EDMUND QUINCY (AMERICAN, 1903-1997) SIGNED UNFRAMED OIL ON CANVAS CITYSCAPE OF BOSTON, MASSACHUSETTS

EDMUND QUINCY (AMERICAN, 1903-1997) SIGNED UNFRAMED OIL ON CANVAS CITYSCAPE OF BOSTON, MASSACHUSETTS, TENEMENTS, VACANT LOT, TREES, FENCING & FIGURE(Circa 1936-1942)20th Century American landscape painting

DESCRIPTION:

Unframed and estate fresh. It's still on its original wood stretcher and remains untouched, undisturbed and unmolested. It was recently discovered in a North Shore, Massachusetts estate. It's free from pushes, tears, creases, water damage, stains or any repairs. It's entirely intact and is a wonderful, juicy, mature urban landscape by the well-listed, well-known and highly collected American Modernist painter, Edmund Quincy. This is possibly Quincy at his most developed, most innovative and most mature point in his entire career, free from the academic parameters and parallel currents in American art that informed and shadowed his own art. Here, as we can see in this magnificent oil on linen urban landscape of Boston tenements and a vacant lot, rimmed with dilapidated fencing, laundry hung from a single clothesline from a solitary widow, Quincy is free to just paint and to finally express his very own and very personal, individual artistic language. It can be argued that this was American art informed by the more radical, revolutionary painting tenets and impulses of European Modernist painting, rather than American Modernism, which was at least two, if not three steps behind their European counterparts, as far as plastic innovation was concerned. This painting was created after all before the Second World War and before the Paris-New York split, before the advent of pure abstraction as espoused by the Americans artists living and working in New York and before New York wrestled custodial control of the art world and subsequently its market from Paris to New York. Here in this particular painting, Quincy can be seen working quickly. The kineticism on display, with what appears to be accelerated brush strokes and rapid mark-making gives this painting an especially urgent, immediate, extremely plastic overall feeling, where the visual and atmospheric experience is as felt, as it is seen. The painting appears to have been done 'en plein aire' and has the kind of authenticity and detailed nuances seen in other 'en plein aire' landscape works. The oil paint is mixed as much on the canvas surface as it is on the hand-held palette. This is not Barbazon school influenced, stayed and static Boston school American painting. This is much more heretical and disrespectful toward the celebrated American impressionist masters, who held such high esteem among American patrician collectors and the official American fine art gate keepers of New York galleries and museums. This was where American painting was going and where it was headed, not where it had been and where it was. The utter freshness, slipperiness and juiciness of the painting is undeniable and what would have excited the New York gallery exhibiting this and other paintings at the time by Edmund Quincy. Simply gorgeous American painting. Revolutionary.

DIMENSIONS:

23 ½" Height x 28 ½" Width

BIOGRAPHICAL INFORMATION:

Edmund Quincy was a portrait and landscape painter who also published some poetry and fiction. He was born on May 15, 1903, in Biarritz, France, the only son of Ellen Frances Krebs Tyler and Josiah Huntington Quincy. One year after Ellen Quincy’s death in 1904, Josiah Quincy married Mary Honey (1873–1941), who later adopted Edmund as her son. Edmund Quincy graduated from Harvard University in 1925. He lived in Italy for much of his life, and, on March 19, 1940, he married Josephine Biamonti in Bordighera. They adopted one son, Daniel. Edmund Quincy died in 1997.

ACCOMPANYING INFORMATION & EPHEMERA: 

Accompanied by 2 original paper exhibition flyers dated 1936 & 1942, New York, NY

CONDITION:

Very Good/Excellent overall vintage condition.

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