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faculty for their poetic interpretation in artistic terms. His pictures are full of light and atmosphere, and no matter how brilliant his color schemes, the result is a subtle depth of tone instead of hardness. When
Boulogne Harbor was exchanged for Cornelia in Metropolitan Museum of Art, the New York Times critic commented that "the two pictures seen together would have formed an extraordinary commentary on the completeness and rapidity of a style change possible to an impressionable painter". In the works dating from 1912 and beyond, he freely used pure color spots and splashes in order to render what he saw so that the paintings display great harmony and are pervaded with a rich, unctuous feeling.
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165:, Rhode Island, Henry Golden Dearth was the youngest of five children of John Willis and Ruth Marshall Dearth. His father was connected with the whaling business and was an artillery officer during the civil war. He was also a talented musician and provided favorable influences to the development of Henry's talent. His grandfather was a commander in the United States Navy during the War of 1812. At the age of 15, his family moved to Waterbury,
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169:, where he entered the employ of Brown & Brothers, and was afterward for a time connected with the Waterbury Clock company. Dearth's passionate love for art led him to eventually devote himself solely to the study of painting. He entered the studio of portrait painter Horace Johnson for three months before he went to Paris and studied in the
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Returning to the United States in 1888, Dearth established himself with a debut exhibition of landscape at the
National Academy of Design. In 1889 he exhibited for the first time with the more progressive Society of American Artists. In 1893 he was awarded the Webb prize for works by an artist under
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After his death, a memorial exhibition was organized by Mrs. Henry Golden Dearth and
Cornelia B. Sage Quinton, Director of the Buffalo Fine Arts Academy and Albright Art Gallery in the principal museums or art galleries in the cities of Buffalo, New York, Detroit, Pittsburgh, St. Louis, Muskegon,
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Dearth's works from the 1890s to the early 1900s show him to be the landscape painter of considerable delicacy, refinement, and imaginative feeling. Paintings such as
Springtme Montigny (1899) and Montigny (1898) exemplify his conscientious regard for the facts of nature, combined with a notable
278:. Such a style change was marked by his request to the Metropolitan Museum of Art in 1915 to replace his earlier work with his recent figure painting. Although his late works include portraits and genre subject, his most numerous works of this period were paintings of rock pools in
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artifacts as his subjects or as backgrounds. His final pictures incorporated important
Japanese screens, early Chinese paintings, and stone carvings of the Wei period in still life arrangements or as backgrounds for some finely modeled figures.
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282:. The canvases were highly colored; the pigment thickly applied with impressive decorative effect of the compositions. In his final days, Dearth frequently used objects from his substantial collection of
310:(before 1918), private collection. One of the paintings on display in the memorial exhibition, and an example of the artist's incorporation of Japanese motifs into his later compositions.
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area. Around 1912, Dearth changed his artistic style, and began to include portrait and still life pieces as well as his paintings of rock pools created mainly in
263:. In art critic Charles Buchanan's words, Dearth was more or less repainting Barbizon, but was "inexpressively exquisite" and "a supreme gentleman of aethetics".
354:. He won the Society of American Artists' Webb prize in 1893. He also won a bronze medal at the Exposition Universal in Paris (1900) and silver medals at the
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After 1912, he altered his technique and painted with broken colors, changing his subjects from the moody landscapes of Long Island and
Montreuil to
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153:. A winner of several career medals and the Webb prize in 1893, Dearth died suddenly in 1918 aged 53 and was survived by a wife and daughter.
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255:. Spending most of his time in France, he was naturally fond of the picturesque country, and many of his subjects were found near
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and
Montreuil-sur-Mer. These early works show a marked indifference to detail, a somewhat limited palette and a preference for a
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the age of 40. In 1902 he opened his studio at 18 E. 40th Street in New York and started to return to spend his summers in
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Youngstown, Chicago, Cleveland, Milwaukee, Des Moines, Cincinnati, Minneapolis, Worcester, Providence and Boston in 1919.
610:"Henry G. Dearth, Painter, Dies at 53: New York Artist, a National Academician, Who Won Several Medals, Expires Suddenly"
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725:"Memorial Exhibition of Paintings By Henry Golden Dearth. Detroit Museum of Art February 16th To March 17th, 1919"
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coast, where he worked several months each season. He married
Cornelia Van Rensselaer Vail, the younger sister of
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Harvest Time in Norman, Berlin Museum, bought by the German government in 1903 International
Exhibition in Berlin
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Boulogne Harbor, Metropolitan Museum of Art, later exchanged by his later portrait work titled
Cornelia
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Alphabetical List of National Academicians at the National Academy Museum and School of Fine Arts
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Catalogue of a Memorial Exhibition of Paintings by Henry Golden Dearth: January 4th to 30th, 1919
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Henry Golden Dearth died of a heart attack on March 27, 1918, at his home at 116 E. 63 Street,
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region. He would return to New York in winter, and became known for his moody paintings of the
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Paintings and Sculpture in the Collection of the National Academy of Design, Vol. 1: 1826–1926
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193:, the region that first attracted him to landscape painting. He had a house and studio at
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137:(22 April 1864 – 27 March 1918) was a distinguished American painter who studied in
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1909: Yearly Exhibition of the Pennsylvania Academy of the Fine Arts, Philadelphia
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730:. Detroit: Detroit Museum of Art. February 1919. pp. 8 pages. Archived from
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Henry Golden Dearth Exhibition September 22 – October 3, 1981 Hammer Galleries
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209:, on 26 February 1896 and they had one daughter Nina Van Rensselaer Dearth.
