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2: Aesthetic Tonalism and Expressive Tonalism
The Tonalists movement began in the late 1800s with smaller landscape paintings called Aesthetic Tonalism. This early style involved detailed and subtle painting techniques, creating a calm and intimate visual effect.
Over time, Tonalism developed into Expressive Tonalism, where artists used expressive brushstrokes on larger canvases. This change was influenced by modern art trends and the bold paint handling seen in the international art scene.
Aesthetic Tonalism drew inspiration from the Aesthetic movement and James McNeil Whistler, who advocated for ‘art for art's sake’. Whistler's non-narrative etchings, pastels, and oils represented the artistic philosophy of Aesthetic Tonalism.
By 1880, Whistler was highly respected in American progressive art circles. His followers embraced Asian art, particularly woodblock prints with their flat designs, repeated patterns, and abstract shapes.
William Anderson Coffin
Sunset Tones, ca. 1890
William Anderson Coffin's Sunset Trees, painted around 1890, exemplifies the intimate and beautiful landscape style of the 1880s and 90s. The soft light of dusk enhances the simplified forms of the landscape, creating an artificial pattern that allows the viewer to explore the artwork.
Summary
Summary
1. Tonalism began in the late 1800s with small landscapes known as Aesthetic Tonalism.
2. Aesthetic Tonalism featured refined and nuanced paint handling for a quiet effect.
3. Tonalism later evolved into Expressive Tonalism, with larger canvases and expressive brushstrokes.
4. Aesthetic Tonalism drew inspiration from the Aesthetic movement and James McNeil Whistler.
5. Whistler's non-narrative etchings, pastels, and oils embodied Aesthetic Tonalism.
6. Whistler's followers embraced Asian art and its formal designs and abstract shapes.
7. William Anderson Coffin's Sunset Trees exemplifies the landscape style of the 1880s and 90s.
8. Franklin De Haven's Lakeside features synthetic design and natural forms for rest and reflection.
9. William Gedney Bunce's Venice, Sail Reflections showcases Aesthetic Tonalism applied to marine subjects.
10. The transition from Aesthetic Tonalism to Expressive Tonalism is seen in Bunce's Venezia and J. Francis Murphy's Summertime and Summer.
Franklin De Haven
Lakeside, 1885
Lakeside, 1885, by Franklin De Haven also features a stylised design with relaxed diagonal lines and lush natural shapes, conveying a sense of peace and reflection.
William Gedney Bunce
Venice Sail Reflections, 1885
William Gedney Bunce
Venezia, ca. 1900
An early oil painting by William Gedney Bunce, Venice, Sail Reflections, 1885, shows how Aesthetic Tonalism can be applied to marine subjects. This artwork, mostly painted with quick strokes of the palette knife, maintains the balance and structured design of the style.
Bunce's later work, Venezia, from around 1900, demonstrates the transition from Aesthetic Tonalism to Expressive Tonalism. The painting is filled with bold yellows, Bunce's favourite colour, creating a vibrant celebration of light and colour.
While the design element of Aesthetic Tonalism remains, the focus now shifts to the energy and splendour of the sunset, as well as the artist's joy in creating.
J. Francis Murphy
Summertime, 1885
J. Francis Murphy
Summer, 1906
Charles Warren Eaton
Later Winter Pasture, 1900
Charles Warren Eaton
Autumn Meadow, 1888
J. Francis Murphy's Summertime, 1885 and Summer, 1906 illustrate the shift from early to late style Tonalism.
Over a twenty-year period, Murphy's work evolves from classic Aesthetic Tonalism to a more simplified landscape style.
The later works feature less detail and simplified forms, allowing the rich green tones to create a subdued energy that radiates warmth.
Franklin De Haven
De Haven, Orange Trees, ca. 1910
Franklin De Haven's Orange Trees, painted around 1910, demonstrates the artist's later exploration of expressive paint techniques and capturing the energy of nature through bold marks.
Leonard Ochtman
Fall Meadow, ca. 1910
Leonard Ochtman
Greenwich, 1896
Leonard Ochtman's Greenwich, 1896 and Fall Meadow, painted around 1910, as well as the larger canvas Spirit of Fall, also from around 1910, showcase the development of leading Tonalists.
These artworks reveal the shift from perfectly composed conceptual art to a more dynamic version that embraces personal expression on larger canvases.
Ultimately, they depict the transformative power of nature as represented in the brushstroke itself.
Leonard Ochtman
Spirit of Fall
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