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After Sir Christopher Wren by Charles Demuth
Date:1920
Medium:Watercolor, gouache, and graphite on cardboard
Dimensions:24 x 20 in. (61 x 50.8 cm)
Classification:Drawings
Credit Line:Bequest of Scofield Thayer, 1982
Accession Number:1984.433.156
Scofield Thayer, the donor of this work, was not only an avid collector of modern art between 1919 and 1924, but he was also the editor and co-owner of the literary magazine, The Dial, which published the most avant-garde writers and artists of the day. He purchased this picture in 1921 after corresponding with Demuth, who wrote back:
"If you feel sure that money and a canvas of mine can 'talk' (I myself have found them so unrelated), at the same pitch, -- well then dear Mr. Thayer, I don't see the way out, and accept your, was it, 'outrageous proposal'."
Pictured in the center of this composition is the steeple of the old Center Methodist Episcopal Church in Provincetown, Massachusetts (now the Provincetown Heritage Museum).
Demuth's Precisionist use of ruled lines, geometric forms, and crossing beams of light, is typical of his architectural paintings and drawings from the 1920s, which more frequently depicted views of the houses, churches, and factories around his hometown of Lancaster, Pennsylvania.
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Fish Series, No. 4 by Charles Demuth
Date:1916
Medium:Watercolor and graphite on paper
Dimensions:8 x 10 in. (20.3 x 25.4 cm)
Classification:Drawings
Credit Line:Alfred Stieglitz Collection, 1949
Accession Number:49.70.67
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Narcissi by Charles Demuth
Date:1917
Medium:Watercolor, graphite, and dry pigment on paper
Dimensions:10 7/8 x 7 3/4 in. (27.6 x 19.7 cm)
Classification:Drawings
Credit Line:Alfred Stieglitz Collection, 1949
Accession Number:49.70.71
Demuth's home in Lancaster, Pennsylvania, which he shared with his mother, was accompanied by a lavish garden whose colorful displays throughout the seasons inspired most of his flower watercolors. Here, the tall narcissi that bloom only in the spring must have been painted after his return from Bermuda. Throughout his career, flowers remained a persistent leitmotif, existing side by side with his more hard-edged, architectural subjects. In 1927 Gallatin wrote: "Demuth's studies of flowers are no doubt the examples of his work which are most familiar to the public, for since the earliest days of his career he has been engrossed in the delineation of flower forms….
These water-colours the artist has produced in great profusion. The earlier ones are sometimes almost dainty in appearance, but as the years have passed they have taken on new and richer forms. His renderings of clusters of tulips, zinnias, cyclamen, daisies, gladioli and native pink orchids are possessed of a strange beauty, and that undefinable thing known as quality abounds in them."
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Fish Series, No. 2 by Charles Demuth
Date:1917
Medium:Watercolor and graphite on paper
Dimensions:8 x 10 in. (20.3 x 25.4 cm)
Classification:Drawings
Credit Line:Alfred Stieglitz Collection, 1949
Accession Number:49.70.65
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Early Landscape by Charles Demuth
Date:1914
Medium:Watercolor and graphite on paper
Dimensions:9 1/2 x 12 1/4 in. (24.1 x 31.1 cm)
Classification:Drawings
Credit Line:Alfred Stieglitz Collection, 1949
Accession Number:49.70.60
On the back of the original mount, Stieglitz wrote: "From Demuth - who gave me this in December, 1917, saying it was the first work he did after his first talk with me at "291" about his own work - He says he found this recently and feels it belongs to me - A.S."
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I Saw the Figure 5 in Gold by Charles Demuth
Date:1928
Medium:Oil, graphite, ink, and gold leaf on paperboard (Upson board)
Dimensions:35 1/2 x 30 in. (90.2 x 76.2 cm)
Classification:Paintings
Credit Line:Alfred Stieglitz Collection, 1949
Accession Number:49.59.1
Demuth completed eight abstract portraits between 1924 and 1929 as tributes to modern American artists, writers, and performers.
