American Masterpieces from Dryads Green Gallery
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Phone: 646-239-6142
   The Old Mill, Oil on Canvas, 16 x 20, Signed, Hand Carved Hickory Frame
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Curator's Comments: While pure impressionism persisted into the early postwar period,
new directions (but still non-abstract) had been declared as early as the thirties by
Stevens, and Chauncey Foster Ryder (1868-1949),Stevens (and Coppedge in Bucks
County) used fauvism as a theme to create a  muscular but childlike American
post-impressionist style. Ryder favored a personalized Orientalist technique that
became all his own and is well recognized, not only for its soft wash, but for his
grey-green pallet, which gave rise eventually to the term Ryder Green.
    One viewer whom we showed his
Old Mill painting to complained that the roof
line sagged. Of course anyone who knows New England's 18th-century structures
would recognize that the weight of the central chimney and its hearths created a dip
in the roof line as the building settled on its none-too-strong foundation. But that is
not the point. What Ryder was doing was transforming his mill, perhaps
Swains Mill
as he called it in a watercolor sketch, into a pagoda with upturned roof! We have
provided a view of Japan's Golden Pagoda to emphasize just this point. And don't
miss the bands of color in the stream with their subtle but exact mirroring. Ryder
believed that his beloved New England (primarily the Wilton, New Hampshire area)
possessed a natural ecology most akin to Asian understanding as in the works of his
favorite Hokusai.
    Ryder (1868-1949) studied at the Art Institute of Chicago (1891);  Smith's Art
Academy; and at the Academie Julian, Paris with Jean Paul Laurens (1901) and with
Raphael Collins. He was an Academician (1920) of the National Academy and was
an active member of the Salmagundi Club; National Arts Club and the American
Water Color Society. He maintained studios in both New York and New Haven,
along with his residence in Wilton, and he was associated with the painting
community at Old Lyme. Ryder and his bride of 1891, Mary Dole Keith, also
painted in France up to the first war, along with close friend the American painter
Max Bohm, who had also worked under Laurens.
    It's no wonder that Ryder is represented by three works in the Smithsonian. He
is also represented in the permanent collections of over 50 museums, including the
Metropolitan Museum of Art; Art Institute of Chicago; Pennsylvania Academy of
Fine Art; Baltimore Museum of Art; Corcoran Gallery of Art; National Portrait
Gallery; National Academy of Design; Carnegie Art Institute; and the Museum of
Modern Art. He won gold medals at the National Academy, American Water Color
Society, the National Arts Club; the New York Water Color Society, and many
more.  We are very proud to offer what we think is one of his best works.
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The Artist, ca. 1925
Hokusai in New Hampshire
The Temple of the Golden Pavilion, Kyoto