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    Albert P. Ryder
    Albert P. Ryder
    Albert P. Ryder
    Ebook140 pages2 hours

    Albert P. Ryder

    By Lloyd Goodrich

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    About this ebook

    Albert Pinkham Ryder, along with Winslow Homer and Thomas Eakins, is recognized as one of the great “ancestors” of American painting, although he was largely unknown in his own time. Twentieth-century taste discovered him and his mystical pictures have had a profound effect on modern abstract art.

    Lloyd Goodrich is Director of the Whitney Museum of American Art under whose auspices his definitive biography of Thomas Eakins was published in 1933. For many years Mr. Goodrich has been carrying on research in the life and work of Albert P. Ryder, in preparation for a definitive biography. Since Ryder’s work has been widely forged, with the forgeries outnumbering the genuine pictures about eight to one, this study has involved examination of hundreds of paintings, using x-rays and other scientific methods. The present volume, originally published in 1959, has the advantage of these years of thorough study.
    LanguageEnglish
    PublisherMuriwai Books
    Release dateJun 28, 2017
    ISBN9781787204836
    Albert P. Ryder
    Author

    Lloyd Goodrich

    Lloyd Goodrich (July 10, 1897 - March 27, 1987) was an American art historian. He wrote extensively on American artists, including Edward Hopper, Thomas Eakins, Winslow Homer, Raphael Soyer and Reginald Marsh. He was associated with the Whitney Museum of American Art in New York City for many years. During his childhood in Nutley, New Jersey, Goodrich was a close friend of Reginald Marsh, who would later become an important painter. Initially Goodrich considered a career as an artist. He studied painting and drawing at the Art Students League of New York with Kenneth Hayes Miller from 1913-1915. Between late 1915 and summer 1916, he studied with Douglas Volk at the National Academy of Design. In 1916 Goodrich returned to the Art Students League but he gave up his artistic ambitions by 1918. In 1935 the Whitney Museum of American Art named him Research Curator in 1935. He later became the Associate Director in 1948, and then Director in 1958. Goodrich died of cancer at the age of 89.

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      Book preview

      Albert P. Ryder - Lloyd Goodrich

      This edition is published by Papamoa Press – www.pp-publishing.com

      To join our mailing list for new titles or for issues with our books – papamoapress@gmail.com

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      Text originally published in 1959 under the same title.

      © Papamoa Press 2017, all rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted by any means, electrical, mechanical or otherwise without the written permission of the copyright holder.

      Publisher’s Note

      Although in most cases we have retained the Author’s original spelling and grammar to authentically reproduce the work of the Author and the original intent of such material, some additional notes and clarifications have been added for the modern reader’s benefit.

      We have also made every effort to include all maps and illustrations of the original edition the limitations of formatting do not allow of including larger maps, we will upload as many of these maps as possible.

      ALBERT P. RYDER

      BY

      LLOYD GOODRICH

      TABLE OF CONTENTS

      Contents

      TABLE OF CONTENTS 3

      ACKNOWLEDGEMENTS 4

      ALBERT P. RYDER 5

      II 6

      III 10

      IV 15

      NOTES ON THE ILLUSTRATIONS 103

      A NOTE ON FORGERIES 104

      CHRONOLOGICAL NOTE 108

      SELECTED BIBLIOGRAPHY 109

      Monographs 109

      Books and Exhibition Catalogues 109

      Periodicals 110

      PHOTOGRAPHIC CREDITS 112

      REQUEST FROM THE PUBLISHER 114

      ACKNOWLEDGEMENTS

      THE AUTHOR wishes to record his indebtedness to the many individuals who through the years have rendered generous assistance to his research on Ryder’s life and work; especially to Mrs. Charles de Kay, Philip Evergood, Mr. and Mrs. Edward D. Gurney, Mrs. Rosalie Warner Jones, Kenneth Hayes Miller, Mrs. Lloyd Williams and Mrs. Dorothy Weir Young, all of whom furnished essential personal information and documents; to Mrs. Frederic Fairchild Sherman, who generously donated the material used by Mr. Sherman in writing the first book published on Ryder; to Sheldon Keck of the Brooklyn Museum for invaluable co-operation in scientific examination of paintings; to Murray Pease and F. du Pont Cornelius of the Metropolitan Museum, and Thomas M. Beggs of the National Collection of Fine Arts, for assistance in securing x-rays; to Carmine Dalesio of the Babcock Galleries, for his constant interest and help in all matters connected with Ryder; and to Miss Lelia Wittier, William F. Davidson and Miss Elizabeth Clare of M. Knoedler & Co., Robert G. McIntyre of William Macbeth, Inc., Albert and Harold Milch and Joseph Gotlieb of E. & A. Milch, Inc., and Robert C. Vose of the Vose Galleries, for their valuable information on paintings which have passed through their hands. Special thanks are due also to Rosalind Irvine, Curator of the Whitney Museum of American Art, who prepared the bibliography; to John I. H. Baur, Associate Director of the Museum, for his constant co-operation in examining paintings; and to the author’s secretary, Frances Manola, for her unfailing help in research and writing. Grateful acknowledgment is made to the Whitney Museum for its kind permission to use portions of the author’s text of the catalogue of the Ryder Centenary Exhibition in 1947.

      L. G.

      ALBERT P. RYDER

      THE AMERICAN MIND is generally thought of as practical, matter-of-fact and extroverted. Certainly these are conspicuous traits in our national character. In our art the most common trend up to the present century was naturalism. But equally characteristic, if not as frequent, was the dark vein of romanticism. In literature it produced Poe, Hawthorne, Melville and Emily Dickinson. In painting it began with Benjamin West, Washington Allston and others who attempted the Grand Style, and was continued in a more naturalistic style by the Hudson River School, with their huge canvases celebrating the wonders and beauties of the continent. By the last third of the nineteenth century the old grandiose romantic tradition had run its course, and was giving way to the more personal, intimate romanticism of Inness, Hunt, Fuller, Newman, La Farge, Blakelock and Ryder. Of all these, the most original figure was that of Albert Ryder.

      Ryder’s art was a product of an intense inner life, little influenced by the world around him or the art of others. In it the dead wood of the older romantic school

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