Though not a physical likeness, Demuth created this portrait of his friend, the poet and physician William Carlos Williams, using imagery from Williams’s poem "The Great Figure," which evokes the sights and sounds of a fire engine speeding down the street. The intersecting lines, repeated "5," round forms of the numbers, lights, street lamp, and blaring sirens of the red fire engine together infuse the painting with a vibrant, urban energy. Demuth derived the title from the poem, which reads:
Among the rain
and lights
I saw the figure 5
in gold
on a red
firetruck
moving
tense
unheeded
to gong clangs
siren howls
and wheels rumbling
through the dark city
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Mountain with Red House by Charles Demuth
Date:ca. 1913
Medium:Watercolor on paper
Dimensions:9 1/2 x 12 5/8 in. (24.1 x 32.1 cm)
Classification:Drawings
Credit Line:Alfred Stieglitz Collection, 1949
Accession Number:49.70.70a, b
This mountain landscape with two small houses was painted while Demuth was in Europe from December 1912 to spring 1914. In the summer of 1913, he visited the French coastal village of Etretat, which is probably the subject of this picture. The wateriness of Demuth's pigment and his use of watercolor outlines, rather than pencil ones, may be influenced by the watercolors of John Marin, which he greatly admired and could have seen in Paris and New York exhibitions. In 1931, Demuth gave this picture to his good friend Georgia O'Keeffe, who subsequently included it in the group of works she selected for the Museum as part of the Alfred Stieglitz Collection.
On the reverse side of the mountain scene is an earlier and even more ethereal watercolor. It depicts a bridge over the Seine in Paris, with the dome of Notre Dame Cathedral on the left. It's heavily blotted surface and feathery brushstrokes, lack of outlines, and pale pastel colors, also emulates the style and subject matter of Marin's very early European works of 1907-9. The fact that this composition was hidden on the back of another watercolor, may have saved it from being destroyed by the artist, who often threw out early works that did not meet his later standards.
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Fish Series, No. 1 by Charles Demuth
Date:1917
Medium:Watercolor and graphite on paper
Dimensions:8 x 9 7/8 in. (20.3 x 25.1 cm)
Classification:Drawings
Credit Line:Alfred Stieglitz Collection, 1949
Accession Number:49.70.64
The colorful tropical fish in the waters around Bermuda are featured in a large series of whimsical watercolors, of which the Museum owns five. Although they look imaginary, they accurately reproduce the markings and shapes of identifiable species.
At other times, between 1915 and 1918, Demuth is reported to have frequented the New York Aquarium, then in Battery Park.
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Small Daffodils by Charles Demuth
Date:ca. 1914
Medium:Watercolor and graphite on paper
Dimensions:13 3/4 x 10 in. (34.9 x 25.4 cm)
Classification:Drawings
Credit Line:Alfred Stieglitz Collection, 1949
Accession Number:49.70.63
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Fish Series, No. 5 by Charles Demuth
Date:1917
Medium:Watercolor and graphite on paper
Dimensions:8 x 13 in. (20.3 x 33 cm)
Classification:Drawings
Credit Line:Alfred Stieglitz Collection, 1949
Accession Number:49.70.68
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Yellow and Blue by Charles Demuth
Date:1915
Medium:Watercolor on paper
Dimensions:14 x 10 in. (35.6 x 25.4 cm)
Classification:Drawings
Credit Line:Alfred Stieglitz Collection, 1949
Accession Number:49.70.58
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Fish Series, No. 3 by Charles Demuth
Date:1917
Medium:Watercolor and graphite on paper
Dimensions:8 x 10 in. (20.3 x 25.4 cm)
Classification:Drawings
Credit Line:Alfred Stieglitz Collection, 1949
Accession Number:49.70.66
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Purple Iris by Charles Demuth
Date:ca. 1920
Medium:Watercolor and graphite on paper
Dimensions:14 x 10 in. (35.6 x 25.4 cm)
Classification:Drawings
Credit Line:Alfred Stieglitz Collection, 1949
Accession Number:49.70.62
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Bermuda No. 4 by Charles Demuth
Date:1917
Medium:Watercolor and graphite on paper
Dimensions:9 5/8 x 13 3/4 in. (24.4 x 34.9 cm)
Classification:Drawings
Credit Line:Alfred Stieglitz Collection, 1949
Accession Number:49.70.59
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Bermuda No. 1, Tree and House by Charles Demuth
Date:1917
Medium:Watercolor, graphite, and cut-and-pasted paper on paper
Dimensions:10 x 13 7/8 in. (25.4 x 35.2 cm)
Classification:Drawings
Credit Line:Alfred Stieglitz Collection, 1949
Accession Number:49.70.55
Demuth and Hartley rented rooms on the top floor of a well situated but inexpensive hotel on St. George's Island (Bermuda). Located on a hilltop, it afforded them charming views of the harbor and the island architecture. According to Hartley, they each planned "to get a room elsewhere to work in." In this complex picture, Demuth represents the setting as a series of receding registers.
