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Water, Land and Sky: Rediscovering A. T. DeRome
June 19 - August 8, 2004
California native Albert Thomas DeRome (1885-1959) was born in San Luis Obispo County and studied at the Mark Hopkins School of Art with Arthur Matthews, John Stanton and Lorenzo Latimer. He worked as a candy salesman and political cartoonist before deciding to become a landscape painter, who quickly became known for beautifully composed and beguiling views of the California coastline.
Of the nearly one-hundred paintings in the retrospective exhibition, "Water, Land and Sky: Rediscovering A. T. DeRome," opening at the Hearst Art Gallery on Saturday, June 19, 2004, most are characteristically tiny, jewel like scenes of the places in California DeRome loved best. Inspired by changes in the sea and the sky, his coastal paintings are of particularly note, depicting lush foreground carpets of colorful vegetation, with the majestic crystal blue and glass green colors of the Pacific peaking out beyond pristine sand dunes under light feathery skies.
After a serious automobile accident in 1931 DeRome settled in Pacific Grove to devote the rest of his life to painting. He painted with Carlos Hittell, Gunnar Widforss, and Will Sparks around Point Lobos, the sand dunes in Carmel, the Monterey hills, the Missions, and Los Gatos. Many DeRome paintings, including a number of exquisite early watercolors, were lost in the Oakland Hills fire. This is the first comprehensive exhibition of his remaining works. Also on view are his art materials, letters and the photographs he used as part of his painting process.
The exhibition guest curator is Julie Armistead, Hearst Art Gallery registrar A color catalogue, with an essay and biographical notes by Deborah Gilbert, Ph.D., the artist's grand-niece, will accompany the exhibition.
Slide Lecture: "DeRome's World" by Deborah Gilbert, Ph. D:
Dr. Gilbert will give a slide lecture on DeRome's life and work at 2 p.m., Sunday, June 20, in the Brother Kyran Room adjacent to the Gallery. A reception will follow from 3 until 4:30 p.m., in the Hearst Art Gallery courtyard.
Editor's note: RLM readers may also enjoy these articles and essays:
For California overall see Top California Artists; In and Out of California: Travels of American Impressionists, an essay by Deborah Epstein Solon; In and Out of California: The Participatory Nature of Early California Art, an essay by Will South; California Watercolor Painters in Context, an essay by Donelson Hoopes; Regionalism: The California View, an essay by Susan M. Anderson and The Metamorphosis of California Landscape Art, an essay by Rexford E. Brandt.
For Nothern California see The 1915 Panama-Pacific Exposition of San Francisco; An Art-Lover's Guide to the Exposition, by Sheldon Cheney (reprint of an entire book covering the San Francisco Panama-Pacific Exhibition of 1915); The Art of the Exposition, by Eugen Neuhaus (reprint of an entire book covering the San Francisco Panama-Pacific Exhibition of 1915); The Sculpture And Mural Decorations Of The Exposition, by Stella George Stern Perry (reprint of an entire book covering the San Francisco Panama-Pacific Exhibition of 1915); Harvey L. Jones' essay Twilight and Reverie: California Tonalist Painting 1890-1930; The Northern Scene and Towards Impressionism in Northern California, essays by Raymond L. Wilson; The Society of Six, an essay by Terry St. John; The San Francisco Art Association, The Santa Cruz Art League and The Carmel Art Association, essays by Betty Hoag McGlynn.
For Southern California read What Made Laguna Beach Special, an essay by Deborah Epstein Solon; the California Art Club; The Land of Sunshine, an essay by William H. Gerdts; Impressionism, Post-Impressionism, and the Eucalyptus School in Southern California, by Nancy Dustin Wall Moure; The Development of Southern California Impressionism, Masters of Light, Impressionist Style in Perspective and Landscape Painting in California, essays by Jean Stern; The California Water Color Society: Genesis of an American Style and The Arts in Santa Barbara essays by Janet Blake Dominik; Ranchos: The Oak Group Paints the Santa Barbara Countryside, an essay by Ellen Easton; Continuity and Change: Southern California's Evolving Landscape, an essay by Sarah Vure; Dream and Perspective: American Scene Painting in Southern California, an essay by Susan M. Anderson; San Diego Beginnings, an essay by Martin E. Petersen; The Development of an Art Community in the Los Angeles Area, an essay by Ruth Westphal, and Hard-Boiled Wonderland, an essay by Julie Joyce.
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