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Harry Leslie Hoffman - (1874- 1966)
Street Scene, Washington, DC - 1915
Capturing the Immediate: Impressionism in the South: Paintings from the Permanent Collection
July 13 - December 29, 2024
This expansive exhibition includes figurative, still-life, and landscape paintings by many well-known and some previously undiscovered impressionist painters who worked in the South. Driven by the passionate interest of museum founders Sissie and Billy Morris, the museum has made impressionist painting an important focus of its collection since the start. More than three galleries are devoted to this groundbreaking exhibition.
Although impressionism was looked upon as a radical style of painting in late-nineteenth century Europe, hundreds of American painters—including many who later worked in the South—eagerly adopted the unblended brushwork and vibrant palette of French painters Camille Pissarro, Pierre- Auguste Renoir, and, especially, Claude Monet. In 1883, when Monet moved to Giverny, he proved himself a magnet to the American painters who studied in France, absorbing the ideas and techniques of French realists like Jean-François Millet, impressionists like Monet and his colleagues, and more conservative academic painters. By the turn of the twentieth century, many American painters had elevated landscape and still-life painting to a level traditionally enjoyed only by historical, religious, and mythological subject matter. The unprecedented emphasis on subjects that were part of the artist’s direct experience came naturally to painters in the South, including many—Gari Melchers, Eliot Clark, Paul Sawyier, Virginia Randall McLaws, Louis Betts, William Posey Silva—whose paintings are highlighted in this exhibition. The success of the first major American exhibition of impressionist paintings, in 1886, cemented its popularity among artists, critics, and collectors. But as is often the case, artists were well ahead of the public in their embrace of this new style.
This exhibition demonstrates that artists in the South shared key concerns with their French counterparts, most notably a grounding in direct sensory and lived experience, as well as “the painting of modern life” that meant subjects could be observed in the artist’s own environment. An increasing number of southern painters who discovered impressionism found the combination of sensuous technique and native subject matter perfectly suited to southern sensibilities.
Unlike in Europe, where national schools emerged, impressionism in America had regional associations around the country, and its geographical fractures have led some scholars to view it as merely local and therefore unworthy of serious study. Scholars have also tended to ignore American impressionist paintings created after 1915. Like the many paintings on view, Delphine Julia Bradt’s Spring Day (circa 1925), William Posey Silva’s Raiment of Springtime (1931), and Ernest Lawson’s The Waterfall, Shore’s Mill, Tennessee (1938) demonstrate that impressionism occupied and sustained a place of great importance in keeping with the region’s agrarian roots, retaining its vitality well into the twentieth century.
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Located on the Riverwalk in historic downtown Augusta, the Morris Museum of Art, the oldest museum in the country that is specifically devoted to the art and artists of the American South, is noted for its multifaceted permanent collection of 5,000 works of art and a rich variety of continually changing special exhibitions and public programs. The Morris is dedicated to the continued interpretation of the culture of the South in all its forms.
Located in historic downtown Augusta, Georgia, on the Savannah River, the Morris has preserved the history and culture of the South for more than twenty-five years. The museum’s permanent collection, dating from the late eighteenth century to the present, is arranged thematically in ten galleries. In addition, the museum hosts temporary special exhibitions throughout the year as well as a rich array of public programs and events for children, families, and art lovers of all ages.
The Morris Museum’s permanent collection was established in 1989 with the purchase of 230 paintings from Dr. Robert Powell Coggins, a pioneering collector of Southern art. That acquisition set the museum’s mission and identified its special interest in the art and artists of the American South. When it opened in 1992, the collection included approximately 700 objects, half of them paintings. Today, the museum’s collection includes 5,000 works of art that represent fifteen states and the District of Columbia. In recent years, its traditional strengths in paintings and works on paper have been significantly enhanced by the creation of important collections of photographs, folk art, and studio art glass. The Morris Museum’s Center for the Study of Southern Art, a comprehensive research library, has also grown to include 20,000 volumes, 28,000 vertical files, 1,350 media resources, and a rich archive that includes artists’ letters and papers.
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www.georgiaencyclopedia.org/articles/arts-culture/morris-...