Starting with the gnarly tree in the foreground, he compresses the space to include a house with peaked roof, lush vegetation, water, rolling hills, and a tall tower. In 1924, Demuth gave this watercolor to Stieglitz, noting that "It has a small piece of paper pasted on it, -- over one of the roofs."
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Houses with Red by Charles Demuth
Date:1917
Medium:Watercolor and graphite on paper
Dimensions:10 x 14 in. (25.4 x 35.6 cm)
Classification:Drawings
Credit Line:Alfred Stieglitz Collection, 1949
Accession Number:49.70.61
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Zinnias and Pinecones by Charles Demuth
Date:1918
Medium:Watercolor and graphite on paper
Dimensions:17 5/8 x 11 5/8 in. (44.8 x 29.5 cm)
Classification:Drawings
Credit Line:Rogers Fund, 1923
Accession Number:23.104
The Metropolitan Museum of Art acquired its first Demuth in 1923, when it purchased this floral study of zinnias and pinecones from the artist's dealer, Charles Daniel. Writing to Stieglitz, Demuth discusses his mixed emotions at being chosen before such artists as Dove, Hartley, and O'Keeffe (only Marin's work had previously been acquired in 1921):
"Why mine should be there and others missing, -- well, the gods alone can tell. But as you say, it may lead to something. Of course, I don't want to seem a pose as not being pleased… - for I am - but also a bit embarrassed…They did take one of my best things, -- which is lucky or whatever."
To collector A.E. Gallatin, who donated a second Demuth watercolor, Cyclamen, to the Metropolitan Museum in 1923, Demuth quipped: "Must one now I wonder feel 'old mastery.' I hope not."
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Red Poppies by Charles Demuth
Date:1929
Medium:Watercolor and graphite on paper
Dimensions:13 7/8 x 19 7/8 in. (35.2 x 50.5 cm)
Classification:Drawings
Credit Line:Gift of Henry and Louise Loeb, 1983
Accession Number:1983.40
Debilitated by diabetes during the last eight years of his life, Demuth's artistic output was also severely curtailed. Ironically, however, his late works, as evidenced by this 1929 watercolor of poppies (so reminiscent of O'Keeffe's poppies of 1927), are some of his boldest in terms of color, draftsmanship, and design. Unlike the luminous transparency of earlier botanical studies, the watercolor here is applied rather opaquely. The spiked contours and gentle curves of the flowers direct our eye around the composition, coming to rest on the large open blossom in the center. Presenting the full cycle of the flower - budding, opening, blooming, and decaying - he also suggests the human life cycle, and perhaps his own diminished physical strength.
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Cyclamen by Charles Demuth
Date:1920
Medium:Watercolor and graphite on paper
Dimensions:13 3/4 x 11 3/4 in. (34.9 x 29.8 cm)
Classification:Drawings
Credit Line:Gift of A. E. Gallatin, 1923
Accession Number:23.231
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Bermuda No. 2, The Schooner by Charles Demuth
Date:1917
Medium:Watercolor and graphite on paper
Dimensions:10 x 13 7/8 in. (25.4 x 35.2 cm)
Classification:Drawings
Credit Line:Alfred Stieglitz Collection, 1949
Accession Number:49.70.56
While in Bermuda, Demuth expanded upon the Cubo-Futurist style that he had begun to experiment with a few months earlier in Provincetown, Massachusetts (where Hartley also summered). The presence of the French Cubist, Albert Gleizes, in Bermuda that winter may have further inspired his explorations in this direction, resulting in a number of compositions made up of multiple intersecting lines and planes. The triangular rays that fill this sheet define the three masts, sails, and hull of a large ship bearing a Danish flag.
