Emil Carlsen : A showery afternoon, 1905.

 

A Showery Afternoon (also known as Landscape & Rising Storm & Approaching Storm), 1905
Emil Carlsen [1848-1932]
Oil on canvas
52 x 52 inches

Signed: At lower right. ‘Emil. Carlsen.’.

Archives of American Art #: 87230428, JUL J0047773, JUL J0047802

Provenance:
c.1940 unknown
c.1928 Francis H. Bacon [1856-1940], Chicago, IL / Boston, MA / IL
1928 Anderson Galleries [1887-1934], Park Avenue and 59th Street, New York, NY
1906 Private collection of John Linde [1866 – 1939], Esq. and Kate Linde [1865-1934], Hoboken, NJ
1905 Emil Carlsen [1848-1932], the artist

Exhibitions:
1928 Anderson Galleries, New York, NY, “Francis H. Bacon Collection”, October 25, shown as “A Showery Afternoon”.
1909 Department of Fine Arts, Seattle, WA, “Alaska-Yukon-Pacific Exposition”, June 1 – October 15.
1908 Saint Botolph Club, Boston, MA, “Paintings by Emil Carlsen“, January 6-24.
1905 Art Institute of Chicago, Chicago, IL, “Eighteen Annual Exhibition of Oil Paintings and Sculpture by American Artists“, October 19 – November 26.
1905 Society of American Artists, New York, NY, “Twenty-Seventh Yearly Exhibition“, March 25-April 30.

References:
– The New Photo-Miniature, New York, NY, “Landscape Photography” edited by John A Tennant, April, 1917, volume 14, number 160, page 149-150, illustrated: b&w on page 150.
– International Studio, November, 1909.
– 1909 Department of Fine Arts, Seattle, WA, Exhibition Catalog, “Alaska-Yukon-Pacific Exposition”, June 1 – October 15, #367, not illustrated.
– Landscape Painting by Birge Harrison, Charles Scribner’s Sons, New York, NY, 1909, 1910, 1911, illustrated: b&w on page 208.
– Saint Botolph Club, Boston, MA, Exhibition Catalog, “Paintings by Emil Carlsen“, January 6-24, 1908, #4, not illustrated.
– The Inter Ocean, Chicago, IL, “Striking Points of the American Art Exhibit” by Maude I. G. Oliver, Sunday, October 29, 1905, not illustrated.
– Society of American Artists, New York, NY, Exhibition Catalog, “Twenty-Seventh Yearly Exhibition“, March 25-April 30, 1905, #294, not illustrated, shown as Rising Storm.
– The International Studio, Volume 25, “The Exhibition of the Society of American Artists”, by Arthur Hoeber, pg 49, illustrated, 1905.
– Society of American Artists, New York, NY, “Twenty-Seventh Yearly Exhibition“, March 25-April 30, 1905, #384, not illustrated.
– The New York Times, New York, NY, “Portraits and Figures at Art Exhibition, Rivals National Academy”, March 26, 1905, page 7.
– Book News, “Representative American Art: Twenty-seventh Annual Exhibition of the Society of American Artists”, by Stella George Stern, Volume 23, 1905.
– Peter A. Juley, Photographer Donation To Frick.
– Smithsonian Institution, Washington, DC, Artist Vertical Files, American Art/Portrait Gallery Library.
– Peter A. Juley & Son Collection, Archives and Special Collections, Smithsonian American Art Museum, Washington, DC, Image #JUL J0047773 and JUL J0047802.

Notes:
The International Studio, Volume 25, “The Exhibition of the Society of American Artists”, by Arthur Hoeber, pg 49, illustrated, 1905.
“Emil Carlsen wins the Webb lanscape prize, with a starlight effect, Night, that is singularly beautiful and just, the textures being secured with rare simplicity, and in his Rising Storm, he has finally succeeded, after some years of experimenting, in obtaining a satisfactory arrangement of light and shade, of atmosphere and general composition interest that make for a good picture.

Book News, Volume 23, “Representative American Art: Twenty-seventh Anuual Exhibition of the Society of American Artists”, by Stella George Stern, 1905.
“Distinguished in the collection were the prize winners. The Webb prize, awarded to the best lanscape or marine, was adjudged to “Night-Old Windham,” by Emil Carlsen. The only question that arises as to the justice of this decision is a surrender to the charm of “The Rising Storm,” by the same artist. “Night” is unsensational and still, but takes hold of the observer by its large simplicity and quiet beauty. High Trees, soft in foliage, a glint of light from a sheltered cottage, all in the one-tone of nightfall,–a subject conventional enough, elevated by the restfulness and absolute fidelity of handling. “The Rising Storm” shows Mr. Carlsen and nature in another mood. Great darkening white clouds edged with glowing light sweep across the deepening blue; a single tree grows panicky in the rising wind; and the last of the shadowed sunshine pales over a field of stacked corn.

The Collector and Art Critic, “The Linde Collection”, pg. 18-20, 1906.
“The Rising Storm” may be considered Carlsen’s masterpiece. There is a juxtaposition of a yellow wheatfield, with shock standing about and a dark clump of trees, and ominous clouds rushing onward. It is the hush before the storm. The foliage imperceptibly trembles, as the first whispers of the speeding hurricane announce a possible convulsion of nature.

The Inter Ocean, Chicago, IL, “Striking Points of the American Art Exhibit” by Maude I. G. Oliver, Sunday, October 29, 1905, not illustrated.
…Emile Carlsen’s “Rising Storm.”
Over this hung a soulful thing depicting a fine, full leafed tree near the brow of a hill, beyond which may be felt immeasurable distance. It is called “Rising Storm” and comes from the brush of Emil Carlsen…

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