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Articles About Edward Betts
Articles About Edward Betts
In Feb. 1983 issue American Artist Magazine selected Edward Betts for their article THE LIVING LEGENDS OF AMERICAN WATERCOLOR by Diane Casella Hines. This article profiled 14 artists who, in their long and distinguished careers, have made significant contributions to the development of American watercolor painting. These artists included: Andrew Wyeth, Dong Kingman, Mario Cooper, Chen Chi, Edgar A. Whitney, Phil Dike, Millard Sheets, Ogden M. Pleissner, John C. Pellew, Donald Teague, Joseph Henninger, Edward Betts, Edmond J. FitzGerald, and Rex Brandt.
In the article, Betts is quoted, "In transparent watercolor, I still want to use the medium for sharing with others what I have seen in nature...in acrylics, I am concerned with my experiencing nature, getting at the abstract qualities... evoking weather and natural forces."
Click on this link for the full PDF of the article: The Living Legends of American Watercolor
Edward Betts was selected for inclusion in the February 1955 New Talent in the U.S.A. issue of Art In America magazine. This was the magazine's second issue devoted to young artists in America.
The judges selected 36 artists for inclusion which were grouped geographically. Betts, who had moved to teach in Illinois, was included in the Great Lakes section of the issue.
Three of Betts' paintings were illustrated in the issue, along with a profile. The paintings illustrated were Sun And Sea (casein, 1953), Lighthouse (lacquer, 1953), and Frozen Landscape (lacquer, 1954). These were reproduced in black-and-white, as was the entire issue. The painting Frozen Landscape was later reproduced in color in American Artist magazine.
This issue of the magazine featured a five page article on Betts working in the lacquer medium in an article entitled Edward Betts Discusses His Lacquer Paintings.
Interesting Note: Most of the issue was printed in black-and-white. Only two full-color pages were printed. One was devoted to Betts' painting.
In the article Betts wrote:
"I very seldom begin with a preconceived composition, and I never precede a painting with drawings or studies. Preliminary studies tend to decrease my interest in the actual process of painting and somehow inhibit any chances of allowing the picture to grow and evolve of its own accord.I painted directly from nature for over ten years all my current work is created in the studio and is an outgrowth of memory and experience rather than on-the-spot sketches." [ed. note: this changed over time, and many later paintings have early sketches, especially his realistic watercolors.]
Click on this link for the full PDF of the article: Edward Betts Discusses His Lacquer Paintings.
This issue of the magazine featured a six page article on Betts working in new acrylic medium, known by its early name polymer, in an article entitled Painting in Polymer & Mixed Media. It illustrated nine painting by Betts, two in full color.
In the article Betts wrote:
"About four years ago, I gradually changed over from painting in lacquers to a relatively new medium called polyvinyl acetate emulsion, or polymer tempera, that could be mixed with any water-soluble paints such as casein, watercolor, tempera or dry pigments."
"Simultaneously with my first experiments with plastic paints I began a series of collages, and in 1962, while on sabbatical leave...I combined collage elements with a newly-developed acrylic polymer emulsion paint. This led me in turn to my present work in mixed-media, in which the basically polymer paintings are enriched by the use of colored inks, wax crayons, felt-tipped pens, and stencils, as well as as various cut and torn papers, sand, metallic powders, and so on. What I hope distinguishes these pictures from conventional collages is that final effect of the picture surface is simply that of a painting, and that the spectator is not aware of the fact that collage materials have been utilized; they have been integrated into the picture areas to the extent that they are not unduly apparent."
Click on this link for the full PDF of the article: Painting in Polymer & Mixed Media.
In 1990 a special quarterly publication from American Artist, entitled Watercolor 90, featured Edward Betts discussing his work in an article by M. Stephen Doherty.
