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
That knowledge is a prerequisite for fully understanding the important, though modest, exhibit John Edward Thompson: Colorado's First Modernist, now on display in the Western History/Genealogy Gallery on the fifth floor of the Central Denver Public Library.
Unlike the dozens of accomplished artists active in Colorado Springs during the first decades of the twentieth century, Thompson essentially worked alone up here, one of only a handful of committed artists. But the idea that Thompson was Colorado's first modernist, as the show's title implies, is not entirely true. More correct would be to say that Thompson was Denver's first modernist. Like Thompson, Broadmoor Academy painters such as John Carlson and William Potter also embraced the modernist styles that had originated in Paris. But Thompson was the most modern of them, since he embraced a Cézannesque manner that was almost cubist.
These cubistic pictures are the real draw at the DPL show, and though they make up only about a fourth of what's included, they overshadow everything else. Among them are several pieces that were first exhibited in Denver in 1919 as part of the 25th Annual Exhibit of the Denver Art Association. That show was installed in a gallery just across Civic Center Park from the current library, in the old Carnegie Library, which is now the McNichols Building. Because of Thompson's modernist work -- and that of his protegés, Jozef Bakos, Walter Mruk and Alexander Korda -- the exhibit has been called the "Colorado Armory Show." And like the real Armory Show of 1913, the Denver exhibit generated outrage from the public and press alike.
At the time it was presented, Thompson had been in Denver for only a couple of years. He was born in Buffalo, New York, in 1882, becoming interested in art as a child and beginning his formal study as a teenager. In approximately 1898, when Thompson was only sixteen, he enrolled in Buffalo's Art Students League and then moved to New York City the very next year and entered the more renowned Art Students League there. Working as a book illustrator, he saved up enough money to leave for France in 1902, where he entered the Académie Julian in Paris. He remained in Europe, mostly in France, for more than a decade, but returned to Buffalo when World War I broke out, in 1914. Soon after returning to the United States, Thompson took a painting trip to the West and spent several months in Pine, Colorado, where he was impressed with the Rocky Mountain scenery and produced many Cézannesque-style paintings of it. He went back to Buffalo but permanently relocated to Denver in 1917.
The DPL show begins in the far corner to the left of the Western History gallery, where the oldest and most significant pieces are installed. There are several views of Pine, including some done on that first trip in 1914. In these closely associated paintings -- a number of which were gifts to the library from prominent art dealer Steve Savageau -- the scene is abstractly conveyed, with the perspective flattened and the details vague. The largest and most memorable of these early landscapes is "Colorado [Pine]," which is not owned by the DPL, but is on loan from David Cook Fine Art. Also hanging in this section is "Organization of Rocks and Trees," the most infamous of the Thompson paintings from that 1919 "Colorado Armory Show." The painting, which is absolutely great, has tension, with a cliff on one side and a tall tree on the other. As in the Pine landscapes, Thompson played with the perspective, pushing the background up to the front. The colors are fabulous, especially the icy clear blue used for the sky.
Thompson was at his best when addressing the landscape, but there are also a couple of interesting cubistic portraits: "Jozef Bakos" and "The Sculptor (Arnold Ronnebeck)," both of which were probably done around the same time as "Organization of Rocks and Trees." In these paintings, the contours of the men's faces have been turned into a series of flat planes.
The second section of the show examines Thompson's work from the later 1920s and the 1930s, when he was employed as an illustrator and decorative painter. This seems like a completely different exhibit from the first part, and though the pieces are charming, they do not have the brilliance of the earlier ones. Nor do they represent vanguard art of their time, as the older ones do.
Across the room is the third section, which is partly made up of later versions of Thompson's Cézanne-ism. The harmony and continuity, however, is broken by the inclusion of two regionalist portraits and a similarly styled still life. In fact, I thought how much stronger the exhibit would have been if it had simply focused on Thompson's Cézannesque landscapes, which he continued to do throughout his career. One of the later ones, "[Taos Light]," done in 1933, shows that Thompson never really lost the ability to create a stunning picture.