PHILADELPHIA, PA.- The Woodmere Art Museum
Philadelphia's premier institution for interpreting the art and culture of the Philadelphia region presents a new exhibition exploring the work of landscape painter John Folinsbee (1892 1972), offering a fresh perspective on the revered New Hope painters life and career. John Folinsbee and American Modernism, on display from November 6 March 6, 2011, moves past Folinsbees reputation as an impressionist painter, revealing the artists contributions to the development of modern art in America.
Visitors to the exhibition will experience Folinsbees paintings depicting the Bucks County regions iconic scenery as they have rarely been presented before. Looking beyond the traditional pastoral views of the Delaware River and its environs, Folinsbee chose instead to paint the mills, factories, and steel-truss bridges that lined its banks or spanned its waters, and was drawn to the architectural beauty of barns, quarries, and slag heaps. These paintings, primarily on loan to the museum from generous private collectors throughout the country, have been seen by the public rarely, if ever, since Folinsbee created them.
John Folinsbee and American Modernism is Woodmeres first major exhibition under the direction of William R. Valerio, who was recently appointed as the Patricia Van Burgh Allison Director and CEO in September. My responsibility as director is to move Woodmere to the future with strength, preserving the great legacies of the past that make it special, and at the same time, creating new vitality and positive energy, says Valerio, who came to Woodmere from the Philadelphia Museum of Art, where he served as Assistant Director for Administration.
Valerio continues, John Folinsbees imagery is replete with metaphors appropriate to the moment: bridges are the subject of many of his paintings; whether in Poughkeepsie or New Hope, Folinsbees bridges span from bank to bank, connecting the near and the far and representing the path that links the present with both the past and the future. Water rushes beneath Folinsbees bridges, reminding us of the inexorable flow of time, as much as the dramatic diagonal line of train tracks receding into the distance convey a certainty of the march of modernity.
John Folinsbee and American Modernism offers museum patrons the opportunity to experience both the new direction of the Woodmere Art Museum and a chance to see the recent renovation of the Museums grand Kuch Gallery, the rotunda-like space which houses the Folinsbee exhibition. The renovation was designed by influential Philadelphia-based architects Robert Venturi and Denise Scott Brown, of VSBA, who have maintained a long-standing, relationship with the Museum. Also currently on view at the museum is Sam Maitin: Prints and Places.
John Fulton Folinsbee (1892 1972)
Born in Buffalo, New York in 1892, John Folinsbee demonstrated artistic talent at an early age and was sent at age nine to study at the Albright Art Gallery. He moved to Bucks County in 1916 to New Hope, Pennsylvania a town well known for the Impressionist landscapes made famous by the regions resident artists such as Edward Redfield, Charles Rosen, and Daniel Garber.
Throughout his career, Folinsbee approached his work with a fearlessness and independence that is evident in the emotional force of his paintings and the vigor of his brushstrokes.
Folinsbee was a regular exhibitor at the National Academy of Design in New York (known today as the National Academy Museum and School of Fine Arts), where he won nearly every awardsometimes more than once. By his mid-thirties, he had a national reputation that extended to Texas, Ohio, Missouri, California, Indiana, and elsewhere far beyond the boundaries of Bucks County, with which he is so closely associated today.
His achievements as an artist were recognized repeatedly in the form of national prizes and awards from institutions such as the Pennsylvania Academy of the Fine Arts, the Rhode Island School of Design, and the Carnegie Museum of Art; in 1943 he was inducted into the National Institute of Arts and Letters. His work is represented in numerous private and public collections, including The Corcoran Gallery of Art and The Phillips Collection in Washington, D.C.; The Pennsylvania Academy of the Fine Arts; The New Jersey State Museum; and the Farnsworth Museum of Art in Rockland, ME.
Woodmeres exhibition, John Folinsbee and American Modernism, offers a new perspective on an artist largely identified today as a New Hope Impressionist. However, during the years 1920-1940, Folinsbee began to move away from traditional Impressionism in favor of a style more firmly grounded in structure and a greater expression of mood. Structure is a key characteristic of modernism, and paintings made by Folinsbee during this period reveal him to be much more engaged in the development of modern art in America than has been previously thought.
Folinsbee was not a modernist, but he was modern, says exhibition curator Kirsten Jensen, an expert on the artists work and Director of the John F. Folinsbee Catalogue Raisonné. His painting reflects a contemporary sensibility, one that changed as the times changed, and which reflected an earnest attempt to digest and translate visually what was around him culturally. His mature artistic practice melded old and new together in an innovative way.
Adds Valerio, Here we encounter Folinsbee embracing the language of modern art and the great innovations of Cezanne as a vehicle to express the uncertainty and changing nature of American life. At the same time, we are made to see that Folinsbees work of earlier decades, his Impressionism, is highly structured and it presents us with a landscape that is rapidly changing.