Lot Essay
RELATED LITERATURE:
U. Hiesinger, Impressionism in America, The Ten American Painters, New York, 1991, pp. 242-3
This is most probably the painting The Brook that Reid included in the Ten's second annual group exhibition at Durand-Ruel, New York, in 1899, and may have also been included in Reid's exhibition of old and recent works at his own studio in the same year. In a New York Daily Tribune review of his one-man exhibition at Durand-Ruel the preceeding year, an anonymous critic (possibly Royal Cortissoz) commended Reid's ability to "render the last, most evanescent aspect of a subject, but to take nothing from its reality..." (Hiesinger, p. 242) Reid's training and continued career as a muralist, and his later focus on portrait painting, make non-figural landscapes like The Brook a relatively rare occurence in his oeuvre.
U. Hiesinger, Impressionism in America, The Ten American Painters, New York, 1991, pp. 242-3
This is most probably the painting The Brook that Reid included in the Ten's second annual group exhibition at Durand-Ruel, New York, in 1899, and may have also been included in Reid's exhibition of old and recent works at his own studio in the same year. In a New York Daily Tribune review of his one-man exhibition at Durand-Ruel the preceeding year, an anonymous critic (possibly Royal Cortissoz) commended Reid's ability to "render the last, most evanescent aspect of a subject, but to take nothing from its reality..." (Hiesinger, p. 242) Reid's training and continued career as a muralist, and his later focus on portrait painting, make non-figural landscapes like The Brook a relatively rare occurence in his oeuvre.