|
|
|||||
|
Pasadena Patron: The Life and Legacy of Eva Scott Fenyes Curator's Statements Image: Charles Frederic Ulrich, Eva Scott Fenyes, 1882, oil on canvas, 36”x24”. Image from the Archives, Pasadena Museum of History, accession #2000.019.0102 Why/How is Eva Fenyes and her collection relevant today? Janet: Eva's art collection should be viewed today as an incredible tool for learning about the late 19th and early 20th century trends of the French Barbizon School and California plein air painting. The world in which art exists is not a vacuum. Art is reflective of the society and the political, social and geographic perimeters in which it takes place. Eva Scott Fenyes was a student of art, architecture and travel and inherently understood that the collection of her personal art and the art she collected reflected the world in which she lived. Roberta: For me, the opportunity to observe and study nature during the first years of the 20th century is significant. The American artists all studied in Europe and were a part of an important time of artistic change and growth. One can see a blending of so many different styles or artistic schools which grew into California plein air. What, in your opinion, are the standout items in this collection?
Janet: The greatest strength of the collection is the quality and quantity of local California plein air artists. Eva’s close association with many of them make the collection a very personal one. For example, her closest artist friend, Benjamin Brown, is represented by 16 of his works. He painted intimate portraits of both Eva and her daughter, Leonora. Richard Miller used Eva's personal studio to paint 3 canvases that are highlights of the collection. In addition, two Granville Redmonds and several Oscar Borgs, as well as an Elmer Wachtel complete a well-rounded showcase of the first generation of California plein air painters that would rank high in any museum's collection. Image, above right: Benjamin Chambers Brown, California Poppies, c.1900, oil on canvas, 10”x14”. Image courtesy of the Archives, Pasadena Museum of History, accession #2000.019.0082 Do you have a personal favorite?
Roberta: If someone said I could have one of my favorite paintings to hang in my home, then it would be Benjamin Brown’s “California Poppies.” This is the most recent painting in Eva’s collection and to think Brown had another 22 years to paint is fascinating. Benjamin Brown is a very large part of me through his paintings, his various correspondence and quotations found not only in our archives but other publications and archives, his friendship with Eva and our community, and his love of nature. Image: William Merritt Chase, Portrait of Mrs. Leonard Scott, 1880, oil on canvas, 30”x25”. Image courtesy of the Archives, Pasadena Museum of History, accession #2000.019.0099
What can visitors expect from this tour? Roberta: We will all be seeing items never before shown. The Eva Fenyes saga continues to unfold and this is what is so exciting. What will surprise visitors when they take the tour? Janet: I believe the contrast of a woman's life of just over 100 years ago will surprise almost every visitor. From the elaborate formality of etiquette and strict adherence to a conventional society to the proper education of a Victorian woman will seem so antiquated! This is not to say that Eva's education was lacking, but the informal way she acquired her knowledge was to truly live it first hand and not rely on computers and television to distance herself from any experience. Image: William Merritt Chase, Portrait of Leonard Scott, 1880, oil on canvas, 30”x25 1/4”. Image courtesy of the Archives, Pasadena Museum of History, accession #2000.019.0100. What message would you like most to convey in your tour comments?
Roberta: The diversity of Eva’s collection and that it is all intact, thanks to a very organized lady and the pride and care of her daughter and granddaughter. Janet: While we have come a long way in formally educating women and trying to achieve equal status in the workplace, Eva's education was as full as any Ph.D art history major and she used her influence and wealth to help young artists whenever she could. In her time, she was as avant garde as any radical feminist today. She achieved a legacy that carries on through her children and grandchildren and their love of the arts and history. Exhibition Viewing The exhibition is open to the public 12:00 to 5:00 pm Wednesdays through Sundays. Tickets (available in Museum Store): Museum Members Free; Non-Members $5; $4 students & seniors; children under 12 Free. Exhibition Tours Docent-led Tour of Exhibition, 1:30 pm Wedesdays through Sundays Admission: Museum Members $4; Non-Members $8 Docent-led Tour of Exhibition & Tea at The Raymond Restaurant at 12:15 pm the third Friday of the Month Tour: Museum Members $4; Non-Members $8; Tea: $25. Reservations required. Click here for more information. Docent-led Art Tour of Exhibition, 12:15 pm the first Sunday of the Month Tour: Museum Members $4; Non-Members $8; Advance Reservations required; please call 626.577.1660, ext. 10.
|
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|
470 West Walnut Street ~ Pasadena, CA 91103 ~ Ph 626.577.1660 ~ Fax 626.577.1662 ~ info@pasadenahistory.org
|
Roberta Dumas and Janet Kadin, PMH volunteer Art Docents, are co-curators with Ardis Willwerth (PMH Director of Exhibitions & Programming) of Pasadena Patron. During the run of this exhibition, visitors can tap into their vast knowledge at special monthly art tours at 12:15 pm on the first Sunday of the month devoted exclusively to Eva Fenyes’ art and art collection. For reservations, please call 626.577.1660. ext. 10. Tickets:
Museum Members $4; Non-Members $8.
Roberta: William Merrit Chase portraits of Eva’s parents, Leonard and Rebecca Scott (he was such a brilliant artist!); Benjamin Brown’s “California Poppies,” c. 1920; Granville Redmond’s “Near Pasadena,” c. 1907; Carl Oscar Borg’s “60 Miles off coast of Santa Barbara,” c. 1908 and “CA Oaks,” among others. The paintings by Richard Miller done for Eva when she loaned him her garden studio in 1916 during his year’s stay in Pasadena are the most awesome -- and a wonderful example of Impressionism. 
Janet: It would have to be the William Merrit Chase portraits of Leonard and Rebecca Scott, Eva's parents. I believe they are the finest portraits in the house using the definition that "the eyes are the windows of the soul." They are indicative of Chase's early Munich style of dark tones contrasted with stark lights and show a dignified couple that are individually strong, but are best when looked at as a pair. The mastery of the dark tones and the soft, intimate touches of lights that frame the faces and make the skin soft and human-like are truly masterful. I could look at them for hours and not see everything that Chase's technique reveals.