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Jervis McEntee (American, 1828-1891). The Fire of Leaves, 1862. Oil on canvas. 20 x 36 inches (50.8 ...
美国 北京时间
2022年05月11日 开拍 / 2022年05月09日 截止委托
拍品描述 翻译
Jervis McEntee (American, 1828-1891)
The Fire of Leaves, 1862
Oil on canvas
20 x 36 inches (50.8 x 91.4 cm)
Initialed and dated lower left: JME / 1962
PROVENANCE:
Prof. M.A. Hitchcock, Hartford, Connecticut, 1862;
By descent in the Hitchcock family to Thomas Hitchcock, Hartford, Connecticut, until 1980;
Private collection, Denver, Colorado.
EXHIBITED:
National Academy of Design, New York, 1862 (lent by Prof. M. A. Hitchcock);
Mead Art Museum, Amherst College, Massachusetts, "Collegial Collectors: American Art from the Class of 1967," 1992;
Beacon Hill Fine Art, New York, "McEntee & Company," 1997;
Smithsonian American Art Museum, Washington D.C. and elsewhere, "The Civil War and American Art," November 16-April 28, 2013.
LITERATURE:
Mead Art Museum, Amherst College, Massachusetts, Collegial Collectors: American Art from the Class of 1967, exhibition catalogue, 1992, p. 9, illustrated;
Beacon Hill Fine Art, New York, McEntee & Company, exhibition catalogue, 1997, p.7, illustrated;
Smithsonian American Art Museum, Washington D.C. and elsewhere, The Civil War and American Art, exhibition catalogue, 2013, p. 166, no. 58, illustrated.
Jervis McEntee's seminal 1862 Fire of Leaves is arguably the finest and most important masterwork by the artist to ever come to market. The painting is not only near flawless in artistic merit, it also serves as a poignant homage to the encroaching conclusion of the Civil War, and America's deep desire for a return to peace and normalcy.
McEntee was admitted to the National Academy of Design in New York in 1860, in recognition of his painting Melancholy Days (now lost). To quote Charles Eldredge in his essay for Collegial Collectors, "Scenes registering states of mind, either the maker's or the age's, through the ostensibly descriptive treatment of nature often appeared at moments of stress, as during the Civil War."
In 1862, in the darkest days of fratricidal slaughter, McEntee exhibited another ambitious canvas at the Academy, The Fire of Leaves, which illustrates his admitted 'preference for the soberer phases of Nature, the gray days of November and its leafless trees.' In a dreary and empty landscape, between separate paths by which they arrived at this foresaken spot and by which they might depart, two boys huddle by a smoldering fire, their companionship the necessary defense against the encroaching gloom and cold; on the ground beside them lie their caps of blue and grey, a small but crucial detail that provides the piquant clue to the painting's pacific metaphor.
As Eleanor Jones Harvey observes in The Civil War and American Art, "The idea of reconciliation found similar expression in one of Jervis McEntee's tender yet somber landscape paintings. The Fire of Leaves of 1862 takes its title from the two small boys huddled over a tiny flame they have kindled from the dry leaves at the edge of a wood. One is dressed in blue, his kepi hat beside him, the other in butternut with a red scarf and slouch hat. Their clothes evoke the uniforms of the Union and the Confederacy. Like Cropsey's painting of Richmond Hill, the message is understated, representing a yearning for peace based on mutual regard. In the fading light, McEntee's two children have shed their differences, drawing close, knowing that in the shared warmth of the fire and their bodies lies their survival, here and now, and for the future. Children--so often read as portents of the future-- here, whether playing at soldiers or as literal adversaries, have abandoned their quarrels, finding common cause. The underlying message of McEntee's The Fire of Leaves is subtle, yet pointed. The future will quite literally be in the hands of children raised on war. Their ability to step beyond their differences and find strength in their commonalities will determine the country's future. This landscape offers choices: different paths to take, different directions."
Condition Report*: Lined canvas. Scattered craquelure throughout. Framed Dimensions 32 X 48 Inches

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