Andrew Winter

A native of Sindi, Estonia, Andrew Winter (1893-1948) spent his early years as a mate on a variety of American and British ships, an experience that intensified his appreciation for marine scenery and ways of life.

Following his seafaring career, Winter enrolled at the National Academy of Design in 1921 and continued his artistic studies in 1925 on a traveling scholarship to Paris and Rome. 

He exhibited extensively from the 1920s until the 1950s, consistently earning medals and awards, and became a member of numerous artistic societies, including the National Academy and the American Watercolor Society. During his career, Winter discovered a constant source of inspiration in the remote and rugged scenery of Monhegan Island, a place he continued to visit throughout his lifetime. 

Andrew Winter

Andrew Winter

Andrew Winter

Andrew Winter

Andrew Winter

Andrew Winter

Andrew Winter

Andrew Winter

Andrew Winter

Eric Hudson

By 1900, seven of thirty-three houses and cottages on Monhegan Island, belonged to "summer people,"  one of whom was Eric Hudson (1864–1932) who first sailed into Monhegan harbor in 1897, on his way from Bar Harbor to Boston. 

Attracted by the rugged landscape, Hudson returned the following year and purchased land that had been part of the old Trefethren Flake Yard, property that belonged to one of the island's old fishing families. The artist immediately began producing his signature sailboat scenes, first with an Impressionist palette and later in a darker, more romantic style. 

Hudson also produced marine photographs, recording boats and harbor scenes from Venice to Monhegan. Some of the posed photographs served as studies for Hudson's paintings, but he took others to capture the hard work entailed in fishing under sail and by hand. His images of local fishermen provide some of the most detailed documentation available of island life at the turn of the century.

S. P. Rolt Triscott: Monhegan Artist and Photographer

Rediscovering S. P.  Rolt Triscott, by Richard Malone and Earle Shettleworth, delves into the life of watercolorist Samuel Peter Rolt Triscott (1846–25) who, in 1902, moved permanently to Monhegan Island, becoming the first artist to live there year-round. 

His biography is accompanied by 50 paintings and more than 60 black and white photographs of Monhegan, printed from his glass plates. A classic nineteenth-century watercolorist in the English tradition, Triscott continued to paint, but also did photography, painted in oils, and produced hand-tinted photographs. He took delight in his garden and his cats, served tea in the afternoon to a few select friends, and gradually severed his ties with the cosmopolitan art world in favor of life on a rugged island ten miles out to sea. 

He continued painting in the style which suited him best, but as public taste turned to Impressionism, Expressionism, and Modernism, his masterful landscapes and beautifully composed studies were largely ignored by the larger art world. In the years following his death, many of his paintings were given away or sold for just a few dollars, but some remained in islanders’ homes and he was considered by some locals to have been one of the most important members of Monhegan’s celebrated art community. 

In the 1970s Richard Malone began collecting Triscott’s paintings and undertook researching his life. His biographical essay on Triscott forms the core of this book, with 50 paintings shown in full color. More than 60 black and white photographs of Monhegan, printed from Triscott’s glass plates, are accompanied by an essay by Earle Shettleworth on Triscott’s photography.

Frank Sauerwein

Frank Sauerwein (1871-1910), the son of a European-trained artist, took his first art lessons from his father before studying at a number of professional art schools and finally, the Philadephia Museum School of Art.

In 1891 he moved to Denver in hope of improving his health. His travels to the Ute reservation in Southwestern Colorado in 1893 began a lifelong fascination with the Southwest and its Native inhabitants. He spent time in Taos and Santa Fe, and visited the Navajo and Hopi reservations. Sauerwein's mostly small format paintings show the influence of German Romanticism, but are true to the hard, clear light of the American Southwest. His adobe house in Taos was incorporated into the Taos Inn many years after his death.

Arthur Grover Rider

Born in Chicago, Illinois in 1886, Arthur Grover Rider received his early training at the Chicago Academy of Fine Arts. In his student years he painted for the Chicago Lyric Opera and later traveled to Europe. While living in London, he painted for the London Opera at Covent Garden. 

He further studied at Académies de la Grande-Chaumiére and Colarossi in Paris, and exhibited there at the George Petite Galleries. For nine summers he painted in Spain and it was there that he met Joaquin Sorolla who greatly influenced his work. They painted together on the Valencian Beach, and when Sorolla died in 1923, Rider was an integral part of the funeral cortége. While in Spain, Rider's works were exhibited at the court of Valencia. 

Soren Emil Carlsen

Soren Emil Carlsen (1853-1932) was an American Impressionist painter who emigrated to the United States from Denmark. He became known for his still lifes and was sometimes dubbed "The American Chardin." In an era when many artists succumbed to the pressure resulting from The Armory Show to follow modernistic developments Carlsen remained faithful to his own aesthetic. Later in his career, Carlsen expanded his range of subjects from still lives and was celebrated for his landscapes and marine scenes.

Lockwood de Forest

Lockwood de Forest was born in New York City and studied under Frederic Edwin Church (1826-1900).  He was admitted to the National Academy 1n 1898. He has been associated with the Hudson River School, but with his visiting California in 1900, and his extensive travels throughout western and middle-eastern Asia, he developed an entirely new palette.  This palette suited his beautiful, Luminist plein-air approach.

From Church, de Forest adopted what was called the Sublime Aesthetic.  This blend of science and theology was an integral part of each painting.  These artists tried to affirm a Divine Presence in the natural world by arousing the emotions through the use of light and color.  Coupling this concept with the importance of recording the seen reality, Frederic Church and Lockwood de Forest felt that art should be a conduit through which nature could be channeled and represented in paint.

Captivated by the light and landscape of the South Coast, de Forest began wintering in Santa Barbara around the turn of the century, and moved to Santa Barbara permanently in 1919, where he lived until his death in 1932.