Up for auction is a Lot of 38 Total AUTUMN
LEAVES By Robert Wood 1959 Litho In USA pictures. The Size is 10 1/8 x 8. They
are very nice with multicolors. They all are in
great condition for there age. These were an estate find that had a
great deal of Robert Wood Art for sale. This is a great opportunity to buy at
wholesale and sell for retail. FREE SHIPPING!
Master of the American Landscape
by Jeffrey Morseburg
For more than
sixty years, Robert W. Wood had his finger on the pulse of American landscape
painting. For a number of decades he was America's best-known landscape
From his many trips crisscrossing the American
continent, he presented us with a record of the unspoiled American landscape.
In a very real sense his paintings are an invaluable document of our rapidly
vanishing wilderness and pristine seashores, as only Robert Wood could
articulate these themes. Whether it was a marine painting depicting Pt. Lobos,
a landscape showing Texas bluebonnets in full
bloom, or a view of the Rocky Mountains, Wood
handled each of these varied subjects with equal facility.
He was aware of the new crosscurrents in American art
and had contact with these ideas, but Robert Wood elected to travel a solitary
path and stay true to his own vision of what constituted the American
landscape. Although he was a prolific painter, it was not Wood's paintings
alone that brought him to the attention of the general public. Reproductions of
his works found their way into virtually every city and town in the United States
and were sold abroad. In fact, the distribution of his work was so complete
that one of his dealers from Atlanta
used to tell a story about seeing a Robert Wood reproduction in the chief's hut
in an African village. By the 1960's, Robert Wood had become famous for the
reproductions of his ocean scenes and landscapes which graced the walls of
millions of American homes. A reproduction of "October Morn" sold
more than 1.25 million copies in less than two years.
Robert W. Wood was born in Sandgate, England, near the
famous white cliffs of Dover, on the coast of Kent. His father, W. L. Wood, was a
Victorian painter and Robert Wood displayed a facility for art at an early age.
As a young man, he studied painting in nearby Folkstone. After service in the
Royal Army, Wood and his friend, Claude Waters, emigrated to America.
Initially, Wood settled in Illinois and worked as a hired hand on a
farm belonging to Water's uncle. Then he struck out on his own, living the life
of an itinerant painter. He traveled as a hobo, hopping freight trains and
selling or bartering small paintings to support himself along the way. When
times were hard, he worked at whatever job was available. In this manner, he
saw most of the United States
and fell in love with rural America.
By 1912, he visited Los Angeles
for the first time, arriving on the day the Titanic tragedy was featured in the
papers. Late in his life, Wood remembered his carefree travels as one of the
happiest periods of his life.
By the close of 1912, Wood had met, courted and
married young Eyssel Del Wagoner in Florida.
The couple moved to Ohio where a daughter, Florence, was born.
During World War I, the family moved to Seattle
where a son, John Robert Wood, was born in 1919. In the early 1920's, the young
Wood family was almost constantly on the move. They stayed for short periods in
and California and for a longer time in Portland, Oregon,
where Wood's friend Claude Waters had settled. Wood's seemingly endless
wanderings disrupted his family life and delayed his development as a painter.
However, through his travels he developed an appreciation for the American
landscape that would inspire him for the rest of his career.
Finally finding a place where he felt he could be
happy, Wood put down roots in the vast state of Texas. He and his family settled in San Antonio, then the
largest city in the state. San Antonio proved to be an ideal location for the
young artist, as it offered a great variety of terrains to inspire a landscape
painter. It was there that Wood began to pursue painting seriously. Wood
studied with Jose Arpa (b. 1868), an academy-trained Spanish artist who was
then one of San Antonio's
best-known painters. He was also aware of the works of the recently deceased Texas painters Robert
and Julian Onderdonk (1853-1917 and 1882-1922 respectively), who were well
known for their depictions of the Texan countryside. In a short time, Wood had
established a reputation for well-painted landscapes of familiar Texas scenes like the famous fields of Blue Lupin ("Texas Bluebonnets," the state flower) and the Red
Oaks found in central Texas.