In the article Betts is quoted about his realistic watercolor paintings:
"'I've always considered my watercolors something of a secret vice... In my first book (Master Class in Watercolor), I had a chapter on that side of my work, but I was careful not to make too much of it. In my old age, I am not as cautious anymore. I think some people believe that working in two different styles demonstrates a lack of commitment. I like to think of it as indicating versatility. I could also add that the experience comes in handy when I serve as an art juror because I have a foot in both camps.'
'While I was at Contemporary Arts Gallery in New York City, I was approached by Ford Times magazine which wanted to reproduce some of my watercolors. The gallery asked me to use a pseudonym so no one would know they were created by Edward Betts. In fact, several years after I joined Midtown Galleries in New York, that gallery reiterated the same idea. Midtown Galleries only wanted to show the abstract pictures and didn't want me to confuse their clients by letting the watercolors out.'"
Click on this link for the full PDF of the article: Being Flexible.
This magazine featured an interview with Edward Betts that ranges from childhood, his years at the Arts Students League, influences on his career and painting, evolution of his work various media, with many color photographs of Betts' paintings.
In the interview Betts tells of an influential show he saw at the age of 15 years-old he said:
"...in 1935 the Museum of Modern Art had a show of John Marin's work, and Marin made me see how to treat something abstractly and yet still be real. It was all wrapped up into one package. Everything in art derives from observation of some sort, so that the abstraction grew from intense observation of subject matter, which gestated internally, and then took its own expressive persona."
Click on this link for the full PDF of the article: Defining a Style - One Artist's Journey
This issue of the magazine featured an eight page article by Linda S. Price on Edward Betts collage paintings entitled How to Develop Your Sense of Design Through Collage. The article features 15 color illustrations of Betts collages, and sequential steps during the process.
In the article they start by describing Betts' approach:
"...Edward Betts became involved in 'pure' collage in the early 1970s, when he decided the mixed-media works he was creating at the time were becoming too busy. His solution was to produce two collage series, one entitled Coastal Fragments and the other Sea-Edge, in which his goal was to see how few elements he needed to create the feeling of the various ways land meets the sea. 'Collage is a method of analyzing, condensing, and simplifying nature's forms,' Betts notes. 'The technique gives the artist an opportunity to reduce the subject to a handful of shapes and then play with these shapes until they form a strong design.'"
Click on this link for the full PDF of the article: How to Develop Your Sense of Design Through Collage.
Reviews
Reviews
Edward Betts was frequently mentioned in reviews of major exhibitions and gallery shows. The art critics at the New York Times seem to be quite enamored with his work, singling out his paintings for illustration in the articles and mentioning his work. Not only was a frequently mentioned in reviews of group shows, but his paintings were also used as illustrations in the Art section of the newspaper. In several instances they used his paintings as illustrations in the Book Review section for books about Maine.
In this review of the 1953 American Watercolor Society annual exhibition held in the galleries of the National Academy of Design, then 33 year-old Betts was mentioned as the silver medal winner in the exhibition. Even more notable is only two images of paintings were selected for illustration. The top painting, Quarry was by Edward Betts; and the other below was by Georges Braque.
In the review of the 1957 Corcoran Biennial annual exhibition in Washington, DC., the painting Road into the Mountain by Edward Betts was one of only three images of paintings selected for illustration. The top-right painting was by Edward Betts; the lower-right painting by Albert Bierstadt; and the left painting by Hedda Sterne.
In the review of the 1959 National Academy of Design annual exhibition in in New York, NY., the painting Snowy Hillside by Edward Betts was the only painting selected for illustration accompanying the article. The painting won the $2000 Altman Landscape Prize for Landscape from the Academy, a significant sum at the time (in 1959 the average cost of an automobile was $2200.)
In this review by Margaret Breuning of the 1950 American Watercolor Society annual exhibition she writes about the paintings that were the highlight of the show, "...the majority of these artists succeed in translating visual experience into an imaginative and arresting pictorial conception. A few examples from many that might be cited are...Andrew Wyeth's Meeting House Door, its bleached textures of door and clapboards fringed by straggling grass; Edward Betts' vehemence of color accentuating the rugged contours of Gaspé Shore..."
