring the work of such Impressionist and Tonalist masters as Childe Hassam and Gustave Courbet over his more modern contemporaries. During this same period, he taught classes at the Art Students League and exhibited widely. As a successful and well connected practitioner of the lingering Impressionist impulse in American art, Clark received invitations to serve as the annual visiting instructor at the Savannah Art Club in 1924 and 1925. For two consecutive winters, Clark reveled in the city?s lush environs, welcoming it as a point of new beginnings. His Savannah ?interlude was delightful. . . The picturesque city with its silvery southern light, its many gardens, and ancient live oaks hung with gray moss? entranced the artist. His work is represented in the Telfair?s permanent collection, as well as the collections of other institutions such as the Smithsonian American Art Museum, Washington, the Parrish Art Museum, Water Mill/New York and the Weisman Art Museum, Minneapolis.? (Zit.: thejohnsoncollection/eliot-clark).‎

Bookseller reference : 103-H

‎Clark, Eliot - 1883 ? New York ? 1980‎

‎Road in a mountainous landscape.‎

‎o.J. Crayon, on grey paper, signed in pencil ?Eliot Clark?, verso studio stamp. 25,2:29,7 cm.‎

‎?Son of the prominent Tonalist landscape painter Walter Clark, Eliot Clark came of age in his father?s New York studio surrounded by some of the foremost artists of his time, including John Twachtman, Edward Potthast, Joseph De Camp, and Frank Duveneck. He later recalled that he ?grew unconsciously in the association of artists, of studio talk and that smell of paint and turpentine.? Eliot also accompanied his father on painting trips, traveling in New England and to the American West in 1901. On these excursions, Clark was encouraged to experience, as well as to observe, in order that he might be able to compose landscape works based on memory, as well as detailed sketches. After a brief period of study at the Art Students League, Clark made the obligatory study trip to Europe in 1904. He did not enroll at one of the established academies, but instead traveled extensively on his own, observing old master paintings and painting en plein air at various sites favored by the Barbizon artists. Arriving in London in 1905, he made a special point of viewing a memorial exhibition of the works of James Abbott McNeill Whistler at the New Gallery. Afterwards, he wrote to his father that he admired Whistler?s ?use of color, and subtle arrangement of line and balance of masses.? That influence, and his development of a personal understanding of close color harmonics, is the most identifiable characteristic of Clark?s art. Not long after his return to New York in 1906, Clark opened a studio in the Van Dyke Studio Building where several other Tonalist painters also maintained spaces. From there, he began creating works with powerful light, minimal color differential, and an intentional focus upon the inherent grace of the passing moment. Deeply involved in the city?s art scene, he was elected an associate member of the National Academy of Design in 1917, an affiliation that would prove especially meaningful. Over the course of his career, Clark held the offices of corresponding secretary, vice-president, and finally as president of the organization from 1956?1959. He also served as curator/conservator of the Academy?s collection, stabilizing the large and disparate holdings and eventually publishing a comprehensive history of the institution in 1954. Clark authored a series of monographs on his favorite artists, favoring the work of such Impressionist and Tonalist masters as Childe Hassam and Gustave Courbet over his more modern contemporaries. During this same period, he taught classes at the Art Students League and exhibited widely. As a successful and well connected practitioner of the lingering Impressionist impulse in American art, Clark received invitations to serve as the annual visiting instructor at the Savannah Art Club in 1924 and 1925. For two consecutive winters, Clark reveled in the city?s lush environs, welcoming it as a point of new beginnings. His Savannah ?interlude was delightful. . . The picturesque city with its silvery southern light, its many gardens, and ancient live oaks hung with gray moss? entranced the artist. His work is represented in the Telfair?s permanent collection, as well as the collections of other institutions such as the Smithsonian American Art Museum, Washington, the Parrish Art Museum, Water Mill/New York and the Weisman Art Museum, Minneapolis.? (Zit.: thejohnsoncollection/eliot-clark).‎