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Bathed in the harsh, golden light of late afternoon, a solitary figure lies motionless on a patch of dry urban grass, completely concealed beneath a heavy, faded yellow and red plaid blanket. Only a pair of worn, scuffed brown boots emerges from the folds of the fabric, pointing towards the viewer and grounding the scene in stark reality. In the immediate foreground, a single pigeon stands in sharp focus, its iridescent green and purple neck feathers glinting in the sun as it casually surveys the ground. The background features a low red-brick wall, beyond which the blurred, disembodied legs of pedestrians hurry past in the shadows. This shallow depth of field is employed masterfully to isolate the sleeping figure from the indifferent movement of the city behind them. High contrast lighting casts deep, heavy shadows across the grass, emphasizing the contours of the huddled form and the texture of the rough blanket. The composition highlights a poignant juxtaposition between the static, hidden vulnerability of the unhoused individual and the ceaseless, ordinary activity of the surrounding environment. In urban centers of Argentina, scenes like this offer a stark commentary on economic disparity and the invisible struggles occurring daily in public spaces. The warm color palette, dominated by earthy browns, muted yellows, and the vibrant red of the brick, adds a melancholic warmth to the documentary capture. The presence of the pigeon further amplifies the sense of marginalization, sharing the same ground level as the resting figure while the rest of society walks by above. This image is a collaborative production by Samuel Jeffery and Audrey Bergner for Project 23.
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Bañada por la dura y dorada luz de las últimas horas de la tarde, una figura solitaria yace inmóvil sobre un trozo de césped urbano seco, completamente oculta bajo una pesada y desteñida manta a cuadros amarillos y rojos. Solo un par de botas marrones gastadas y rozadas asoma entre los pliegues de la tela, apuntando hacia el espectador y anclando la escena en una cruda realidad. En el primer plano inmediato, una sola paloma aparece nítidamente enfocada, con las plumas iridiscentes verdes y púrpuras de su cuello brillando al sol mientras observa casualmente el suelo. El fondo presenta un muro bajo de ladrillo rojo, más allá del cual las piernas borrosas y sin cuerpo de los peatones pasan apresuradamente entre las sombras. Esta escasa profundidad de campo se emplea magistralmente para aislar a la figura que duerme del movimiento indiferente de la ciudad que tiene detrás. La iluminación de alto contraste proyecta sombras profundas y pesadas sobre el césped, enfatizando los contornos de la forma encorvada y la textura de la áspera manta. La composición resalta una conmovedora yuxtaposición entre la vulnerabilidad estática y oculta del individuo sin hogar y la incesante y ordinaria actividad del entorno que lo rodea. En los centros urbanos de Argentina, escenas como esta ofrecen un duro comentario sobre la disparidad económica y las luchas invisibles que ocurren diariamente en los espacios públicos. La cálida paleta de colores, dominada por marrones terrosos, amarillos apagados y el rojo vibrante del ladrillo, añade una calidez melancólica a la captura documental. La presencia de la paloma amplifica aún más la sensación de marginación, compartiendo el mismo nivel del suelo que la figura que descansa mientras el resto de la sociedad camina por encima. Esta imagen es una producción colaborativa de Samuel Jeffery y Audrey Bergner para el Proyecto 23.
Explore more of our work:
Local Guides: cheargentinatravel.com & nomadicsamuel.com
🌎 Personal Sites: samueljeffery.net, audreybergner.com & samuelandaudrey.com
Photo by Samuel Jeffery & Audrey Bergner | Project 23
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To live an abundant life, one must be grounded to the blessings of the Earth. The intention of this Energy Muse piece is to reconnect with the vibrations of the Earth.
Grounding Rods are a foundational technique for Lightning Protection. The main objective of grounding is to provide a straight, low resistive path for very high currents to enter the earth and be absorbed without harming equipment or people. LEC is engineers and products can solve your most complex challenges in grounding, surge suppression and lightning protection. Contact an LEC expert today - www.lightningprotection.com/grounding-earthing/
Looking straight down at the forest floor in La Cumbrecita, a dense, chaotic network of exposed tree roots snakes across the damp earth. Audrey Bergner's feet, clad in light pink and grey strappy sandals, plant firmly amidst the textured, woody labyrinth. The rich, dark soil is dappled with vibrant patches of emerald green moss and scattered pine needles, hinting at the moisture retained within this pedestrian alpine village's protective canopy. The top-down perspective flattens the scene into an almost abstract composition, emphasizing the organic lines and intricate patterns of the roots rather than the horizon. Diffused, soft lighting washes over the scene, eliminating harsh shadows and allowing the subtle textural contrasts between the smooth, worn bark of the roots and the delicate, spongy moss to emerge clearly. A relatively wide depth of field ensures that the labyrinthine root structure remains in sharp focus across the entire frame, drawing the viewer's eye through the natural web. This intimate view captures the rugged, nature-forward essence of La Cumbrecita, a unique pedestrian-only settlement in the Sierras de Córdoba of Argentina. Visitors must leave their vehicles behind, forcing a slower, more deliberate connection with the environment, perfectly embodied by this grounded stance. The intertwining roots serve as a visual metaphor for the village's deep integration with its surrounding alpine forest ecosystem, where every step taken is a direct physical engagement with the earth. The casual attire of denim shorts and durable walking sandals reflects the active, exploratory spirit required to navigate the unpaved, undulating trails of this eco-conscious destination. Here, the journey is felt beneath the soles of the feet, grounding the traveler in the raw, tactile beauty of the Argentine wilderness. This image is a collaborative production by Samuel Jeffery and Audrey Bergner for Project 23.
