792

Lyell Carr (American, 1857-1912), "Black Mountain", Georgia, oil on canvas, signed and titled lower right, 27-1/4" x 34". Framed. Lyell Carr spent the early years of his career in Chicago working as a painter and illustrator of domestic interiors. By the mid-1880s, he found his true vocation as a landscape artist, following his studies in Paris in 1884 at the Academie Julian under Jules-Joseph Lefebvre and Gustave Boulanger. After Carr returned from France, he executed several landscapes, which received widespread recognition. His rural scenes of the American South particularly appealed to wealthy patrons in the industrialized North. Hailed as agrarian pastorals, they aggrandized the daily life of agrarian laborers within a distinctly American genre and setting. Carr adopted the French Barbizon School's, and to a lesser degree, the Impressionists' fascination with the peasantry - impoverished sharecroppers and day laborers, who "earned their bread at the sweat of their brows." In contrast to depicting them as massive figures, disfigured from hard labor, Carr tucked Southern laborers into golden fields offset by quaint settlements. The painting offered here is a fine example of this scenic effect. Outside the cabins nestled in the hollow of the Georgia Appalachians, a Black woman is seen hanging her wash. The bucolic scene is accentuated by the misty use of aerial perspective in the background that blurs the vast skies into the vista. Black Mountain, which is in Dawson County, is 100 miles from Haralson County in Georgia, where Carr spent many of his summers from the late 1880s. The region continued to inspire Carr's landscapes up until his death; as late as 1910 the American Art News in New York reported that Carr would be spending the summer at Black Mountain. Another painting of this mountain that closely resembles the composition of this one is conserved in the Johnson Collection in Spartansburg, South Carolina. References: Pennington, Estill Curtis and Martha Severens. Scenic Impressions: Southern Interpretations from the Johnson Collection. Columbia: USC Press, 2015; American Art News 7:31 (1910).


  • Condition: In overall good condition. There are some very small losses and abrading to the pigment along the stretcher edge from where the canvas has been relined. Under UV light, scattered areas of inpainting fluoresce in the central area of the sky and along the top edge. A few additional inpainted "touch-ups" (smaller than 1/8") appear in the trees in the middle ground. The cabin scene, foreground and signature are intact and show no signs of restoration.

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May 22, 2016 10:00 AM CDT
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