Bookseller reference : 093-H

‎Clark, Eliot - 1883 ? New York ? 1980‎

‎Small hilly landscape with people on a field.‎

‎o.J. Pastel, on grey paper, recto studio stamp. 11,5:15 cm.‎

‎?Son of the prominent Tonalist landscape painter Walter Clark, Eliot Clark came of age in his father?s New York studio surrounded by some of the foremost artists of his time, including John Twachtman, Edward Potthast, Joseph De Camp, and Frank Duveneck. He later recalled that he ?grew unconsciously in the association of artists, of studio talk and that smell of paint and turpentine.? Eliot also accompanied his father on painting trips, traveling in New England and to the American West in 1901. On these excursions, Clark was encouraged to experience, as well as to observe, in order that he might be able to compose landscape works based on memory, as well as detailed sketches. After a brief period of study at the Art Students League, Clark made the obligatory study trip to Europe in 1904. He did not enroll at one of the established academies, but instead traveled extensively on his own, observing old master paintings and painting en plein air at various sites favored by the Barbizon artists. Arriving in London in 1905, he made a special point of viewing a memorial exhibition of the works of James Abbott McNeill Whistler at the New Gallery. Afterwards, he wrote to his father that he admired Whistler?s ?use of color, and subtle arrangement of line and balance of masses.? That influence, and his development of a personal understanding of close color harmonics, is the most identifiable characteristic of Clark?s art. Not long after his return to New York in 1906, Clark opened a studio in the Van Dyke Studio Building where several other Tonalist painters also maintained spaces. From there, he began creating works with powerful light, minimal color differential, and an intentional focus upon the inherent grace of the passing moment. Deeply involved in the city?s art scene, he was elected an associate member of the National Academy of Design in 1917, an affiliation that would prove especially meaningful. Over the course of his career, Clark held the offices of corresponding secretary, vice-president, and finally as president of the organization from 1956?1959. He also served as curator/conservator of the Academy?s collection, stabilizing the large and disparate holdings and eventually publishing a comprehensive history of the institution in 1954. Clark authored a series of monographs on his favorite artists, favoring the work of such Impressionist and Tonalist masters as Childe Hassam and Gustave Courbet over his more modern contemporaries. During this same period, he taught classes at the Art Students League and exhibited widely. As a successful and well connected practitioner of the lingering Impressionist impulse in American art, Clark received invitations to serve as the annual visiting instructor at the Savannah Art Club in 1924 and 1925. For two consecutive winters, Clark reveled in the city?s lush environs, welcoming it as a point of new beginnings. His Savannah ?interlude was delightful. . . The picturesque city with its silvery southern light, its many gardens, and ancient live oaks hung with gray moss? entranced the artist. His work is represented in the Telfair?s permanent collection, as well as the collections of other institutions such as the Smithsonian American Art Museum, Washington, the Parrish Art Museum, Water Mill/New York and the Weisman Art Museum, Minneapolis.? (Zit.: thejohnsoncollection/eliot-clark).‎

Bookseller reference : 081-H

‎Clark, Eliot - 1883 ? New York ? 1980‎

‎Symbolic landscape by moonlight, at the right side beings like angles.‎

‎o.J. Black chalk, surround by one line, on handmade paper, signed in blue ?Eliot Clark?, verso studio stamp. 22,4:29 cm.‎