The ship, Elsa, was docked in St. George for repairs during the winter of 1916-17, and would have been an impressive sight as it measured 190 feet long and 37 feet wide, had two decks, and a weight of 1236 tons. Its image inspired at least three of Hartley's Bermuda paintings from 1917.
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(1)Eggplants, (2)Red Cabbages, Rhubarb and Orange by Charles Demuth
Eggplants
Date:1927
Medium:Watercolor and graphite on paper
Dimensions:13 7/8 x 19 3/4 in. (35.2 x 50.2 cm)
Classification:Drawings
Credit Line:The Lesley and Emma Sheafer Collection, Bequest of Emma A. Sheafer, 1973
Accession Number:1974.356.3
Red Cabbages, Rhubarb and Orange
Date:1929
Medium:Watercolor and graphite on paper
Dimensions:13 7/8 x 19 7/8 in. (35.2 x 50.5 cm)
Classification:Drawings
Credit Line:Alfred Stieglitz Collection, 1949
Accession Number:49.70.57
Between 1924 and 1929, Demuth created a number of still life compositions with fruits and vegetables. These late watercolors, including floral studies such as the Museum's Red Poppies, present the still life elements more monumentally than ever before, enlarging their simple forms to fill large sheets of otherwise blank paper. In such fruit and vegetable studies, he seems newly concerned with volume and reflected light off these rounded surfaces.
It is interesting to note that during these same years Georgia O'Keeffe introduced her own enormous flower paintings, and Demuth created his series of bold poster portraits that frequently used fruits, vegetables, and plants as attributes of the honoree.
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Bermuda Sky and Sea with Boats by Charles Demuth
Date:ca. 1917
Medium:Watercolor on paper
Dimensions:10 x 14 1/8 in. (25.4 x 35.9 cm)
Classification:Drawings
Credit Line:Alfred Stieglitz Collection, 1949
Accession Number:49.70.69
In February 1917, Demuth arrived in Bermuda for a month or so, where he joined his friend, the painter Marsden Hartley, who was staying there for a longer time. In one of Hartley's letters to Stieglitz he describes the earthly paradise that Demuth was soon to see: "I like the suggestion of the orient in the voluptuousness of vegetation about - the large red hibiscus blossoms - …and the sensuous banana trees are every where in evidence - It all suggests [sic] the gold - frankincense & myrth of the East for there is such opulence of perfume and of spicy fragrances and the people are at once gentle and kindly…" Demuth's stay in Bermuda was a great artistic success, with Hartley writing to Stieglitz: "D. has also done well & will take back things creditable."
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Machinery by Charles Demuth
Date:1920
Medium:Gouache and graphite on paperboard (Beaver Board)
Dimensions:24 x 19 7/8 in. (61 x 50.5 cm)
Classification:Drawings
Credit Line:Alfred Stieglitz Collection, 1949
Accession Number:49.59.2
This painting was first shown in an exhibition of Demuth's works titled Arrangements of the American Landscape Forms, held at the Daniel Gallery in New York in 1920. Rather than a traditional landscape scene, it depicts industrial architecture in his hometown of Lancaster, Pennsylvania. Despite some abstract use of force lines and fragmented planes, the subject remains identifiable. It is a scene of rooftop machinery set against a background of windows belonging to an adjacent factory building; the central structure is a cyclone separator, a centrifuge-like apparatus often used in industrial settings, consisting of a tank, a funnel, and two armlike duct pipes.
Like Demuth's painting The Figure 5 in Gold (49.59.1), this work was dedicated to his close friend, the poet William Carlos Williams. Williams himself contemplated the analogy between the arts and technology. In 1944, he wrote:
"To make two bald statements: There's nothing sentimental about a machine, and: A poem is a small (or large) machine made out of words" (introduction to The Wedge, 1944).
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