American Masterpieces from Dryads Green Gallery
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    Bobbin Mill sketch, oil on wood panel,  5 3/4 x 8 3/4,  signed lower left  
Curator's Comments: We took this gem to the curatorial committee then
situated at Ira Spanierman's gallery and they had no opinion on it--neither rejecting or
accepting it. Previously, we took this  sketch to be cleaned by our restorer, one of the
most prominent in New York, who remarked that it was a good 100 years old, in the
old hard paint and with a signature matching the artist's and in the painting.
Additionally, it was done on a wooden cigar box cover, much the same as those
Twachtman was known to carry in his pocket to capture scenes he wanted to paint or
etch. As one Twachtman scholar has noted, "He often worked on cedar cigar-box lids,
which he could carry easily, sketching a design when something of interest caught his
eye."Moreover, the subject of the sketch fits well with Twachtman's emphasis on
mills and boatyards, and note that scholar Susan Larkin remarks in her study of the
Cos Cob Art Colony, that Twachtman in his masterpiece,
The Old Mill, depicting one
of the first tidal-powered grist mills in the country, "although painting in the age of
steam and electricity, continues his emphasis on industrial zones, on mills, barns,
stables and warehouses, which captured not the 19th century, but the 18th century
and its use of water-power, which tied humanity closer to nature.
"
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Attributed to Twachtman
Cigar Box Sketch Looks Right to Us
Both in his early Cincinnati period works and later in New
England, Twachtman focused on water mills.
The Artist, ca. 1895
Born in Cincinnati, Ohio, Twachtman ( 1853-1902) first studied at the
OhioMechanics Institute, and in 1874, began to paint with Frank Duveneck, an
American artist of the Munich School of direct, impasto brushwork, often in dark
tones. In 1875, Twachtman went to Europe and studied at the Royal Academy in
Munich, and in 1877, went with Duveneck and William Merritt Chase to Venice. But
his style changed from the dark sombre tones of the Munich School, in 1883, when
he went to Paris and studied at the  Academie Julian with Jules Lefebvre. From that
time on, his style was characterized by low-key gray and green tones, and smooth
texture. In 1890, Twachtman purchased a seventeen-acre farm in Connecticut and set
up a studio. The farm became an inspiration for much of his later work, and even a
footbridge he had constructed himself. In 1897, he became a founding member of
The Ten, a group of artists who broke with the Society of American Artists and its
exhibitions. He died suddenly while painting in Gloucester in 1902.