Maurice Prendergast (American, 1858-1924), Monte Pincio, Rome, ca. 1898-99, Watercolor and graphite heightened with gum Arabic on ivory wove watercolor paper, Terra Foundation for American Art, Chicago, Illinois; Daniel J. Terra Collection, 1999.117.
Maurice Prendergast (American, 1858-1924), Venice, ca. 1898-99, Watercolor and pencil on paper, Colby College Museum of Art, The Lunder Collection.
Maurice Prendergast (American, 1858-1924), Canal, Venice, ca. 1898-99, Watercolor and pencil on paper, Abby & Alan D. Levy Collection, Los Angeles. |
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Williams College
Museum of Art
15 Lawrence Hall Drive
413-597-2429
Williamstown
Prendergast in Italy
July 18-September 20, 2009
Prendergast in Italy, the first exhibition devoted entirely to the watercolors, monotypes, and oil paintings by American artist Maurice Prendergast. Featuring over 60 views of Venice, Rome, Siena, and Capri, Prendergast in Italy also includes the artist’s personal sketchbooks, letters, photographs, and guidebooks from his two trips to Italy in 1898 and 1911. Prendergast presented a view of Italy that was informed by European trends but did not disguise his strong American accent — an accent that would come to dominate international discourse in the 20th century. This interdisciplinary exhibition demonstrates the advances of abstract color and form that put Prendergast on the cutting edge of American modernism.
The majority of the works are of Venice, leaving the armchair traveler with a vivid sense of the city, its canals, and famous monuments as seen though the eyes of an American on the forefront of 20th-century modernism. Five different works, including Rialto, Venice from WCMA’s collection, are displayed so that both sides are visible. These double-sided watercolors, in addition to many sketches and unfinished works, provide a special glimpse into the artist’s creative process. A large group of color monotypes show Prendergast’s daring approach and experimentation with the medium. Archival materials, such as photographs, letters, guidebooks, and Japanese prints belonging to the Prendergasts (now in WCMA’s collection), give context to the period and Prendergast’s singular, modern style.
Prendergast in Italy highlights a selection of the collection of over 400 works by artist-brothers Maurice and Charles Prendergast in the Williams College Museum of Art, the largest collection in the world. The exhibition features loans from over 50 institutions and private collections in the United States, including the Metropolitan Museum of Art, the Museum of Modern Art, the National Gallery of Art, and the Museum of Fine Arts, Boston, in addition to artworks from WCMA and the Terra Foundation for American Art (partnering with Williams College Museum of Art to present the exhibition).
Prendergast in Italy travels to the Peggy Guggenheim Collection, Venice, Italy (October 9, 2009-January 3, 2010), and the Museum of Fine Arts, Houston, Texas (February 14-May 9, 2010).
Prendergast in Italy was conceived and organized by Nancy Mowll Mathews, Eugénie Prendergast Senior Curator of 19th and 20th Century Art at the Williams College Museum of Art, Williamstown, Mass., with Elizabeth Kennedy, Curator of Collection at the Terra Foundation for American Art, Chicago, Illinois.
Maurice Prendergast (American, 1858-1924) made a name for himself in Boston and New York as a cutting edge Impressionist watercolorist who experimented with color monotypes. In his day, he was lauded by the more progressive art critics and attracted the support of modern art collectors. When he first departed for Italy (1898), he was an up-and-coming avant-garde artist who had recently returned to Boston from four years in Paris.
The body of work that Prendergast produced shows his struggle to pay homage to the great art he encountered in Assisi, Siena, Rome, and Venice while he grappled with the new realities of modern, unified Italy and the progressive art of his time. Prendergast’s interpretation of Venice captures a unique blend of old and new. Watercolors from his first trip to Italy are characterized by Prendergast’s interest in the Italian flag and how it symbolized a “new” Italy; he depicted it many times during this first trip. These works were sent home and exhibited in Boston even while he was still abroad. In 1900, shortly after his return to America they were showcased in his first one-person show. It was the Italian watercolors that catapulted Prendergast to a national reputation and a place among the most advanced artists in New York.
Ten years later, after assimilating the new expressionistic and abstract art theories unveiled in Paris by Matisse, Picasso, and their circle, Prendergast again departed for Italy (1911). On his second trip, Prendergast focused on the bridges of Venice, applying his new style to the emblematic architecture of the canal city. This body of work shows the advances of abstract color and form that put Prendergast at the forefront of American modernism. |