‎?Son of the prominent Tonalist landscape painter Walter Clark, Eliot Clark came of age in his father?s New York studio surrounded by some of the foremost artists of his time, including John Twachtman, Edward Potthast, Joseph De Camp, and Frank Duveneck. He later recalled that he ?grew unconsciously in the association of artists, of studio talk and that smell of paint and turpentine.? Eliot also accompanied his father on painting trips, traveling in New England and to the American West in 1901. On these excursions, Clark was encouraged to experience, as well as to observe, in order that he might be able to compose landscape works based on memory, as well as detailed sketches. After a brief period of study at the Art Students League, Clark made the obligatory study trip to Europe in 1904. He did not enroll at one of the established academies, but instead traveled extensively on his own, observing old master paintings and painting en plein air at various sites favored by the Barbizon artists. Arriving in London in 1905, he made a special point of viewing a memorial exhibition of the works of James Abbott McNeill Whistler at the New Gallery. Afterwards, he wrote to his father that he admired Whistler?s ?use of color, and subtle arrangement of line and balance of masses.? That influence, and his development of a personal understanding of close color harmonics, is the most identifiable characteristic of Clark?s art. Not long after his return to New York in 1906, Clark opened a studio in the Van Dyke Studio Building where several other Tonalist painters also maintained spaces. From there, he began creating works with powerful light, minimal color differential, and an intentional focus upon the inherent grace of the passing moment. Deeply involved in the city?s art scene, he was elected an associate member of the National Academy of Design in 1917, an affiliation that would prove especially meaningful. Over the course of his career, Clark held the offices of corresponding secretary, vice-president, and finally as president of the organization from 1956?1959. He also served as curator/conservator of the Academy?s collection, stabilizing the large and disparate holdings and eventually publishing a comprehensive history of the institution in 1954. Clark authored a series of monographs on his favorite artists, favoring the work of such Impressionist and Tonalist masters as Childe Hassam and Gustave Courbet over his more modern contemporaries. During this same period, he taught classes at the Art Students League and exhibited widely. As a successful and well connected practitioner of the lingering Impressionist impulse in American art, Clark received invitations to serve as the annual visiting instructor at the Savannah Art Club in 1924 and 1925. For two consecutive winters, Clark reveled in the city?s lush environs, welcoming it as a point of new beginnings. His Savannah ?interlude was delightful. . . The picturesque city with its silvery southern light, its many gardens, and ancient live oaks hung with gray moss? entranced the artist. His work is represented in the Telfair?s permanent collection, as well as the collections of other institutions such as the Smithsonian American Art Museum, Washington, the Parrish Art Museum, Water Mill/New York and the Weisman Art Museum, Minneapolis.? (Zit.: thejohnsoncollection/eliot-clark).‎

Bookseller reference : 105-H

‎Clark, Eliot - 1883 ? New York ? 1980‎

‎View of a small village-street with houses.‎

‎o.J. Crayon, on grey paper, signed in blue ?Eliot Clark?, verso studio stamp. 25,5:28,1 cm.‎

‎?Son of the prominent Tonalist landscape painter Walter Clark, Eliot Clark came of age in his father?s New York studio surrounded by some of the foremost artists of his time, including John Twachtman, Edward Potthast, Joseph De Camp, and Frank Duveneck. He later recalled that he ?grew unconsciously in the association of artists, of studio talk and that smell of paint and turpentine.? Eliot also accompanied his father on painting trips, traveling in New England and to the American West in 1901. On these excursions, Clark was encouraged to experience, as well as to observe, in order that he might be able to compose landscape works based on memory, as well as detailed sketches. After a brief period of study at the Art Students League, Clark made the obligatory study trip to Europe in 1904. He did not enroll at one of the established academies, but instead traveled extensively on his own, observing old master paintings and painting en plein air at various sites favored by the Barbizon artists. Arriving in London in 1905, he made a special point of viewing a memorial exhibition of the works of James Abbott McNeill Whistler at the New Gallery. Afterwards, he wrote to his father that he admired Whistler?s ?use of color, and subtle arrangement of line and balance of masses.? That influence, and his development of a personal understanding of close color harmonics, is the most identifiable characteristic of Clark?s art. Not long after his return to New York in 1906, Clark opened a studio in the Van Dyke Studio Building where several other Tonalist painters also maintained spaces. From there, he began creating works with powerful light, minimal color differential, and an intentional focus upon the inherent grace of the passing moment. Deeply involved in the city?s art scene, he was elected an associate member of the National Academy of Design in 1917, an affiliation that would prove especially meaningful. Over the course of his career, Clark held the offices of corresponding secretary, vice-president, and finally as president of the organization from 1956?1959. He also served as curator/conservator of the Academy?s collection, stabilizing the large and disparate holdings and eventually publishing a comprehensive history of the institution in 1954. Clark authored a series of monographs on his favorite artists, favoring the work of such Impressionist and Tonalist masters as Childe Hassam and Gustave Courbet over his more modern contemporaries. During this same period, he taught classes at the Art Students League and exhibited widely. As a successful and well connected practitioner of the lingering Impressionist impulse in American art, Clark received invitations to serve as the annual visiting instructor at the Savannah Art Club in 1924 and 1925. For two consecutive winters, Clark reveled in the city?s lush environs, welcoming it as a point of new beginnings. His Savannah ?interlude was delightful. . . The picturesque city with its silvery southern light, its many gardens, and ancient live oaks hung with gray moss? entranced the artist. His work is represented in the Telfair?s permanent collection, as well as the collections of other institutions such as the Smithsonian American Art Museum, Washington, the Parrish Art Museum, Water Mill/New York and the Weisman Art Museum, Minneapolis.? (Zit.: thejohnsoncollection/eliot-clark).‎

