By Show and Tell
By Bree Davies
By Bree Davies
By Cory Casciato
By Emilie Johnson
By Robin Edwards
By Bree Davis
By Josiah M. Hesse
The genesis of this exhibit came some three years ago when Metro Center director Sally Perisho decided to organize a historical survey on the topic of women artists in Colorado. "I wanted to do a century show," she says, referring to the raft of recent shows that have taken a look at art history in Colorado and given Denver gallery visitors an unprecedented opportunity to explore some of the many committed artists who have worked in this state.
Perisho took her idea to art consultant, art historian and curator Katherine Smith-Warren. "I was intrigued by the idea, and very excited," says Smith-Warren. "The changes that occurred in women's lives were vast during the twentieth century."
But Smith-Warren had two requests of Perisho before she agreed to curate Time and Place: first, that educational tours would be conducted; and second, that there would be a catalogue. "You work for years to put together a show, and without the tours and without a catalogue, all your work is gone in six weeks," she says. After Smith-Warren got the go-ahead, she began to develop a concept.
Her intention was to present the show with a strict chronology, the traditional method associated with art history, but one that sadly has largely been abandoned over the last decade. "I know it's out of fashion to look at art sequentially, but it's the way I prefer," she says.
True to her intention, the show begins with the years 1900 to 1910 in the entry gallery, with each consecutive space devoted to a decade.
The differences between the decades are further stressed by Smith-Warren's decision to have only one artist represent each decade. "I didn't want to do a grab-bag group show with lots of different artists, each with one or two pieces," she says. "Rather, I wanted to do fewer artists seen in depth."
(That self-imposed mandate is abandoned for the 1940s, however, since Smith-Warren selected twins to represent the decade.)
The first artist is Henrietta Bromwell, who represents the 1900s. The only truly obscure artist in the show, Bromwell is as little known in the art world as her work (although her family is prominent in Denver history, and Bromwell Elementary School is named for her father, Henry). So this exhibit represents her reintegration into the local art world after almost ninety years.
Bromwell studied art at the University of Denver in 1884. Within ten years, she had begun to sell her paintings, and by the turn of the last century, she was one of the city's most respected painters, exhibiting her work nationally.
Smith-Warren points out that in spite of the fact that Bromwell was essentially self-taught, her work is stylistically sophisticated and, as a result, looks much newer than it is. "Even before [Robert] Henri and the Ashcan painters back East, Bromwell was painting smokestacks and clotheslines hung with laundry," she says. This taste in subjects was unconventional, since most of her contemporaries, both male and female, were interested in capturing poetic, not prosaic, scenery. Bromwell's sketchy brushwork and her still-fresh palette also seem surprisingly forward-looking.
Bromwell shares the front gallery with Anne Gregory Van Briggle Ritter, who stands up for the 1910s. Van Briggle Ritter is much better known than Bromwell -- at least to aficionados of American art pottery -- since she and her first husband, Artus Van Briggle, founded the famous Colorado Springs-based pottery manufacturer, Van Briggle Pottery, in 1902. The cipher used to this day by Van Briggle is a conjoined double letter A, which stands for Artus and Anne.
Before coming to Colorado in 1900, Anne had traveled extensively, studying painting in New York, Berlin and Paris in the 1890s. It was in Paris that she met Artus Van Briggle. After his death in 1904, she took over the pottery. She built the Van Briggle Pottery Building (which still stands on the Colorado College campus) in 1908, the same year she married her second husband, Etienne Ritter. It was under her control that Van Briggle Pottery produced architectural tiles. She lost her financial interest when the company went bankrupt in 1913 and she returned to painting.
Smith-Warren has included examples of Van Briggle Ritter's early work in ceramics with a handful of later landscape paintings and several architectural tiles, and the pottery is exquisite. Her work was distinct from her husband's in that she preferred an ordered and hieratic approach to decoration, whereas he favored swirling intersecting lines. In this way, Van Briggle Ritter, more than Van Briggle, exemplified the Arts and Crafts movement.
The 1920s portion of Time and Place begins in the large set of spaces in the back with the work of photographer Laura Gilpin. Like Van Briggle Ritter, Gilpin is very well known and widely respected.
The earlier Gilpin photos, such as the undated "Class at the Broadmoor Art Academy," are examples of soft-focus pictorialism. In this photo, a group of student artists, mostly women, are seen -- improbably -- sketching a nude man. But Gilpin's later photos, those done after 1924, are sharp-focused and anticipate the straightforward style of the 1930s. Gilpin surely influenced a generation of modern photographers, including Ansel Adams and Edward Weston.