1912 Macbeth Galleries, 450 Fifth Avenue, New York, NY, “Exhibition of Paintings by Emil Carlsen, N.A.”, March 4-16
WORKS BY EMIL CARLSEN
1912 American Art News, “Carlsen at Macbeth’s”, March 9, 1912
Fifteen typical examples of the versatile brush of Emil Carlsen are on exhibition in the Macbeth Galleries, 450 Fifth Avenue, through March 15. The range of subjects and treatment give a good idea of the versatility of the painter, and delicacy, feeling and charm characterize each canvas. Some of the works are familiar, but the majority are recent and strong presentments of nature, realistic and poetical. “Ripening Corn” is luminous, and “Heather Hills” has fine distance effect and tonal quality. “Study of Surf” is a typical marine, fresh and crisp in color, and “Windham Church” has sympathetic charm. “Hillside Pastures” is lovely in color and full of light and air.
1912 The Tribune, (Review of the exhibition of Emil Carlsen at Macbeth), March 8, 1912
At the Macbeth Galleries, Emil Carlsen, N. A., is showing sixteen landscapes and sea pieces, all of them testifying to the honest and appreciative way in which he has studied the world of outdoors. Mr. Carlsen’s admirable paintings of still-life are not represented in this exhibition but the visitor acquainted with his art in this department will find no difficulty in perceiving that Mr. Carlsen studies his landscapes and the surface of the moving sea with a regard as scrupulous in ths search for essentials of form and color as that which he manifests in his studies of fruits and fish, pottery and metal. The pivotal place in the gallery is given to a study of greens, the interior of a wood, with a stream repeating the leaves of overhanging trees. In this, as in most of Mr. Carlsen’s work, one detects the Northern strain in the artist’s lineage, as indicated by a certain hushed quality typically Scandinavian, a quality not precisely defined by calling it restrained, yet suggesting what is calm and quiet as opposed to the vivacity that emanates the art of Southern Europe. Mr. Carlsen is a Dane, but his forty years in this country give the community of artists here a right to claim him as one of them, a right too, that has long ago been gladly exercised.
1912 (unknown source), (Review of Emil Carlsen exhibition at Macbeth)
The exhibition of paintings by Emil Carlsen at the Macbeth gallery, show what this artist can do in landscape. Those who are familiar with Mr. Carlsen’s still life will be pleased with the present exhibit.
The sense of space and distance in his picture entitled “Summer Clouds,” give his beach the solitary and dreary aspect associated with long sketches of seashore. The boars in the foreground suggest the possibility of human life even in this lonely place.
He shows a dark sea in the purple and green colorings of his canvas called “Sea in August.” There are but three pictures suggestive of the sea while the other twelve are landscapes. “The Pool in the Forest” is the most lovely, while both this and “October Beechwoods,” reveal the true spirit of the woods. Three dilightful studies of outdoor life are “The Old Sycamore,” “Ripening Corn,” and “Hillside Pastures.” The “Windham Church” migh be any one of the old churches in the villages of New England. Mr. Carlsen has won the Temple gold medal in the 1912 exhibition of the Pennsylvania Academy of Fine Arts in Philadelphia and has work represented in the leading art museums of this country, among them the Metropolitan Museum and Corcoran gallery at Washington…
1912 Unknown Source, “Landscapes by Emil Carlsen”
Mr. Carlsen’s version of the sea are familiar to many an exhibition visitor, but his landscapes are aless well known. The mobile waves and clouds of his ocean pictures in the present exhibition give place to firmly rooted forest trees, rocks, hills, and stout-walled buildings. He shows, to be sure a “Sea in August,” in which the deep color marches from green toward purple with strong rather than delicate gradations, and not so much the effect of light as of color; and there is a study of surf and a cascade that misses the look of a downward rush of water. The “October Beachwoods” and the “Pool in the Forest,” each case evokes the spirit of the woodland without however, suggesting the stir of wing amoung the branches or the tremor of the leafage in contrast with the immobility of the trunks and the solid earth.
The “Shadow of the Cliff” is a pale rather cold, picture, not precisely empty, as the notation of the shadow value is in itself interest enough, but large without spaciousness. We liked much better “The Old Sycamore,” a delightful study of tree form, and a fine composition of color, with the grizzled trunck and green foliage against a hot and somewhat murky blue sky. Ripening corn also is truly “blonde comme les bles” and “Hillside Pastures” is closely observed.
Mr. Carlsen seems not quite at home on land, but if we think of his pictures as decoration without asking for portraiture we invariably get something beautiful and considered with a certain precious quality that captures the larger canvases more fully than the smaller, contrary to common experience. The exhibition lasts until March 16.
1912 The Sun, (Review of Emil Carlsen exhibition at Macbeth), March 10, 1912
Emil Carlsen, who doesn’t in the least mind being called the Vermeer of Manhattan, is displaying with the passing of the years a manyaidedness that his most fervent admirers had never hoped for. To proce the truth of this assertion go to the Macbeth Galleries and study his dozen old canvases. The shimmering marines are there and also some sympathetic interpretation of trees. Carlsen has been painting in the misty mod region of Wier (J. Alden) and his note is bigger, his palette warmer and more various…
1912 Morning Telegraph, (Review of Emil Carlsen exhibition at Macbeth), March 10, 1912
Emil Carlsen is certainly a poet with his brush, a many of distinctly original ? and an accomplished craftsman. Some fifteen canvases shown at the Macbeth galleries, 450 Fifth avenue, disclose all these qualities and more, for before the pictures one realizes that the man has exquisite taste in the matter of design. Here surely is nature seen through a temperament. Here is a naively personal viewpoint, backed by consummate power to express the visualized ?, according to Arthur Hoeber. it is all tender, appealing, refined, and full of sentiment. A great glade in the forest is expressed with delicacy and no little power; several views of the sea and rocks are rendered with the most agreeable color, and there are some ? of hills with trees, generally in ? about…?