Bookseller reference : 114-H

‎Clark, Walter A. - 1848 Brooklyn ? Bronxville/New York1917‎

‎Clearing of a forest and willows.‎

‎o.J. Pastel, on grey paper, monogrammed with pencil ?W. C.?, verso denoted in blue pen ?Walter Clark?. 35,8:25,3 cm. From the estate oft his son Eliot Clark.‎

‎?Born in Brooklyn, Impressionist Walter Clark (1848-1917) led a varied life prior to pursuing his artistic career. He originally studied to become an engineer at the Massachusetts Institute of Technology, traveled extensively through Europe and Asia after his graduation in 1869, and was a sheepherder in Wyoming for a short time. He eventually returned to New York in 1876, studying first at the National Academy of Design, then joining the Art Students League where he occupied a studio adjacent to George Inness. Inness, John Henry Twachtman, and Joseph DeCamp would all become significant influences on Clark?s art, which over the course of the 1880s and 1890s shifted from Tonalist-style pastoral landscapes to something more Impressionist in nature. Clark spent his summers at East Coast art colonies in places like Old Lyme, Connecticut and Ogunquit, Maine. His exhibition history with the National Academy of Design spanned multiple decades, and his art was featured at several major expositions, including the 1893 Columbian Exhibition in Chicago.? (Zit.: Madron Gallery, Chicago).‎

Bookseller reference : 684-E

‎Clark, Walter A. - 1848 Brooklyn ? Bronxville/New York1917‎

‎Hour of twilight and edge of a forest.‎

‎o.J. Pastel, on grey paper (verso printed ornament), monogramm ?W.C.?. 21:25,8 cm. From the estate oft his son Eliot Clark.‎

‎?Born in Brooklyn, Impressionist Walter Clark (1848-1917) led a varied life prior to pursuing his artistic career. He originally studied to become an engineer at the Massachusetts Institute of Technology, traveled extensively through Europe and Asia after his graduation in 1869, and was a sheepherder in Wyoming for a short time. He eventually returned to New York in 1876, studying first at the National Academy of Design, then joining the Art Students League where he occupied a studio adjacent to George Inness. Inness, John Henry Twachtman, and Joseph DeCamp would all become significant influences on Clark?s art, which over the course of the 1880s and 1890s shifted from Tonalist-style pastoral landscapes to something more Impressionist in nature. Clark spent his summers at East Coast art colonies in places like Old Lyme, Connecticut and Ogunquit, Maine. His exhibition history with the National Academy of Design spanned multiple decades, and his art was featured at several major expositions, including the 1893 Columbian Exhibition in Chicago.? (Zit.: Madron Gallery, Chicago).‎

Bookseller reference : 686-E

‎Clark, Walter A. - 1848 Brooklyn ? Bronxville/New York1917‎

‎Seascape, surging waves.‎

‎o.J. Pastel, ca. 1885, on grey paper, monogramm ?W.C., verso signed ?Walter Clark?. 30:40 cm. From the estate oft his son Eliot Clark.‎

‎?Born in Brooklyn, Impressionist Walter Clark (1848-1917) led a varied life prior to pursuing his artistic career. He originally studied to become an engineer at the Massachusetts Institute of Technology, traveled extensively through Europe and Asia after his graduation in 1869, and was a sheepherder in Wyoming for a short time. He eventually returned to New York in 1876, studying first at the National Academy of Design, then joining the Art Students League where he occupied a studio adjacent to George Inness. Inness, John Henry Twachtman, and Joseph DeCamp would all become significant influences on Clark?s art, which over the course of the 1880s and 1890s shifted from Tonalist-style pastoral landscapes to something more Impressionist in nature. Clark spent his summers at East Coast art colonies in places like Old Lyme, Connecticut and Ogunquit, Maine. His exhibition history with the National Academy of Design spanned multiple decades, and his art was featured at several major expositions, including the 1893 Columbian Exhibition in Chicago.? (Zit.: Madron Gallery, Chicago).‎

