Brochure PDF - Williams College Museum of Art

Annunciation. checklist no. 2Charles Prendergast's talents were recognized at once bycollectors, through exhibitions, and by his fellow artists. Hispaintings were acquired by John Quinn, Lillie P. Bliss, Dr.Albert C. Barnes, and Duncan Phillips; he was included inimportant New York exhibitions after 1915; and he wase1ec!ed first Vice President of the Society of Independent Art­Ists m 1916. Yet he is often dismissed as Maurice's youngerbrother or as a .'mere decorator" who carved frames andgilded and painted wooden panels in a "naive" manner. Asthis exhibition shows, Charles was an independent artist. He~hose his own wellspring of inspiration, and aIthough he wasmfluenced by many of the same sources to which his brotherwas drawn, he found in them fanciful and dreamlike aspects.As a craftsman Prendergast took great pleasure in thefabrication of his works and he promoted the art when hepublished an article on the' 'Revival of Wood-Carving." InthIs he lamented the separation of designer from craftsmanand looked forward to their reunion in a "golden age ofart."SUC? utopian hopes may be seen in Prendergast's panels. inhabitedby people and animals totally removed from strife.Yet struggle for financial security and success as an artist~er~ very much part of Prendergast's life. Changing his profeSSIOnfrom carpenter to frame carver in 1895, he did nottake up panel painting until 1912 at the age of almost fifty.He and Maurice had spent the previous year in Italy whereVenice held a special fascination for the brothers. An importantcrossroad of eastern and western cultures, Venicemight well have appealed to Charles Prendergast who lovedboth Italian medieval and Renaissance gold-ground painting.Even after he began to paint and exhibit panels,Prendergast continued to make frames, by which he wasrepresented in the 1913 Am10ry show. One commissionenabled the brothers to move in 1914 from Boston, wheretheir art remained unnoticed, to New York, the center ofavant-garde American art and home of "The Eight" withwhom Maurice had exhibited. The Prendergast studio andhome at 50 Washington Square was just one floor aboveWilliam Glackens's studio and the brothers welcomedGlackens's young son Ira, who later called their two rooms"a magic place" full of exotic pottery, fabric, and mosaicsas well as the work of each artist.Prendergast made preliminary sketches in pencil, charcoal,or watercolor. but he devoted the greatest effort to the executionof his panels which he described in one of hisnotebooks as follows.The foundation or surface ofthe panel/usually sugarpille or old white pine] are covered with a materialcall Gesso. It was used in the early Italian primitiveswhen they used a wood panel. I prepare my panels withthe same medium. And while the Gesso is still damp,the composition is cut into the surface with a tool. Thego/.d work is prepared seperately. Layed on Goldsizewith water. And finally, burnished alld toned.Prendergast's early panels are deeply carved and hepresents large figures as integral parts of their backgrounds.Sometimes religious or mythical, these works of the periodhe called "Celestial" or "Oriental" (1912-1928) are exoticand other-worldly, as is his first panel, Rising Sun, and theFlight ofthe Birds. Prendergast called the years 1928-1935"Transitional" to his "Modern" period which lasted from193.5 until his death in 1948. During this time Prendergast'ssubjects changed from fanciful to contemporary scenes inwhich smaller figures are silhouetted against a more specificbackground. These paintings, such as Polo Players, No. Iand Skaters at the World's Fair, show holiday events in muchthe same spirit as Maurice's pictures of Revere Beach andCentral Park. Perhaps the death of his beloved older brotherin 1924 had somehow released his subjects to Charles.Skaters at the World's Fair. checklist no. II