Other reviews in the New York Times mentioning Edward Betts:
Other reviews in the New York Times mentioning Edward Betts:
New York Times, 27 January 1950: A review of the American Watercolor Society annual exhibition at the National Academy of Design noted that Edward Betts won the Zabriskie Purchase Prize for Gaspé Shore.
New York Times, 11 November 1950: A review of Allied Artists annual exhibition at the National Academy of Design noted Edward Betts won the Grumbacher Prize for a painting in casein.
New York Times, 17 January 1951: A review of Audubon Artists annual exhibition at the National Academy of Design noted Edward Betts won the Grumbacher Prize for his casein painting Nubble Light.
New York Times, 15 January 1952: A review of Audubon Artists annual exhibition at the National Academy of Design noted that a Gold Medal for watercolor went to Edward Betts [for a casein painting Quarry at Night.]
New York Times, 26 January 1953: In an article on New York art exhibition openings by abstract artists includes Edward Betts one-man show at Contemporary Arts gallery.
New York Times, 31 January 1953: An article on New York art exhibitions reviewed Edward Betts' one-man show at Contemporary Arts gallery stating "In paintings of Maine landscapes, Edward Betts, at Contemporary Arts, has an eye on its dramatic aspects, all of which are judiciously exploited to give a whole bleak picture of winter and the out-of-doors. Betts works in casein, lacquer in some instances, and he prefers the palette knife to the brush. As a result these formalized works have a suitably cold glisten. And the long horizontals that he especially favors are especially suggestive of wide land and sky."
New York Times, 20 February 1953: An article on shows in New York notes Edward Betts was one of the artists in the retrospective exhibition at Contemporary Arts gallery.
New York Times, 26 February 1953: A review of the American Watercolor Society annual exhibition at the National Academy of Design noted that Edward Betts won the Silver Medal for his semi-abstract casein painting Quarry. [See other review of the show above.]
New York Times, 1 April 1953: A review of the annual exhibition of the National Academy of Design noted Edward Betts was awarded the Hallgarten Second Prize [paintings in oil colors painted in the US by American citizens under 35 years of age ] for a semi-abstract Rocky Landscape.
New York Times, 21 January 1954: A review of the Audubon Artists annual exhibition at the National Academy of Design noted Edward Betts won honorable mention.
New York Times, 4 March 1954: A review of group shows at New York galleries notes a the 25th anniversary exhibition at Contemporary Arts gallery that included 36 artists introduced by the gallery since inception in 1943, citing "Edward Betts and Joseph Domareki with semi-abstract impressions of sea cliffs and lake respectively."
New York Times, 1 April 1954: A review of the annual exhibition of the National Academy of Design noted Edward Betts was awarded the Altman Second Landscape Prize went "to Edward Betts for his semi-abstract 'Night Mood - Monhegan,' a somber canvas with the sparkle of the ocean seen beyond a rocky foreground."
New York Times, 11 June 1954: A review of group shows at New York galleries notes a new group exhibition at Contemporary Arts gallery that included more than 30 artists currently represented by the gallery and highlighted "...a gloomily dramatic landscape by Edward Betts..."
New York Times, 8 January 1955: This article reviewed several shows including "Edward Betts, at Contemporary Arts, 106 East Fifty-seventh Street, is showing severe semi-abstract oils of the Maine coast broken up into elaborate composition of color facets. Positive surface patterns are made by these but depth is suggested forcefully as well. If the mood of these pictures is on the bleak side, they can be admired for solidity of construction."
New York Times, 23 February 1955: A review of the annual exhibition of the National Academy of Design noted "Aside from the prizewinners there are outstanding oils by...Edward Betts."
New York Times, 13 March 1955: A review of the 1955 Corcoran Biennial in Washington DC. brought attention to, "...a semi-abstract 'Coastal Landscape' by Edward Betts..."