Bookseller reference : 687-E

‎Clark, Walter A. - 1848 Brooklyn ? Bronxville/New York1917‎

‎Stable and white cattle behind a fence.‎

‎o.J. Pastel, on grey-brown paper, monogramm ?EC?, verso studio stamp and signed ?Walter Clark?. 27:44,2 cm. ? Little damages in the margins. From the estate oft his son Eliot Clark.‎

‎?Born in Brooklyn, Impressionist Walter Clark (1848-1917) led a varied life prior to pursuing his artistic career. He originally studied to become an engineer at the Massachusetts Institute of Technology, traveled extensively through Europe and Asia after his graduation in 1869, and was a sheepherder in Wyoming for a short time. He eventually returned to New York in 1876, studying first at the National Academy of Design, then joining the Art Students League where he occupied a studio adjacent to George Inness. Inness, John Henry Twachtman, and Joseph DeCamp would all become significant influences on Clark?s art, which over the course of the 1880s and 1890s shifted from Tonalist-style pastoral landscapes to something more Impressionist in nature. Clark spent his summers at East Coast art colonies in places like Old Lyme, Connecticut and Ogunquit, Maine. His exhibition history with the National Academy of Design spanned multiple decades, and his art was featured at several major expositions, including the 1893 Columbian Exhibition in Chicago.? (Zit.: Madron Gallery, Chicago).‎

Bookseller reference : 682-E

‎Clausell, Joaquin and Jorge Alberto Manrique et al.‎

‎Joaquin Clausell y los Ecos Del Impresionismo en Mexico‎

‎This is a near fine softcover copy with virtually no wear. Completely clean inside and out. Text completely in Spanish. This catalog was prepared to accompany the exhibition of the same name presented at the Museo Nacional de Arte (Mexico, July-Oct. 1995). Texts by curator Jorge Alberto Manrique ('Impresionismo y Modernidad en México') and others. The essays contextualize Clausell's work within the Mexican art scene and the work of his contemporaries. Includes bibliographical references. Checklist with 178 works. 152 illustrations, almost all in color. 11" high X 9" wide, 192 pages. This book will be securely wrapped and packed in a sturdy box and shipped with tracking.‎

‎CLAY Jean.‎

‎L'impressionisme; préface de René Huyghe.‎

‎In-4° pp. 319 con moltissime ill. a colori. leg. in tela edit. con sovrac. a col. e in custodia.‎

‎Cogeval G. (cur.); Rey X. (cur.)‎

‎Monet. Dalle collezioni del Musée d'Orsay e dell'Orangerie. Ediz. illustrata‎

‎ill., ril. Nessun artista più di Claude Monet ha cercato di catturare l'essenza della luce sulla tela. Tra tutti gli impressionisti fu lui a rimanere sempre totalmente aderente al principio di fedeltà assoluta alla sensazione visiva, dipingendo direttamente l'oggetto sulla tela. Dopo un esordio all'insegna del realismo courbettiano negli anni sessanta dell'Ottocento, i dipinti di Monet mostrano la cifra più pura dell'Impressionismo, prima di dare vita, inizialmente tramite uno sguardo sempre più acuto e penetrante, poi attraverso una libertà e un lirismo sempre più marcati, a un intero capitolo dell'arte del XX secolo. Pubblicata in occasione dell'esposizione organizzata da Skira, in collaborazione con la Città di Torino, la Fondazione Torino Musei, la GAM Galleria Civica d'Arte Moderna e Contemporanea di Torino e il Musée d'Orsay di Parigi, la monografia illustra il percorso artistico di questo straordinario maestro dell'arte francese attraverso una quarantina di dipinti provenienti dal Musée d'Orsay, che conserva la più importante raccolta pubblica di pittura impressionista al mondo.‎

