Lot Essay
Decorated across the surface in a characteristically whimsical, highly imaginative style, The Riders of the early 1930's is a magnificent example of Charles' Prendergast's painted panels. Although his reputation was first established as one of American's greatest frame makers, Prendergast began a second career as a painter in his fifties which flourished into his early eighties. Although not as acclaimed for his painting as his brother Maurice, Charles did produce a small yet extraordinary group of panels, murals and watercolors which captures his most unique vision, often described as "primitive," "childlike" and "heavenly."
Without precedent in the history of American art, Prendergast's style is immediately recognizable, yet his art did transform and change over time and can be divided into three, fairly distinct periods or styles. Prendergast's first painted works were produced around 1912, following what must have been a highly inspiring trip to Italy the year before. As Nancy M. Mathews points out, "Italy was a revelation to him; he loved the sensation of stepping into the past." (The Art of Charles Prendergast from the Collections of Williams College Museum of Art and Mrs. Charles Prendergast, Williamstown, MA, 1993, p. 15) In addition to the wonderful frames and antique carved furniture he saw, Prendergast was struck by brilliancy of the gold leaf shimmering on the surfaces of the quattrocento and cinquecento masterpieces. From this point forward, gilding not only embellished his frames but became a prominent element in his paintings.
In 1924, Charles lost his older brother and closest artistic companion, Maurice, only to meet later that year in France the woman who would become his devoted wife and most ardent supporter. After his marriage to Eugenie van Kemmel, Charles's artistic production increased and began to follow new paths. Two trips to the south of France resulted in a series of 'hill-town' watercolors which were a departure in subject from his fantasy pictures and hinted at a new direction in his art. Finding a particular interest in the geometric clusters of the hill-town architecture, Prendergast began to look at the world around him and depicted his chosen sites in a style that appeared uniquely his own and not something learned.
Prendergast executed The Riders circa 1933-35. In a characteristic manner, The Riders presents an utterly charming and whimsical view of summertime pleasure. Prendergast leads the viewer into his world by a row of small cub-like animals which alternate with expressive sunflowers in full bloom. Prendergast's wit and spontaneity freed him from employing an expected symmetry and perfection in this carefree arrangement, "reflecting the Ruskinian preference for asymmetry, irregularity and roughness." (R. Anderson, "Charles Prendergast," Maurice Brazil Prendergast and Charles Prendergast: A Catalogue Raisonné, Williamstown, Massachusetts, 1990, p. 90) This design of simplified animal and plant forms leads the viewer to a golden bowl of fruit and an oversized golden swan with outstretched wings. These details may recall Prendergast's earlier interest in subjects suggesting fruitfulness, renewal, and rebirth. However, "it is probably unwise to look for precise iconographic meaning or deliberate intellectual content in his work...it is more likely that Charles chose these motifs primarily because they charmed him on a simple visual level and struck him as a happy antidote to contemporary realism." (R. Anderson, "Charles Prendergast," p. 90)
Overall a feeling of optimism, innocence and naivety abounds. Prendergast's extraordinary sense of design and composition in The Riders is expressed in the wonderful arrangement of the backsides of three seated young girls whose braids, bows and hats line up in identical fashion. Innocently they look ahead at others riding horses and carrying balloons.
Throughout the entire panel, Prendergast's love of decorating a surface is expressed over and over. Although there is a more defined horizon line and clearer divisions of space than in his earlier work, The Riders reveals Prendergast's paramount interest in filling a surface with rich color and pattern, likely stemming from his work in frame design. The flat, two-dimensional quality of The Riders lends the picture a simplicity and clarity, which lies at the heart of its charm. Prendergast's delight in creating the work is displayed across the surface where no one focal point presides. The artist's spontaneous hand is seen in the long, horizontal strokes of the calm sea, the rooftops and the ground leading to the water. These uniform horizontal strokes are broken up by the sweeping lines of the twisting trees, the rounded forms of the shapely terrain, and most obviously by the marvelous shapes of the bold arrangements of flowers, animals and figures. Together these wonderful vignettes create a virtual playground for the eyes, the creation of an artist employing a child-like perspective to capture the pleasures of everyday life.