In 1925, Wood was divorced from his wife. In 1932, he
moved to the famous scenic loop on San
Antonio's outskirts. During his Texas period, Wood was very productive. He
made sketching trips to the Rockies, the Grand Tetons, the Cascades, Yellowstone, and the High Sierras. Wood shipped his
paintings to dealers in the South, Midwest and
East, and through them began to build a reputation with collectors across the
country. In San Antonio he met and married his
second wife, Tula.
After seventeen years in Texas,
Wood pulled up stakes again and established himself in the coastal town of Laguna Beach, California.
Laguna had been an artist colony since early in the century and some of the
painters of the California
were still active when Wood settled there. In Laguna, he was recognized for his
landscapes and marine paintings. For the rest of his career, Wood's paintings
of the California
coast remained a significant part of his oeuvre. Living in Laguna for seven
years, Robert Wood became an active member of the Laguna Art Association and an
exhibitor at the annual Laguna Festival of the Arts.
Looking for a change of seasons, Wood moved east to
the art colony of Woodstock,
New York. In Woodstock, Wood painted high-key fall scenes
of the forests aglow with bright oranges and reds. His scenes of Woodstock were soon
snapped up by the print companies and reproduced in large quantities. Though Woodstock was a popular
haven for painters and the surrounding area offered a great variety of subjects
to paint, Wood soon tired of living in the East all year. After a few years in New York, Robert and Tula
moved back to Laguna Beach.
1952 and 1953 were tumultuous years for Robert Wood. He and Tula became increasingly estranged and were
divorced in 1952. The following year, Wood was hit by a car on Pacific Coast Highway
and nearly killed. Caryl Price, an amateur artist, helped him around the house
during his recovery and the two were soon married. Robert Wood instructed Caryl
in painting and took her on sketching trips all throughout the west. During the
1950's, Wood's works became increasingly popular in print and the royalties
eventually made him a comfortable living. Through frequent exhibitions and
steady print sales Wood's notoriety increased and he found it difficult to keep
up with the demand for his original works. In the early 1960's, Robert and
Caryl Wood moved to Bishop, at the foot of California's rugged Sierras.
Through the turbulent 1960's, Wood's fame grew and his
paintings brought higher prices, some selling in excess of five thousand
dollars. At the age of eighty, the American Express Company commissioned him to
paint a series of six works to be reproduced as limited edition serigraphs for
their Cardholders. Each print depicted one of the National Parks, subjects that
were well known to Robert Wood. A few years later, the Woods moved to San Diego, where Caryl
restored the Victorian house that they had purchased. After several years in San Diego, the Woods made
their final move, back to Bishop and the Sierras. Still active, Robert Wood
painted until shortly before his death in the spring of 1979, just weeks before
his 90th birthday.
In the history of American Art, Robert W. Wood painted
more of the United States
than any other painter. He never tired of sketching and many of his small works
were "plein-air" (outdoor) sketches done "on the spot."
Wood often titled his works with the exact location, date and time of day on
the reverse side of the canvas or panel. It was the time that he spent outdoors
that imbued his works with the quality of natural light that made them ring
true to a wide audience.
Robert Wood was a prolific painter and everything that
he painted found a ready market. He left a legacy of thousands of paintings,
for his career lasted almost seventy years. Most Americans remember Wood for
his later, more impressionistic works, painted when he led the print market in
sales, but many collectors prefer his earlier works. The paintings from the
1930's and 1940's were generally softer and more delicate, closer in style to
the English landscape painters of the 19th century than to those of his
American contemporaries. In the 1950's, his work began to take on a looser,
more painterly quality. By the mid-1960's, he was working in a higher key, with
even broader brushwork and bolder colors.
It is not difficult to see why Robert Wood's paintings
hit a responsive chord in so many viewers. A modest man, Wood did not expend
time or energy in promotion or seeking recognition from the critics or the art community.
He felt his work spoke for itself and wanted the average person to enjoy his
work. To Wood, art was a vocation, not an avocation. He came from the old
school where an artist put in countless hours out-of-doors and at his easel to
learn his craft, a never-ending process.
Today, those who may have purchased Wood's
reproductions twenty or thirty years ago are now collecting his original works.
Collectors who grew up around Robert Wood's paintings or prints enjoy them
because they are reminded of beautiful locations, pleasant memories and simpler
themes. His works are notable for their truth and clarity. Robert Wood will
always have a place in the hearts of those who appreciate traditional art and
have an affection for the unspoiled American landscape.
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