"Poughkeepsie Bridge Study"

  • Details


    This is the study for one of if not Folinsbee's most famous paintings.  The finished work was painted in 1914 and was 24 x 30.  It was exhibited in many prestigious shows through 1916.

    Exhibition History

    1914 AIC: 27th Annual Exhibition of American Paintings, no. 115
    1914 ASL: Exhibition of the Woodstock School of Landscape Painting
    1914 Washington: 1st Annual Exhibition
    1914–15 NAD: 89th Annual Exhibition (Winter), no. 81
    1915 Louis Katz NY: Recent Paintings by Harry Leith-Ross and John F. Folinsbee, no. 19
    1915 Texas: The Woodstock School
    1915 Toledo: Recent Paintings by John F. Folinsbee and Harry Leith-Ross, no. 267
    1916 Erie: Annual Exhibition of the Erie Art Club
    1916 Hillyer: Paintings of John F. Folinsbee
    1916 Mahoning (Butler) II: Midwinter Exhibition of Paintings Loaned by John F. Folinsbee, by Harry Leith-Ross, and by Artists and Citizens of Youngstown, no. 267
    1994 Newman: John Folinsbee: Another View, no. 70, as Winter, Bridge Over the Hudson, Poughkeepsie, New York
    2010–11 Woodmere Museum Phila: John Folinsbee and American Modernism

    Poughkeepsie Bridge was Folinsbee's first real "exhibition picture" in the sense that it was the first painting he sent on tour. From the Woodstock Winter Exhibition he sent it to the National Academy's 89th Annual, and then on to the Art Institute of Chicago before ending the year exhibiting it at the first show for the Washington (Conn.) Art Association. In 1915 the painting traveled to Houston and Galveston before being included in an exhibition with Harry Leith-Ross at Katz Gallery in New York. In 1916, Folinsbee sent Poughkeepsie Bridge to Erie for a small exhibition at the Erie Art Club and exhibited at Hillyer Gallery, Smith College in his first solo show. The painting's silvery atmosphere, the subtle movement of the smoke rising from the engine, and the oblique angle of the composition demonstrate the sophisticated technique and masterful handling of paint that Folinsbee had developed early in his career.The painting is probably the one for which Folinsbee received the Isidore (First) Prize ($75) at the 1914 Winter Exhibition of the Art Student's League Summer School (Woodstock), held at the League's headquarters in New York City. The judges in the competition were Birge Harrison, F. Luis Mora, Emil Carlson, Paul Cornoyer, J. Francis Murphy, Gifford Beal, and George Macrum. The painting would certainly have found favor with several of these artists--and definitely bore resemblance to their work, particularly that of Harrison, with whom Folinsbee had boarded while attending in Woodstock the previous summer.

  • Biography

    John F. Folinsbee 1892-1972

    The following information, was submitted by Kirsten M. Jensen, PhD, Director of the John F. Folinsbee Catalogue Raisonne.  The text below is Jensen's submission to Wikipedia.

    John Fulton Folinsbee (March 14, 1892-May 10, 1972) was an American landscape painter and member of the art colony at New Hope, Pennsylvania. He is best known today for his impressionist scenes of New Hope and Lambertville, New Jersey, particularly the factories, quarries, and canals along the Delaware River.

    Folinsbee was born in 1892 in Buffalo, New York. As a child, he attended classes at the Art Students' League of Buffalo, but received his first formal training in with the landscape painter Jonas Lie when he was fifteen. Between 1907 and 1911, he attended the Gunnery School in Washington, Connecticut, where he studied with Elizabeth Kempton and Herbert Faulkner.  He later studied with Birge Harrison and John Carlson in Woodstock (summers, 1912-1914), and also with Frank Vincent DuMond at the Art Students' League in New York. 

    At Woodstock, he met Harry (Tony) Leith-Ross, who became a life-long friend and later followed him to New Hope. In 1914, Folinsbee married Ruth Baldwin, the daughter of William H. Baldwin, Jr. and Ruth Standish Baldwin (co-founder of the National Urban League), whom he had met in Washington, Connecticut. They moved to New Hope in 1916, and had two daughters, Beth and Joan.[1]

    Early in his career, Folinsbee painted in a tonalist style, with an interest in light and atmosphere that grew directly from his time with Harrison and Carlson in Woodstock. By the late nineteen-teens, he had moved away from tonalism into a more structured, impressionist style. In the mid-1920s, Folinsbee began studying the work of Cézanne, which led to a trip to France in the summer of 1926. The paintings that resulted from this trip, and those that followed later in the decade, reflect a deep understanding of Cézanne's compositional strategies and a desire to reveal the underlying structure of forms. 