‎COGNIAT (Raymond).‎

‎Le Siècle des impressionnistes.‎

‎Paris, Flammarion, [cop. 1976] 1 volume 23,5 x 31,8cm Reliure éditeur pleine toile sous jaquette illustrée couleurs. 206p., 1 feuillet; nombreuses illustrations en noir in texte, vignettes et pleines pages, 11 vignettes couleurs en tirés à part contrecollés et 96 planches couleurs sur papier couché (comprises dans la pagination). Bon état.‎

‎Etude du critique d'art Raymond COGNIAT (1896-1977) sur le courant impressionniste en France et les "mouvements qui, hors de France, le complètent", en évoquant ses "origines lointaines, au début du XIXè siècle, et [ses] conséquences immédiates" (rabat de jaquette); abondamment illustrée, dont 108 reproductions couleurs sur papier couché (2 sur 1 des 96 planches); notices biographiques des artistes in fine; bibliographie. Exemplaire bien complet de sa jaquette et des 11 tirés à part contrecollés.‎

Bookseller reference : 19541

‎Cogniat - Terrasse‎

‎Histoire Universelle de la peinture : L'Impressionnisme‎

‎Editions Famot 1986 In-4 relié. Bon état d’occasion.‎

‎Bon état d’occasion‎

Bookseller reference : 58321

‎COGNIAT Raymond‎

‎IL SECOLO DEGLI IMPRESSIONISTI.‎

‎In-4, tela editoriale, sovracoperta, pp. 210, interamente illustrato da belle tavole in tinta e a colori, anche a piena pagina. In buono stato (good copy).‎

‎COGNIAT Raymond‎

‎Pissarro‎

‎Flammarion Flammarion, 1978. In-4 cartonnage éditeur sous jaquette de 95 pages très illustrées. Bon état‎

‎Toutes les expéditions sont faites en suivi au-dessus de 25 euros. Expédition quotidienne pour les envois simples, suivis, recommandés ou Colissimo.‎

Bookseller reference : 168710

‎COGNIAT, Raymond.‎

‎La peinture en France au temps des impressionnistes.‎

‎in-4, pp. 163, con 101 riproduz. a col. n.t. e a piena p., leg. edit. t. tela, sovracop. fig. La storia dell'Impressionismo attraverso le opere dei suoi maggiori interpreti.. .‎

‎Coissart, Dan (expert)‎

‎Succession Manzana-Pissarropartie d'atelier de Pierre Grisot et de Maurice Busset‎

‎Aguttes, Neuilly-sur-Seine, 2005. In-4, broché sous couverture illustrée en couleurs, 89 pp. Georges Manzana-Pissarro (1871-1961) - Succession Manzana-Pissarro [110 n°] - Collection de M. V. Ensemble de 33œuvres provenant de l'atelier de Pierre Grisot (1910-1995) - Collection de M. D. Ensemble de 31œuvres provenant de l'atelier de Maurice Busset -1879-1936) - Tableaux ...‎

‎Nombreuses illustrations couleurs. --- Plus d'informations sur le site archivesdunord.com‎

Bookseller reference : 7592

‎COLIN Paul‎

‎Manet. Collection : Anciens et modernes.‎

‎Paris, Librairie Floury, 1937. 14 x 20, 177 pp., 67 illustrations dont 8 en couleurs, broché, bon état (couverture légèrement défraîchie).‎

Bookseller reference : 65241

‎Collectif‎

‎Aguttes : Catalogue de vente aux enchères, mercredi 4 avril 2012 : Écoles russe et étrangères, école de Paris, peinture orientaliste et du XIXe siècle, peinture impressionniste et moderne - Drouot-Richelieu, Paris‎

‎Dan Coissart, cabinet d'expertise Catalogue 2012 "In-4 (22 x 30 cm), catalogue dos carré collé, couverture illustrée en couleurs, 151 pages, iconographie en couleurs et en noir in et hors-texte, catalogue de vente de peinture ""Aguttes"" : Écoles russe et étrangères, école de Paris, peinture orientaliste et du XIXe siècle, peinture impressionniste et moderne, organisé par le cabinet d'expertise Dan Coissart à Drouot-Richelieu le mercredi 4 avril 2012 ; coiffes et coins légèrement frottés, petites marques d'usage sur les plats, bon état. Livraison a domicile (La Poste) ou en Mondial Relay sur simple demande."‎

Bookseller reference : ca1399