Without precedent in the history of American art, Prendergast's style is immediately recognizable, yet his art did transform and change over time and can be divided into three, fairly distinct periods or styles. Prendergast's first painted works were produced around 1912, following what must have been a highly inspiring trip to Italy the year before. As Nancy M. Mathews points out, "Italy was a revelation to him; he loved the sensation of stepping into the past." (The Art of Charles Prendergast from the Collections of Williams College Museum of Art and Mrs. Charles Prendergast, Williamstown, MA, 1993, p. 15) In addition to the wonderful frames and antique carved furniture he saw, Prendergast was struck by brilliancy of the gold leaf shimmering on the surfaces of the quattrocento and cinquecento masterpieces. From this point forward, gilding not only embellished his frames but became a prominent element in his paintings.
In 1924, Charles lost his older brother and closest artistic companion, Maurice, only to meet later that year in France the woman who would become his devoted wife and most ardent supporter. After his marriage to Eugenie van Kemmel, Charles's artistic production increased and began to follow new paths. Two trips to the south of France resulted in a series of 'hill-town' watercolors which were a departure in subject from his fantasy pictures and hinted at a new direction in his art. Finding a particular interest in the geometric clusters of the hill-town architecture, Prendergast began to look at the world around him and depicted his chosen sites in a style that appeared uniquely his own and not something learned.
Prendergast executed The Riders circa 1933-35. In a characteristic manner, The Riders presents an utterly charming and whimsical view of summertime pleasure. Prendergast leads the viewer into his world by a row of small cub-like animals which alternate with expressive sunflowers in full bloom. Prendergast's wit and spontaneity freed him from employing an expected symmetry and perfection in this carefree arrangement, "reflecting the Ruskinian preference for asymmetry, irregularity and roughness." (R. Anderson, "Charles Prendergast," Maurice Brazil Prendergast and Charles Prendergast: A Catalogue Raisonné, Williamstown, Massachusetts, 1990, p. 90) This design of simplified animal and plant forms leads the viewer to a golden bowl of fruit and an oversized golden swan with outstretched wings. These details may recall Prendergast's earlier interest in subjects suggesting fruitfulness, renewal, and rebirth. However, "it is probably unwise to look for precise iconographic meaning or deliberate intellectual content in his work...it is more likely that Charles chose these motifs primarily because they charmed him on a simple visual level and struck him as a happy antidote to contemporary realism." (R. Anderson, "Charles Prendergast," p. 90)
Overall a feeling of optimism, innocence and naivety abounds. Prendergast's extraordinary sense of design and composition in The Riders is expressed in the wonderful arrangement of the backsides of three seated young girls whose braids, bows and hats line up in identical fashion. Innocently they look ahead at others riding horses and carrying balloons.
Throughout the entire panel, Prendergast's love of decorating a surface is expressed over and over. Although there is a more defined horizon line and clearer divisions of space than in his earlier work, The Riders reveals Prendergast's paramount interest in filling a surface with rich color and pattern, likely stemming from his work in frame design. The flat, two-dimensional quality of The Riders lends the picture a simplicity and clarity, which lies at the heart of its charm. Prendergast's delight in creating the work is displayed across the surface where no one focal point presides. The artist's spontaneous hand is seen in the long, horizontal strokes of the calm sea, the rooftops and the ground leading to the water. These uniform horizontal strokes are broken up by the sweeping lines of the twisting trees, the rounded forms of the shapely terrain, and most obviously by the marvelous shapes of the bold arrangements of flowers, animals and figures. Together these wonderful vignettes create a virtual playground for the eyes, the creation of an artist employing a child-like perspective to capture the pleasures of everyday life.