132

Alson Skinner Clark

(1876-1949)

"The Coffee House" (View of the State Street Bridge, Chicago), 1915

Oil on canvas
Signed and dated lower left: Alson Clark '15; signed again in pencil on the verso of the frame; titled on an exhibition label affixed to the stretcher
34.75" H x 46" W

  • Exhibited:
    Los Angeles, CA, Foundation of Western Art, n.d.
  • Notes:
    Inscribed "1951-7" in ink on both the stretcher and verso of the frame. A "Deaccessioned Sep [**] 1969" paper sticker affixed to the verso of the frame.

    The present painting is an atmospheric view of downtown Chicago featuring one of the city's iconic ironwork bridges, "State Street Bridge," that span the Chicago River. The title "The Coffee House" refers to the area's concentration of coffee roasters whose smokestack emissions richly scented the neighborhood with the aroma of coffee.

    The Art Institute of Chicago owns a closely related version of this same subject, which Clark painted a decade earlier, during the winter of 1905-06. Also titled "The Coffee House," it is slightly smaller (38" H x 30" W) and is rendered more vertically as compared with the example offered here. He exhibited that example, together with 56 of his other paintings, at the Art Institute of Chicago (AIC) in 1906, and it won him the prestigious Martin B. Cahn Prize, which was an annual award designed to recognize the best painting by a Chicago artist. Critics at the time described his award-winning canvas as a "modern painting..." and "A realistic work in the 20th century spirit."

    Clark received his earliest art training from prominent schools in Chicago and New York City. He and his newlywed wife then spent nearly three years living and training in Europe, primarily in Paris. He began painting his first version of "The Coffee House" only a few months after returning to America in the summer of 1905, and like the 1915 version offered here, as well as many of his other early works, it reflects both the styles of art to which he had been exposed, and the sensibilities of his most influential teachers in America and abroad. They show what scholar Deborah Epstein Solon, in her 2005 exhibition catalogue "An American Impressionist: The Art and Life of Alson Skinner Clark" for the Pasadena Museum of Art, describes as Clark's "...modified form of Impressionism, [with] Whistler's art exert[ing] an enduring influence on his palette and point of view." (p.15). As part of her discussion about his 1905-06 rendition of this subject, she writes, "...Clark transferred his interest in urban life in Paris to Chicago. Always affable, he befriended one of the bridge tenders on the Chicago River, who allowed him to paint in the lookout of the State Street Bridge. From this vantage point, looking out across the bridge, Clark produced 'The Coffee House,' named for the coffee warehouses in the area that emitted a constant aroma. The scene is relatively bleak - a cold winter's day in the warehouse district - with smoke billowing from factories and a haze covering the frozen streets. Barely recognizable figures make their way across the blustery bridge. The Whistlerian muted palette mirrors the overall sensibility. This amalgamation of Whistlerian tonalities and broad and loose Impressionist brushwork is an accommodation of two different sensibilities." (p.36).

    Alson Skinner Clark ultimately donated his award-winning 1905-06 version of "The Coffee House" to the Art Institute of Chicago. He did so in memory of his parents in 1915, after his mother died unexpectedly that spring while he was preparing to participate in the Panama Pacific Exposition in San Francisco. One might wonder if "The Coffee House" offered here, with its date of 1915, could have been undertaken by Clark during that year as a poignant reworking of the version he had just donated (AIC accession # 1915.256), with its sentimental associations, to one of American's greatest museums.
  • Condition: Visual: Overall generally good appearance. Varnish discoloration, dust accumulation, grime, and occasional scattered craquelure. An approximately dime-sized, stabilized, pigment loss in the sky at center, exposing beige underpaint. A narrow scratch extending diagonally 2.75" into the composition from the center of the extreme left edge, and another, 0.75" long, extending from the center of the extreme right edge. Narrow, irregular, branching lines of pigment loss exposing the underlying canvas in numerous places near the upper and lower extreme edges, as if formerly rolled or stretched to that point along those two edges. A nickel-sized stain in the extreme lower left corner. Old tack holes (two near the upper left corner and two near the center of the right edge) and scattered frame abrasion along all four sides.

    Blacklight: No evidence of restoration.

    Frame: 38" H x 49" W x 1.75" D


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