American Masterpieces from Dryads Green Gallery
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Artist Name:     Arthur Clifton Goodwin
Artist Dates:         1864-1929    
Painting Title:       
Along the Sacco  
Painting Date:       Undated
Medium:              Oil on canvas       
Signature:             
Signed           
Provenance:          
Private
Collection
     Condition:             
Excellent
Size Unframed:      25 x 30
Frame Condition:   Antique  
Artist Best Price:    $57,000
Offered At:             CALL        
Curator's Comments: The major 1974 Goodwin retrospective held at the Museum of Fine
Arts, Boston, generated fame and fortune for the artist, who had passed away in the Depression
Era. Thereafter his works have been sought and collected by institutions and individual collectors
worldwide. This was a change from Goodwin’s lifetime, when his eccentric lifestyle cost him
patrons. But the MFA exhibition, powered by the museum’s own holding of more than a dozen
of the greatest Goodwins, (along with pieces from the Brooklyn Museum ) showed his deep talent as
a hometown Anerican impressionist who preferred, much like Enneking before him, to remain in
Boston.

Goodwin was born in Portsmouth, New Hampshire and was raised in Chelsea Massachusetts. After
painting in Boston for a twenty-year period, in 1920, he left Boston for New York City and then
settled in Chatham, New York, with his wife. He returned to Boston in 1929. He was a member of
the Guild of Boston Artists and the Boston Society of Water Color Painters, and exhibited at the  
Doll & Richards Gallery, Boston (which held his first exhibition in 1904); the exclusive St. Botolph
Club and the Boston Art Club. Out of town he showed at the Corcoran Gallery in Washington, DC,
at New York’s National Academy of Design and in Philadelphia at the PAFA.
Along the Sacco in the White Mountains
Along the Sacco in the White Mountains
Goodwin was basically self-taught. But still managed to gain the recognition of John Singer Sargent
and Childe Hassam, who called him “the greatest painter in Boston." He was also known to
Isabella Stewart Gardner in her day. But the chief artistic sponsor of Goodwin was Louis Kronberg
(1872-1965), and Goodwin first started painting in Kronberg’s studio. Goodwin got his
Impressionism from Kronberg’s studies of the ballet and its dancers, and their friendship allowed
Kronberg to provide Goodwin with emotional and financial support throughout his career. It was
Kronberg’s move to New York in 1919 that led Goodwin there, but the alcohol-related break up of
his marriage took him back to Boston in 1929, where after a drinking binge he was found dead in his
studio with his trunk packed and a steamer ticket for Paris in his jacket. Ironically, Goodwin never
got to see the Impressionists he favored first hand.

In 1920, Goodwin painted Washington Square in Manhattan from his studio there, creating a
masterful Impressionistic cityscape, much like his earlier Park Street views of Boston, often in rain
or snow and with its churches, crowds and cabs. His "T" wharf series, representing the pier where
freighters from Portugal and Italy tied up are also well known, as are an important series of scenes
set in the city’s parks. But it is very important to remember the Goodwin was a full-range
landscape painter, who is also strongly identified with the White Mountains and the painters he knew
there.  He painted en plein air, and again like Enneking before him, traveled and sketched summer
after summer in the North Conway area. In fact, Goodwin actually called the painting we are proud to
offer, "Along the Sacco," referring to the Sacco River, although the canvas is known inaccurately as
"Along the Stream," and the mountain displayed is New Hampshire’s Attitash. We have provided
some closely paralleled actual photographs of the scene, which enhance our sense of Goodwin’s
achievement. "Along the Sacco" is a painting we were extremely anxious to acquire. (Again one must
be careful with Goodwin’s cityscapes, which have been mass reproduced on canvas in multiple
copies.) Here we see Goodwin’s excellent treatment of the eerie mountain light late in the day,
and the fully integrated relationship of mountain, woods, and river. It is the Sacco that drives the
painting, giving meaning to its natural harmony and exposing a grand scale that contratsts
humankind’s circumscribed vision and understanding. It is Goodwin's artistic vision that captures
what we typically fail to see. This is a painting that endlessly rewards the viewer with its dynamic
harmony. It is in mint condition and well framed in what we suspect is a museum frame--definitely a
pleasure to own.
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