Happily married in 1925 and settled into a country housewith a large studio and garden in Westport, Connecticut,Prendergast ceased to be his deaf brother's touch with theoutside world and became more solitary himself. Occasionaltrips to Europe and, in the last years before his death in 1948,to Florida for his health, punctuated a life otherwise devotedto his art. Although he designed and carved over four hundredframes. he left a relatively small number of panels (about125), and a few figures, screens, and chests. Devoted to theindependent expressiveness of color and line and to the reflectivepotential of gold and silver leaf, Charle~ Prendergast'slyrical art portrays the enchanted and magical world of hisown imagination born of observation.Interior, Florida, checklist no. 16PANELSI. Rising SUIl, 1912Incised gesso on carved wooden panel with tempera and gold leaf30.48 x 45.09 cm (12 x 17% in.)Frame by the artistCollection of Mrs. Charles Prendergast2. Annullciation (CJjfering ofthe Material to the Spiritual), ca. 1912Incised gesso on carved wooden panel with tempera and gold leaf51.44 x 68.58 cm (20',4 x 27 in.)Frame by the artistCollection of Mrs. Charles Prendergast3. FliEiht of the Birds, ca. 1915Incised gesso on carved wooden panel with tempera and gold andsilver leaf58.42 x 78.74 cm (23 x 31 in.)Frame by the artistAddison Gallery of American Art, Phillips Academy, Andover,Massachusetts4. SUllset, ca. 1916-1917Incised gesso on wooden panel with tempera and gold leaf41.91 x 34.93 cm (16'/2 x 1J3;.' in.)Collection of Mrs. Charles Prendergast5. 7711' Riders, ca. 1916-1917Incised gesso on wooden panel with tempera and silver and gold leaf76.84 x 57.79 cm (30',4 x 2Hi in.)Frame by the artistCollection of Mrs. Charles Prendergast6. Fail)' Story, ca. 1920 (reworked 1946)Incised gesso on wooden panel with tempera55.88 x 78.74 cm (22 x 31 in.)Frame by the artistCollection of Mrs. Charles Prendergast7. Christmas Card, 1932Watercolor and gilding on incised and gessoed paper17.78 x 17.78 (7 x 7 in.)Collection of Mrs. Charles Prendergast8. Zinnias, ca. 1935Incised gesso on panel with watercolor and silver leaf38.10 x 60.96 cm (15 x 24 in.)Frame by the artistPrivate Collection9. Donkey Rider #2, 1936Incised gesso on wooden panel with tempera and gold leaf40.64 x 45.09 cm (16 x 17 J ,4 in,)Framc by the artistCollection of Mrs. Charles Prendergast10, Circus, 1940Incised gesso on masonite with tempera and gold leaf61.93 x 60.33 Col (24,% x 233,4 in.)Frame by the artistCollection of Mrs. Charles PrendergastII, Skaters 11/ the World's Fair, 1940Incised gesso on masonite with tempera76.84 x 80.01 cm (30',4 x 31'/2 in.)Frame by the artistWilliams College Museum of Art, Anonymous Gift, 198312. After the Show, ca. 1940Incised gesso on wooden panel with tempera42.55 x 39.37 cm (163,4 x 15'/2 in.)Frame by the artistCollection of Professor and Mrs. Charles Sawyer13. Bathers Under the Trees, ca. 1940Incised gesso on masonite with tempera and gold leaf56.85 x 73.66 cm (22,% x 29 in.)Frame by the artistCollection of Mrs. Charles Prendergast14. Polo Players, No. I, ca. 1941Incised gcsso on masonite with tempera and gold leaf50.80 x 59.06 cm (20 x 23',4 in.)Frame by the artistCollection of Mrs. Charles Prendergast

