American Masterpieces from Dryads Green Gallery
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Artist Name:         John Joseph Enneking
Artist Dates:         1841 -1916
Painting Title:       Gloucester, Nocturne
Painting Date:       Undated
Medium:              Oil on Artist Board
Signature:             Signed Lower Right
Provenance:         Catalogue Raisonne
Condition:            Excellent
Size Unframed:    8 1/2  x 14 1/2
Size Framed:         15 1/2 x 21 1/4
Artist Best Price:   $78,000
Offered At:            CALL
Curator's Comments: Enneking was the first to achieve the rare fusion of Corot's Barbizon
school and Monet
's Impressionism, and to do so in a uniquely American manner that grows out
of Tonalism but flowers with Impressionistic light that is all his own. It is no wonder to us that
critics say his canvases look as if they were painted with afterglow, as here, where the moon is
seen to rhapsodize with the yellow-tinted harbor lights in rippling reflection. Our image hardly
does justice to one of Enneking's most beautiful compositions--a real stunner when one visually
comprehends the brushwork. The harbor lights act to signal the eye to the thin band of moorings
that in turn gives way to the night sky with magnificent cloud effects.

In 1972, the first biography of the artist was written and published by Patricia Jobe Pierce, who is
the source of the artist's Catalogue Raisonne, which includes the above work. A Pierce Gallery
label affixed to the verso indicate her registry of what is one of the rare nocturnes a la Whistler
amongst Enneking
's oeuvre, and a small gem of a painting in every regard. After studying in
France, Enneking returned to Boston in 1876, and quickly rose to the status of one of New
England's most prominent landscape artists, and we think it fitting that Whistler is his
inspiration in this work.

The Pierce biography, of which we own an inscribed copy, portrays Enneking as more worldly
than was previously thought. He spent more time in Europe, and painted two more nocturnes set
in Venice in the 1870s. Back in Boston, he thoroughly enjoyed and participated in his role as
Parks Commissioner. But most important is the picture of Enneking painting away in the White
Mountains. He would take his bicycle and make a three-week circuit stopping at whatever inn he
reached, and then hiking on to a new location for painting. A bear of a man himself, it is said
that he encountered a bear in the mountains and kept right on painting until the creature went
its way. When he lost his way in the mountain mist, he stopped and painted it, revealing a
subtlety that governs much of his work that summons the eye with powerful chiaroscuro, and
again the message is crisp and clear that the night can be  worshipped, even as the day, which is
exactly what Enneking is saying.
Next Catalogue Page
Prior Catalogue Page
Enneking by Caliga
Impressive Brushwork
Venetian Nocturne