Renior and Glackens: Affinities and Distinctions

It was a hot but beautiful afternoon for a visit to the Hunter Museum. I was excited to see some new Renoirs and to be introduced to the work of Glackens.
This past Saturday I visited the Hunter Museum in Chattanooga to see a special exhibit entitled "Affinities and Distinctions" dedicated to exploring the influence of my favorite painter Pierre-Auguste Renoir on William J. Glackens, an American artist I am only now becoming familiar with.  

The exhibit featured a little over 40 works, more than 20 by each artist, often depicted side-by-side to accentuate the influence and make the comparison easier.  It spanned the career of both artists, from youth to maturity, which overlapped only a couple of decades.  Renoir was painting before Glackens was born and the latter artist continued to paint almost two decades after the famous French impressionist's death.  

Here are some of the highlights of the exhibit...

The layout of the special exhibit was spacious and well-organized.

The title of the special exhibit was "Affinities and Distinctions."  This interpretative signage explains the intent of the exhibit, which featured over 20 works by each artist in a comparative layout.
The Young Soldier by Pierre-Auguste Renoir, circa 1880.  A great example of the use of "Renoir Red."
Lenna Dressed as a Toy Soldier by William J. Glackens, circa 1923.  The influence of the Renoir work above is obvious.
Portrait of Jean by Renoir, circa 1897.  Both Renoir and Glackens often crafted a light, defused feel to their works.
Tamaris, France by Renoir, circa 1885.  Which is wonderfully comparable to... 
St. Jean by Glackens. 1930.
Beach Scene, New London by Glackens.  1918.
Negress in Oriental Costume by Glackens, circa 1923.
Woman Arranging Her Hat by Renoir, circa 1890.  This was one of my favorite pieces in the exhibit.
Hallie Knitting in a Red Hat by Glackens, circa 1920.  Another example of the use of "Renoir Red."
Julia's Sister by Glackens, circa 1915.  A wonderful painting by an artist I am only now becoming acquainted with.
Still Life With Apples by Renoir, c1890.  I saw this painting earlier this year at the High Museum in Atlanta, where it is part of that permanent collection.  One of the wonderful things about being actively interested about art for a lifetime is seeing paintings again but at different locations.  This one is a superb example of impressionism.
Comparable to the above work is Fruit With White Rose by Glackens, circa 1930s.

Glackens, Reclining Nude, 1910.

Renoir, Nude Woman Sitting, Leaning on a Green Cushion, 1910.  My taste in nudes differs from Renoir's but there's no denying the sensuous, yet distorted nature of his style.
Glackens, The Soda Fountain, 1935.  This is an example of where Glackens went beyond Renoir's late works, combining modern and traditional styles.  According to the signage, this is one of Glackens' most distinctive works.  The interpretive signage read in part: "Its well-proportioned figures and everyday subject distinguish it from Renoir's late paintings where proportionally distorted figures exist in non-specific environments."
A view of Chattanooga's walking bridge across the Tennessee River.  This is part of the panorama view as I exited the special exhibit and headed toward the Hunter Museum's permanent collection. 
After spending about an hour in the special exhibit I visited the Hunter's permanent collection before leaving.  There I found an additional Glackens as well as some excellent works by artists I admire.  I haven't visited the Hunter since 2015 and its permanent collection is growing and diversifying, always with emphasis on American art.

One of the nice surprises in the collection is that the Hunter added a painting , French Tea Garden, 1910, that I greatly admire by Childe Hassam.  I first saw it in a different special exhibit at the Hunter that I blogged about here.   
This is another Glackens painting, but it is part of the Hunter's permanent collection and was not featured in the special exhibit.  The Horse Chestnut Tree, Washington Square, circa 1915 - 1919.

A minor work by one of my favorite painters.  Edward Hopper, House on the Cape, 1940.
Another American artist that I greatly admire, The Wreck of the Ole '97 by Thomas Hart Benton, 1943.
A detail of the above painting.  Benton developed a distinctive lyrical yet abstract style.
Another detail of the work.  The abstraction is more obvious in the stalks of corn.
A portrait of Jimmy Carter by Andy Warhol, 1976.
Janet Fish, Orange Lamp and Oranges, 1982.  A complex and intricate work of modernism making a wonderful contrast to the impressionism that drew me into the Hunter this visit.
A detail of the work displaying some of its intricate realism.

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