15. Sketch for Polo Players, No.1, ca. 1941Watercolor and pencil on incised paper50.80 x 59.06 cm (20 x 23',4 in.)Frame by the artistCollection of Mrs. Charles Prendergast16. Interior, Florida, 1946Incised gesso on masonite with tempera29.21 x 25.10 cm (11'/2 x 9Ys in.)Fmme by the artistCollection of Mrs. Charles Prendergast17. Glory Bower, 1946-1947Incised gesso on masonite with watercolor38.10 x 53.34 cm (15 x 21 in.)Frame by the artistCollection of Mrs. Charles PrendergastMIRRORS AND FRAMES18. Mirror with Four Angels' Heads, ca. 1912Mirror in carved and gilded wooden frame55.88 x 40.64 em (22 x 16 in.)Collection of Mrs. Charles Prendergast19. Mirror - Blue and Gold, ca. 1912Mirror in carved, painted, and gilded wooden frame55.88 x 43.18 cm (22 x 17 in.)Collection of Mrs. Charles Prendergast20. Carved Frame - Blue, Rose, and Gold, ca. 1912Mirror in carved, painted, and gilded wooden frame54.61 x 44.45 cm (21'12 x 17'/2 in.)Private Collection21. Carved and Painted Frame, ca. 1914(with decoration on glass by Maurice Prendergast)Watercolor behind glass in carved and painted wooden frame53.98 x 29.21 cm (21',4 x 11'12 in.)Collection of Mrs. Charles Prendergast22. Decorated Mirror with Two Figures, ca. 1915-1916Watercolor behind glass in carved, painted, and gilded woodenframe46.36 x 78.74 cm (18',4 x 31 in.)Collection of Mrs. Charles Prendergast23. Carved Frame, ca. 1930-1939Carved wood with backing of Japanese print50.80 x 30.18 cm (20 x IIYs in.)Collection of Mr. and Mrs. Paul 1. Maynard27. Box, 1932Painted and gilded over incised gesso on wood6.99 x 19.05 x 8.89 cm (2* x 7'/2 x 3'/2 in.)Collection of Mrs. Charles Prendergast28. Box, ca. 1934Painted and gilded over incised gesso on wood6.99 x 14.61 x 10.16 cm (2 3 ,4 x 5 3 ,4 X 4 in.)Collection of Mrs. Charles Prendergast29. Kneeling Figure, 1940Watercolor and gold leaf on wood on carved and painted base20.32 cm (8 in.)Collection of Dr. and Mrs. Harold Genvert30. Three-legged StoolWatercolor on gessoed wood21.29 x 29.21 cm (8% x 11'/2 in.)Collection of Mrs. Charles Prendergast31. Unfinished Figure of a Rooster, ca. 1947-1948Carved wood20.96 x 10.16 cm (8',4 x 4 in.)Williams College Museum of Art, Anonymous Gift, 198332. Charles Prendergast's Carving ToolsWilliams College Museum of Art. Anonymous Gift, 198333. Photograph of Charles Prendergast. ca. 1917(shown in the studio working on Four Figures and Donkey withBasket of Flowers)Collection of Mrs. Charles PrendergastFIGURES, BOXES, AND FURNITURE24. Eve, ca. 1912-1914Gold leaf on wood on gilded base29.21 cm (11'12 in.)Collection of Mrs. Charles Prendergast25. Angel, ca. 1915Watercolor and gold leaf on wood on incised and painted base17.78 cm (7 in.)Collection of Mrs. Charles Prendergast26. Man Dancing, ca. 1917Watercolor and gold leaf on wood on incised and painted base20.32 cm (8 in.)Collection of Mrs. Charles PrendergastWilliams College Museum of ArtApril 21 _. September 16. 1984This exhibition and brochure were prepared by Carol Clark,Maurice and Charles Prendergast Executive Fellow with assistancefrom Carol Derby ('83), Assistant to the Executive Fellow and LucyCorrigan ('84).

.;/'WILLIAMS .COLLEGEWILLIAMSTOWN. MASS. 01267PUBLIC INFORMATION. "OFFICE OF PUBLIC INFORMATION413597-2277FOR IMMEDIATE R~L~ASE April 10 .. 1984CHARLES PRENDERGAST EXHIBIT TO OPENAT WILLIAMS COLLEGE MUSEUM OF ARTWILLIAMSTOWN, Mass.--On April 22, the Williams College Museumof Art will open an exhibition, "Charles Prendergast: Figures andCarved Panels," to be on view through Sept. 16, 1984.This willbe the second in a series of exhibitions planned for thePrendergast Gallery at Williams College.The first, "The Art ofMaurice and Charles Prendergast," which opened on Sept. 11, 1983,to coincide with the dedication of the Williams College Museum ofArt's building addition, will close on April 15.Featuring works of Charles Prendergast, the exhibition willpresent a comprehensive view of the artist's carvings from hisearliest pictorial panels of 1912, such as "Rising Sun" and"Annunciation," to his late works done in Florida in 1946-47.Inaddition, small figures, carved boxes, frames, and the artist'swoodworking tools will be exhibited and will expand theunderstanding of Prendergast's work beyond the better-knownpanels.Organized by Carol Clark, the Executive Fellow of theMaurice and Charles Prendergast Systematic Catalogue Project, theexhibition will be accompanied by an illustrated hrochure andexplanatory texts prepared with the assistance of Williams Collegestudents •

Clark says this is the largest exhibition of CharlesPrendergast's work since 1968, and will contain 35selectedworks, representing many phases in Charles Prendergast'sexploration of carving techniques.She notes that though theartist's approach to "Eve," a figure of carved and gilded wood,created about 1912-14, is quite different from his handling of acircus scene in "After the Show," engraved gesso on panel withtempera, dating from about 1940, both works show Prendergast'scharacteristic delicate sensibility to materials and design.A third exhibition in this series organized in conjunctionwith the research activities of the Maurice and CharlesPrendergast Systematic Catalogue Project is planned for lateSeptember.This exhibition will focus on the sketchbooks ofMaurice and Charles Prendergast.Seldom displayed due to theirfragile nature, the sketchbooks include watercolors and pencildrawings from these American artists' travels, at home and abroad.E8/17