    Folinsbee's exploration of structure led eventually to an analytical, highly individual expressionist style in which he painted for the remainder of his career. His palette darkened, his brushstrokes loosened further, and his sense of light and atmosphere became more dramatic. These later works are concerned with conveying a sense of mood and an intense emotional response to the world around him.[2]

    Folinsbee always had a sketchbook or a box of 8 x 10 inch canvasboards with him, ready to capture any scene that caught his eye. He and Leith-Ross were famous for spending afternoons on the bridge at New Hope sketching and tossing anything that displeased them into the Delaware River. Although he painted en plein air, directly from nature, Folinsbee would later transform his small-scale sketches into larger paintings in his studio, and frequently made a number of copies of the same scene on different sizes of canvas.

    He was represented by Ferargil Gallery for most of his career, and his paintings were exhibited across the country and in several international exhibitions. Folinsbee won nearly every award given by the National Academy of Design (where he became a full academician in 1929), receiving several of them many times. He also won awards from the Pennsylvania Academy of the Fine Arts, the Connecticut Academy of Fine Arts, the Rhode Island School of Design, the Corcoran Gallery, and the Salmagundi Club, and received a bronze medal at the Sesquicentennial Exposition in Philadelphia in 1926. His work is included in major museums, including the Smithsonian American Art Museum and the Corcoran Gallery in Washington, DC, the National Academy of Design, and the Pennsylvania Academy of the Fine Arts.[3]

    Folinsbee was also a teacher, and one of his better-known students, Peter G. Cook (who married his daughter Joan), became a colleague and friend. The two collaborated on three post-office murals in Pennsylvania and Kentucky for the Section of Painting and Sculpture during the 1930s and 1940s. Folinsbee stopped painting in 1971. He died one year later in New Hope.

        1.    Peter G. Cook, John Folinsbee (New York: Kubaba Books, 1994).
        2.    Kirsten M. Jensen, Contour, Bones and Skin: Cezanne's Influence on John Folinsbee." Fine Art Connoisseur 4, no. 4 (July/August 2007): 51-55.
        3.    http://www.folinsbee.org/honors

    Further reading
    Cook, Peter G. John Folinsbee. New York: Kubaba Books, 1994. ISBN 0-9639104-1-8

    Culver, Michael. "The Art of John Folinsbee." American Art Review 13, no. 4 (August 2001): 106-111.

    Peterson, Brian H. (Editor) (2002). Pennsylvania Impressionism. Philadelphia: James A. Michener Art Museum and University of Pennsylvania Press. ISBN 0-8122-3700-5.

    Folk, Thomas C. The Pennsylvania Impressionists. Cranbury, NJ: Associated University Presses, 1997.

    Hunter, Sam. American ImpressionismThe New Hope Circle. Exh. cat. Fort Lauderdale: The Fort Lauderdale Museum of Art and Richard Stuart Gallery, 1985.

    Jensen, Kirsten M. "Contour, Bones, and Skin: Cezanne's Influence on John Folinsbee." Fine Art Connoisseur 4, no. 4 (July/August 2007): 51-55.

          John Fulton Folinsbee was a landscape painter and leading member of the circle of artists known as the New Hope School* of American Impressionism*.  Born in Buffalo, New York, in 1892, Folinsbee began his artistic training with Jonas Lie in 1907. From 1912 through 1914, he attended the Art Students League* summer sessions in Woodstock, New York, where he studied landscape painting with Birge Harrison and John Carlson. In 1914, he attended the school's main campus in New York City where he studied with Frank Dumond.  

    Folinsbee was the recipient of many prestigious awards, including the Isadore Prize, Salmagundi Club*, 1920; Bronze Medal and Third Clark Prize, Corcoran Gallery of Art, 1912; First Hallgarten Prize*, National Academy of Design, 1923; Philadelphia Sketch Club Medal, 1923; Charles Noel Flagg Prize, Connecticut Academy of Fine Art; Bronze Medal, Sesquicentennial International Exposition, Philadelphia, 1926; Jennie Sesnan Gold Medal, the Pennsylvania Academy of the Fine Arts*, 1931; First Altman Prize, National Academy of Design, 1941 and 1950; Grand Central Gallery* Landscape Prize, 1944; and Century Association Medal in 1951 and 1963. 

    He became a full member of the National Academy of Design in 1928 and also held memberships in Allied Artists of America*, Salmagundi Club*, and Connecticut Academy of Fine Arts. 

    John Folinsbee's paintings are in the permanent collections of the Corcoran Gallery of Art and the Phillips Collection, Washington D.C.; Pennsylvania Academy of the Fine Arts, Philadelphia, PA; National Academy of Design, New York, NY; Everson Museum of Art, Syracuse, NY; and the Art Museum of Princeton University, Princeton, NJ, among many others. 

    The artist died in 1972.