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Mirando directamente hacia abajo al suelo del bosque en La Cumbrecita, una densa y caótica red de raíces de árboles expuestas serpentea a través de la tierra húmeda. Los pies de Audrey Bergner, calzados con sandalias de tiras de color rosa claro y gris, se asientan firmemente en medio del laberinto boscoso y texturizado. El suelo rico y oscuro está salpicado de manchas vibrantes de musgo verde esmeralda y agujas de pino esparcidas, insinuando la humedad retenida dentro del dosel protector de este pueblo alpino peatonal. La perspectiva de arriba hacia abajo aplana la escena en una composición casi abstracta, enfatizando las líneas orgánicas y los intrincados patrones de las raíces en lugar del horizonte. Una iluminación suave y difusa baña la escena, eliminando las sombras duras y permitiendo que surjan claramente los sutiles contrastes de textura entre la corteza suave y desgastada de las raíces y el musgo delicado y esponjoso. Una profundidad de campo relativamente amplia asegura que la estructura laberíntica de las raíces permanezca enfocada nítidamente en todo el encuadre, atrayendo el ojo del espectador a través de la red natural. Esta vista íntima captura la esencia accidentada y orientada a la naturaleza de La Cumbrecita, un asentamiento peatonal único en las Sierras de Córdoba en Argentina. Los visitantes deben dejar atrás sus vehículos, forzando una conexión más lenta y deliberada con el entorno, perfectamente encarnada por esta postura conectada a la tierra. Las raíces entrelazadas sirven como una metáfora visual de la profunda integración del pueblo con su ecosistema de bosque alpino circundante, donde cada paso dado es un compromiso físico directo con la tierra. El atuendo informal de pantalones cortos de mezclilla y sandalias para caminar duraderas refleja el espíritu activo y exploratorio requerido para navegar por los senderos sin pavimentar y ondulados de este destino ecoconsciente. Aquí, el viaje se siente bajo las plantas de los pies, conectando al viajero con la belleza cruda y táctil de la naturaleza salvaje argentina. Esta imagen es una producción colaborativa de Samuel Jeffery y Audrey Bergner para el Proyecto 23.
Explore more of our work:
Local Guides: cheargentinatravel.com & nomadicsamuel.com
🌎 Personal Sites: samueljeffery.net, audreybergner.com & samuelandaudrey.com
Photo by Samuel Jeffery & Audrey Bergner | Project 23
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Wind turbines provide us with renewable energy that relies on nature, rather than fossil fuels, to reap the benefits. Yet, due to the height of the structures and location, wind turbines can attract lightning that result in fires, downtime and damaged electronics. A grounding system is one of the most important components required for appropriate LPSs in wind turbines. Ready to protect your wind turbine from the dangers of lightning strikes! For any further questions or queries, Contact us for more details: www.lightningprotection.com/products/
BODEGA BAY - Coast Guard response crews attach an anchor to the grounded fishing vessel Advance after it collided with channel marker 13, Thursday, June 30, 2011. A Coast Guard rescue crew arrived on scene quickly and the two crewmembers aboard the Advance were unharmed as a result of the grounding. U.S. Coast Guard photo by Petty Officer 2nd Class Pamela J. Boehland.
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PRINT for sale of original artwork by Helen White helenwhite.org £25 pus post and packing.
One available printed to beautiful Hahnemühle photo rag which resembles a high quality water colour paper and results in archival standard vibrant and detailed prints. Unmounted (25 x 20cm, same as the original).
Also one available as a larger print to pearl photo paper, unmounted (41 x 33cm).