New York Times, 26 April 1955: A review of artist exhibitions at New York galleries noted a group exhibition at Contemporary Arts gallery and made special note of Edward Betts paintings: "Here one might well single out a winter landscape and a forest interior path by Edward Betts..."
New York Times, 10 October 1956: A review of Allied Artists annual exhibition at the National Academy of Design noted Edward Betts won the Bronze Medal of Honor for a "slightly geometrized seascape."
New York Times, 25 November 1956: In a listing of local gallery exhibitions lists Edward Betts one-man show at the John Heller Gallery.
New York Times, 2 December 1956: A review of five landscape artist exhibitions in New York galleries reviews Edward Betts show, "Roots in reality are less discernible in Edward Betts' semi-abstract paintings at the John Heller Gallery. Color, positive, strong and free of imitative intent, is the trump card here, for although more or less realistic symbols of trees, skies, rocks and woods make appearances, they are introduced surreptitiously. What we are faced with is a system of nervous abstract design, not greatly varied from picture to picture, that jumps up and down across the canvasses like the markings on a fever chart.Betts pretty well adapts his subjects to his unsupple, chiseled style, but he wisely chooses landscape - the rocky coast of Maine - that is most suited to it.And in the best pictures here, there are overtones of local character that will not be missed."
New York Times, 20 January 1957: A review of Audubon Artists annual exhibition at the National Academy of Design highlighted "Edward Betts' expressionist 'Face of the Cliff'..."
New York Times, 21 February 1957: A review of the annual exhibition of the National Academy of Design noted "The Benjamin Altman Landscape Prizes of $1500 and $750 are awarded, respectively, to Edward Betts' somber coastal scene [Coastal Landscape] and to a dark and chilling factory view by Glenn R. Bradshaw [who was also an art professor in the art department at the Univ. of Illinois where Betts was an art professor.]"
New York Times, 28 September 1958: A review of the new exhibition in honor of Henry Ward Ranger at the National Academy of Design noted "In more strictly modern idiom, the visitor comes upon...a rocky shore by Betts."
New York Times, 18 February 1959: In the review of the 1959 National Academy of Design annual exhibition in in New York, NY. Edward Betts painting Snowy Hillside won the $2000 Altman Landscape Prize for Landscape from the Academy, a significant sum at the time (in 1959 the average cost of an automobile was $2200.)
New York Times, 2 April 1959: A review of the American Watercolor Society annual exhibition at the National Academy of Design noted "The Silver Medal and $300 go to Edward Betts for a solidly constructed and colorful semi-abstract landscape entitled 'Stone Valley.'"
New York Times, 30 October1961: A review of art exhibitions in New York highlighted Edward Betts one-man show "Non-objective painters are usually loath to let design and color to lie still. Least of all Edward Betts, showing new work at Midtown Galleries, 17 East Fifty-seventh Street. Acute restlessness characterizes the nervous processions of jagged shapes hurtling across these canvasses, each paying little attention to the others in their haste. This fondness for isolated, overlapping forms suits Mr. Betts particularly well in the medium of collage, excellently represented here."
New York Times, 15 February 1966: The obituary of Emily Francis, the founder of the Contemporary Arts gallery [Edward Betts first gallery that represented him beginning in 1948 when he was 28 years-old], was noted for showing new artists, "She provided space for the first one-man shows of Mark Tobey, Mark Rothko, Earl Kerkam, Lawrence Lebduska, Milton Avery, Louis Bosa, Edward Betts, John Corbino, Sasha Kolinand , John Kane."
Note: Above is an incomplete listing of articles from the New York Times. Other mentions from group exhibitions, or repeat reviews were eliminated. After 1966 the times changed their policy about reviewing art exhibitions and discontinued most reviews except for blockbuster shows at museums.
Go to Page 5: References
Source materials and references for the content on this site can be found on these pages: Publications and References.
For further information about Edward Betts, or to sell a painting by Edward Betts, contact his son, John Betts at jhbnyc@aol.com.
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