DANIEL GARBER 1880-1958 DOWN IN PENNSYLVANIA Measurements: 50.25 by 60.25in. Alternate Measurements: (127.6 by 153 cm) signed Daniel Garber, l.r. oil on canvas Painted circa 1935. This painting will be included in the forthcoming catalogue raisonne of the artist's work being prepared by Hollis Taggart and Carl Jorgensen in cooperation with the Garber family. Provenance: Estate of the artist Mary Franklin Garber (his wife), by 1968 Tanis Garber Page (their daughter , 1976 Richard Stuart Gallery, Pipersville, Pennsylvania Acquired by the present owner, 1981 Exhibited: Pittsburgh, Pennsylvania, Carnegie Institute, The 1935 International Exhibition of Paintings, October- December 1935, no. 9 South Hadley, Massachusetts, Mount Holyoke Friends of Art, Dwight Art Memorial, Paintings by Daniel Garber, September-October 1936, no. 2 Philadelphia, Pennsylvania, The Pennsylvania Academy of the Fine Arts, Oil Painting and Sculpture by Artists of Philadelphia and its Environs, April-May 1940, no. 91 Chestnut Hill, Pennsylvania, Woodmere Art Gallery, Exhibition of Paintings, Drawings, and Prints by Daniel Garber, N.A., November 1942, no. 55 Philadelphia, Pennsylvania, The Pennsylvania Academy of the Fine Arts, Daniel Garber, Retrospective Exhibition: Paintings, Drawings, Etchings, April 1945, no. 102 Philadelphia, Pennsylvania, Bailey Banks & Biddle, Fine Paintings by Daniel Garber, circa October 1957 Allentown, Pennsylvania, Allentown Art Museum; Washington, D.C., Corcoran Gallery of Art; Greensburg, Pennsylvania, Westmoreland Museum of Art; Chadds Ford, Pennsylvania, Brandywine River Museum, The Pennsylvania School of Landscape Painting: An Original American Impressionism, September 1984-September 1985, no. 17, pp. 64, 65, 75, 93, illustrated fig. 2:50 Philadelphia, Pennsylvania, CIGNA Museum and Art Collection, American Landscape Painting 1850-1950: Selections from the CIGNA Collection, February-March 1987, illustrated on the cover Buckingham, Pennsylvania, Bianco Gallery, The Byers' Annual Bucks Fever Art Exhibition: An Exhibition of Bucks County Impressionists from the CIGNA Museum and Art Collection, April-May 1994, no. 5, illustrated on the cover Literature and References: The artist's record book I, p. 52, line 7 The CIGNA Collection: Art at One Logan Square, Philadelphia, Pennsylvania, 1984, illustrated in color Thomas C. Folk, The Pennsylvania Schoool of Landscape Painting, Ph.D. dissertation, City University of New York, 1987, pp. xiii, 127, 243, illustrated Thomas C. Folk, The Pennsylvania Impressionists, Madison, New Jersey, 1997, illustrated p. 8 Note: Daniel Garber received his early artistic training at the Art Academy of Cincinnati and later at the Pennsylvania Academy of the Fine Arts, where he studied under William Merritt Chase and Cecelia Beaux. The artist spent the summers of 1899 and 1900 at the Darby School of Painting in Fort Washington, Pennsylvania, a summer program where the curriculum stressed landscape painting and encouraged students to paint the local landscape from life, working outdoors rather than in a studio. Brian H Peterson writes, ''it was at the Pennsylvania Academy that he found his true stylistic and temperamental home'first in his years of study there (1899-1905) ' A few years later, in 1909, Garber was hired as a teacher at the academy, and for the next forty-one years he was 'the heart of the place.' Garber's consummate skills as a teacher, as well as his fabulously successful career as a painter, made him the most prominent defender of the artistic tradition in a school that had built its reputation largely as a bastion of that tradition' ( Pennsylvania Impressionism, Philadelphia, Pennsylvania, 2002, p. 9). Garber first visited Bucks County in the early 1900s and decided to settle there in 1907 after returning from two years study abroad. He quickly established his place beside Redfield and Schofield, the nation's most prominent landscape painters of the time, and remained a fixture of the New Hope colony for the rest of his career. Unlike his fellow Bucks County artists, who often depicted the Pennsylvania landscape in winter, Garber preferred to paint the more temperate seasons. In Down in Pennsylvania Garber achieved a tapestry-like effect by dispersing interwoven strands of brilliant pigment in the widely varied colors of fall foliage and cultivated farmland in precise and intricate designs of interwoven brushstrokes. Kathleen A. Foster writes, "The stitchlike texture and large, two-dimensional patterns in Garber's landscapes ' led from these tapestry similes into a discussion of his 'decorative' qualities. From the 1880s, when the terminology first came into vogue, decorativeness had been a desirable quality in all the arts and a powerful word of praise, lacking the implications of superficiality that it carries today. ' For Garber, the term seems to have been called forth partly by his effects of color and texture. More important, his personal compositional style created strong two-dimensional patterns, usually resulting from the use of a few favored effects. 'Garber counselled [sic] his students to see the landscape in planes like 'curtains,' and this is exactly the 'decorative' effect his paintings produced" (The Art of Daniel Garber, 1980, p. 29).