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- Nan Watson (1876–1966) was an American artist known for the flower paintings, portraits, and still lifes she made during the 1920s and 1930s. Showing frequently in group and solo exhibitions, she received praise for both the aesthetic and technical qualities of her work. Critics described her paintings as sincere, forthright, and direct and said they demonstrated good draftsmanship, harmonious composition, and fresh color values. In 1929, the art historian Lloyd Goodrich said, "One knows no other painter of flowers who captures so completely their delicate life without becoming in the least sentimental about it or lapsing into merely technical fireworks." In 1932, Edward Alden Jewell, the principal critic for the New York Times published a lengthy critique of one of her shows. In it, he wrote, "The field is thronged with artists who paint flowers; many of these artists are highly successful, though few are seen to arrive at the goal of superlative distinction. Among those who do attain this coveted goal, Nan Watson must certainly be numbered." At the same time, Margaret Breuning of the Evening Post wrote concerning the flower paintings, "It is the ability of the artist to give lyric transcription of natural forms in terms of design which imbues these canvases with their significance." Concerning Watson's portraits, Breuning noted a "surety of draftsmanship" and Watson's "fine perception that pierces to the essentials". Similarly, an unsigned review of 1928 said Watson succeeded in producing a "candor, directness, [and] fidelity to personal conceptions that one finds delightful in a world where there much conformity to standards of aesthetic performance from which the timid or the conventional may not deviate." This critic concluded, "Not only sensitive perception and technical skill are to be enjoyed in this engaging exhibition, but the revelation of personality that has gone into the making of each canvas." (en)
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- Agnes Christian Paterson (en)
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- 50455 (xsd:nonNegativeInteger)
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- Edward Alden Jewell (en)
- Nan Watson (en)
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- Agnes Christian Paterson (en)
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- Nan Watson, "Tulips", about 1932, oil on canvas, 18 × 18 inches (en)
- Nan Watson, "Plums", about 1939 oil on canvas, 10 x 12 inches (en)
- Nan Watson, "Beatrice Reading", about 1931, oil on canvas, 24 x 20 1/5 inches (en)
- Nan Watson in 1917 (en)
- Nan Watson, "Modern Puritan", about 1939 oil on canvas, 18 1/2 x 24 1/2 inches (en)
- Nan Watson, "Lilies", about 1924, oil on linen, 18 x 12 inches (en)
- Nan Watson, "Portrait", about 1916, oil on canvas, 18 1/8 × 14 1/8 inches (en)
- Nan Watson, "Fruit in Blue Jar", about 1933, oil on canvas, 18 3/16 × 18 1/8 inches (en)
- Nan Watson, Untitled , about 1917, watercolor and pencil on paper, 12 3⁄8 x 7 1⁄2 inches (en)
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- NanWatsonBeatriceReading1931.jpg (en)
- NanWatsonFruitInBlueJar1933.jpg (en)
- NanWatsonGladiolus1917.jpg (en)
- NanWatsonLilies1924.jpg (en)
- NanWatsonModernPuritan1939.jpg (en)
- NanWatsonPlums1939.jpg (en)
- NanWatsonPortrait1916.jpg (en)
- NanWatsonTulips1932.jpg (en)
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- A flower picture should express the painter's sense of the momentous power of natural growth—the power that is manifested when a seedling breaks through a solid asphalt pavement—and it should also be an orchestration of color and form, complete and entirely without accidental touches. (en)
- Nan Watson paints portraits, flowers, and still lifes with a quiet passion of understanding that gets to the heart of essences. There is never anything sensational in her work. She does not first essay to attract the eye, by whatever means seem most plangently annunciatory, and afterward to justify that summons. Instead, she paints with the poet's sincere impulse to realize what waits within. There is true mysticism here, in that the poet and the theme are one—again to advance what, if intangible, cannot possibly be dispensed with if we are to have art of genuine significance. The brushwork is sensitive and unobtrusive, It goes about its task with no fanfare; is reticent and at the same time never timid or groping. The field is thronged with artists who paint flowers; many of these artists are highly successful, though few are seen to arrive at the goal of superlative distinction. Among those who do attain this coveted goal, Nan Watson must certainly be numbered. (en)
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- 0001-04-29 (xsd:gMonthDay)
- Quoted from an interview conducted by Fred S. Bartlett in 1939. (en)
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- Nan Watson (1876–1966) was an American artist known for the flower paintings, portraits, and still lifes she made during the 1920s and 1930s. Showing frequently in group and solo exhibitions, she received praise for both the aesthetic and technical qualities of her work. Critics described her paintings as sincere, forthright, and direct and said they demonstrated good draftsmanship, harmonious composition, and fresh color values. In 1929, the art historian Lloyd Goodrich said, "One knows no other painter of flowers who captures so completely their delicate life without becoming in the least sentimental about it or lapsing into merely technical fireworks." In 1932, Edward Alden Jewell, the principal critic for the New York Times published a lengthy critique of one of her shows. In it, he wr (en)
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