Philip Leslie Hale
A Summer Visit (Matunuck, Rhode Island), 1895
Signed PHILIP HALE and dated RHODE ISLAND 95 (lr)
Oil on canvas
32 x 39 inches
Franklin P. Folts, Boston
Anne Marie and Henry Frigon, until circa 1995
Private collection, Chicago
Boston, Vose Galleries, Paintings and Drawings by Philip Leslie Hale 1865-1931 from the Folts Collection at the Vose Galleries of Boston, Nov. 1-Dec. 2, 1966, p. 15, no 21.
Youngstown, OH, The Butler Institute of American Art, Hale Exhibition, 1994.
AL, Huntsville Museum of Art, American Images from the Turn of the Century: The Frigon Collection, Dec. 10, 1995-Feb. 11, 1996.
AL, Huntsville Museum of Art, The Genteel Tradition in American Painting, Oct. 26, 1997-Jan. 4, 1998, traveled to: The Museum of Arts and Sciences, Daytona Beach, FL, Jan. 15-Mar. 21, 1999.
New York, Spanierman Gallery, LLC, Fine American Art from 1845 to 1960, May 5-Jul. 7, 2005.
New York, Spanierman Gallery, LLC, American Masters 1840-1920, Feb. 14-Mar. 22, 2008.
Charleston, WV, Clay Center for the Arts and Sciences, Art, Nature, and the American City 1840-1955-Selections from Spanierman Gallery, Jul. 10-Oct. 10, 2010.
Franklin P. Folts, Paintings and Drawings by Philip Leslie Hale 1865-1931 from the Folts Collection at the Vose Galleries of Boston, exhi. cat. (Boston: Vose Galleries, 1966), p. 15, no. 21, illus.
Gail R. Scott, E. Ambrose Webster: Chasing the Sun (Manchester and New York: Hudson Hills Press, 2009), p. 41 color illus.
During his years in Paris, from 1887 to 1893, Philip Leslie Hale became familiar with the art of the Symbolists, Nabis, and Post-Impressionists, whose work he covered as a correspondent for the Montreal based art journal Arcadia. This experience, and the time he spent in Giverny, strongly influenced the Impressionist style that he formulated in his own painting after his return to Boston in the mid-1890s. This period of his work is epitomized by A Summer Visit, which he painted in the summer of 1895 during an extended stay with his aunt, the writer Susan Hale, in Matunuck, RI. In this and similar works, such as Girls in Sunlight of the same year (Museum of Fine Arts, Boston), Hale pioneered a technique intended to express the effects of brilliant sunlight. Using a palette dominated by bright yellow laid on with divisionist brushwork, he was able to depict a range of reflective objects, including the diaphanous dresses of the ladies, their light retentive parasols, and the shimmering surface of one of the area's salt ponds. In this painting we can also see the influence of Hale's interest in Japanese art in the uptilted picture plane and the patterned foliage in the lower register.
C The Spanierman Gallery, LLC Collection of American Art
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