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A photo of Henry Golden Dearth from Mattatuck Museum Arts and History Center
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659:(1905), "The Century's American Artists Series – Henry Golden Dearth",
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Dearth's career can be divided into two periods. Before 1912, he was a
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Gary, Elisabeth Luther (1919), "The painting of Henry Golden Dearth",
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Anderson, Joseph; Prichard, Sarah Johnson; Ward, Anna Lydia (1896),
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701:"Henry Golden Dearth Memorial Exhibition: Art at Home and Abroad"
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American Paintings in the Brooklyn Museums: Artists born by 1876
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in Buffalo (1901) and at an exhibition in Buenos Aires (1907).
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in 1888 and was elected to full Academician in 1906 when the
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and continued to spend his summers in France painting in the
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Henry Golden Dearth by James W. Porter, 1912, silver print
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Buchanan, Charles L. (June 1918), "Henry Golden Dearth",
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1913: Pennsylvania Academy of the Fine Arts, Philadelphia
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1912: Pennsylvania Academy of the Fine Arts, Philadelphia
219:(1889), private collection. An example of Dearth's early
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1907: Oehme Gallery (Representative American Artists)
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1903: the International Exhibition in Berlin, Germany
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409:, not dated, Mattatuck Museum Arts and History Center
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1888: Exhibition of the American Academy in New York
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and the Society merged. He was also a member of the
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403:, c 1900, Mattatuck Museum Arts and History Center
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391:, 1911–1912, National Gallery of Art, Washington.
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372:. An example of Dearth's later still life works.
238:. One of Dearth's numerous 'rock pool' subjects.
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446:1904: Lotos Club (with other members), New York
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757:"Ms. Beaux and Mr. Dearth in the Metropolitan"
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458:1910: Detroit Museum of Art (with Paul Dessar)
437:1901: Exhibition of the Fine Arts, Buffalo, NY
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415:, 1906–1907, Smithsonian American Art Museum
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476:1913: New York Montross Gallery, New York
902:People from Bristol County, Rhode Island
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479:1916: Milwaukee Art Institute, Milwaukee
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638:http://artoncampus.rit.edu/artist/200/
251:painter and is considered part of the
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418:Dreamland, not dated, Brooklyn Museum
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299:Death, reception and posthumous fame
485:1918: The Milch Galleries, New York
482:1916: Arts Club of Chicago, Chicago
464:1912: Albright Art Gallery, Buffalo
274:subjects in a style reminiscent of
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942:20th-century American male artists
937:19th-century American male artists
927:National Academy of Design members
755:The New York Times (August 1915).
470:1912: Knoedler Galleries, New York
429:Exhibitions in chronological order
14:
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608:The New York Times (March 1918).
551:Dearinger, David Bernard (2004),
505:American Art in the Barbizon Mood
385:, 1889, Detroit Institute of Arts
555:, New York: Hudson Hills Press,
397:, 1890s, Cleveland Museum of Art
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461:1911: Buffalo Fine Arts Academy
922:20th-century American painters
912:19th-century American painters
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334:Dearth became a member of the
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907:Artists from New York (state)
860:, New York: Brooklyn Museum,
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786:The American Magazine of Art
586:, New York: Hammer Galleries
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932:American landscape painters
856:Carbone, Teresa A. (2006),
336:Society of American Artists
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503:Bermingham, Peter (1975),
452:1907: Lotos Club, New York
413:An Old Church at Montreuil
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161:Born on April 22, 1864 in
377:Existing works in museums
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253:American Barbizon school
119:American Barbizon school
829:"Art Awards at Buffalo"
582:Lynch, Richard (1981),
440:1902: Union League Club
356:Pan-American Exposition
330:Affiliations and awards
236:National Gallery of Art
917:American male painters
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183:L’Ecole des Beaux Arts
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680:International Studio
661:The Century Magazine
401:Landscape with Brook
98:École des Beaux-Arts
352:Century Association
308:The Imperial Dragon
135:Henry Golden Dearth
23:Henry Golden Dearth
764:The New York Times
643:2007-11-04 at the
636:Online biography:
617:The New York Times
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276:Adolphe Monticelli
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710:, January 5, 1919
686:(256): cxvi–cxvii
395:The Stubble Field
195:Montreuil-sur-Mer
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74:(aged 53)
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217:Evening Glow
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72:(1918-03-27)
59:Rhode Island
897:1919 deaths
892:1864 births
288:Renaissance
234:(1911/12),
167:Connecticut
147:Long Island
86:Nationality
886:Categories
842:2008-11-08
770:2008-11-08
766:. New York
741:2008-11-07
623:2008-11-07
619:. New York
490:References
407:Still Life
366:Still Life
350:, and the
348:Lotos Club
272:figurative
268:still life
179:Aimé Morot
157:Early life
47:1864-04-22
201:, on the
197:, in the
94:Education
641:Archived
280:Brittany
257:Boulogne
249:tonalism
221:tonalist
191:Normandy
151:Brittany
143:Normandy
115:Movement
109:Painting
89:American
292:Eastern
261:low key
243:Careers
171:atelier
163:Bristol
55:Bristol
864:
806:, 1919
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290:, and
284:Gothic
223:style.
832:(PDF)
760:(PDF)
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728:(PDF)
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667:: 157
613:(PDF)
139:Paris
862:ISBN
557:ISBN
509:ISBN
270:and
177:and
67:Died
41:Born
792:(6)
181:at
173:of
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49:)
45:(
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