2011/06/02 § 1 Comment
Benjamin Chambers Brown
Dean of Pasadena Painters
By Jeffrey Morseburg
Benjamin Chambers Brown (1865-1942) was known as ‘The Dean of Pasadena Painters.’ He was one of the leaders of Pasadena’s artistic and intellectual community for more than forty years and a vital figure in Southland art. Brown’s earliest works exhibit the influence of the tonalist aesthetic, but soon after settling in California he adopted the painterly brushwork and chromatic palette of Impressionism.
Benjamin Brown was born in Marion, Arkansas, and he received his initial training at the St. Louis School of Fine Art. Trained in photography, Brown made his first trip west in 1885. He sketched in and around Los Angeles, but returned to St. Louis, unable to make a living in Southern California, which then has a very small circle of collectors and a lack of exhibition venues. Brown then sailed for Paris, where he studied for a year at the Academie Julian.
After he arrived back in St. Louis he struggled to build a following for his still-lifes until he and his family moved west to Pasadena, arriving in the San Gabriel Valley around 1895. In his early years in the Southland he painted with the limited palette and closely-related values of Tonalism, but as Impressionism took hold in California, his palette brightened and his brushwork loosened. Brown took on students in order to augment his income from art sales and one of them was Eva Scott Fenyes (1846-1920). Both Benjamin Chambers Brown and his younger brother Howell Brown, who concentrated on printmaking, maintained a long friendship with Eva Scott Fenyes (1896 – 1930), the amateur watercolorist and one of Pasadena’s most important patron of the arts.
Brown was a tall, gaunt man with an eccentric personality. He was a gentle soul and like his brother Howell, he was a lifelong bachelor and the siblings lived with their mother until her death. The Brown home was the site of artistic discussions and hosted a salon for Pasadena intellectuals. The Brown brothers were founders of the California Society of Printmakers and helped popularize the graphic arts in Southern California. Like John Gamble (1863 – 1957) and his friend, Granville Redmond (1871-1935), Benjamin C. Brown’s paintings of California poppies became popular with collectors. At the turn of the century, the spring rains would bring bright fields of poppies to the Altadena meadows above Pasadena. Brown only had to venture a short distance from his home to paint the swaying eucalyptus and golden poppies.
Brown was also one of the founders of the California Art Club, which helped to popularize the Impressionist style in Southern California and he served as its President from 1915 to 1916. Later in their lives, the Brown brothers made extended trips to Europe and North Africa, where they painted and sketched. In California, he painted frequently along the coast- in Yosemite and the high Sierras. Brown also traveled east to the desert near Palm Springs to paint, a favorite spot for many San Gabriel Valley painters. The elderly Pasadena artist continued to paint and make prints through the years of the Great Depression and died in Pasadena in 1942. Copyright 2001-2011, Jeffrey Morseburg, not to be reproduced without the specific written permission of the author.
2011/06/01 § Leave a comment
Plein-Air Painter of South Pasadena
President of the California Art Club
by Jeffrey Morseburg
Victor Stanley Matson (1895-1972) was one of the most prominent of the second generation of California plein-air landscape painters. Matson began exhibiting his work in the early 1930’s and was a tireless advocate for the plein-air tradition, serving as an officer in virtually every Southern California arts organization, most prominently as President of the venerable California Art Club. Recognized for his scenes of the Mojave desert and the local foothills, the South Pasadena painter was also an early fine Camera Pictorialist photographer and a printmaker.
Victor Matson was born in Salt Lake City, Utah, in 1895. Not much is known of his early life. Apparently, he attended a military school during his high school years and he may have been trained as a flyer during the First World War as photos of him in flying gear from that time period were part of his estate. He graduated from the University of Utah about 1917 with a degree in engineering. Matson showed promise in the arts and he received training in drawing, perspective, drafting and rendering during the course of his studies.
Matson moved to southern Califonria in 1922, initially settling in Long Beach . In 1924, he and his wife, Virginia, purchased a house in South Pasadena, bordering Alhambra Park and the Los Angeles suburb of Alhambra. In those days, Alhambra had a very active fine arts community, with Jack Wilkenson Smith (1873-1949), Frank Tenney Johnson (1874-1939) and Clyde Forsyth (1885-1962) presiding over a small artists’ colony. The Alhambra painters all lived on Champion Place, a small, eucalyptus-lined street on the edge of a wash, bordering the San Gabriel Country Club where Matson visited frequently.
Nestled in cozy South Pasadena, Matson began work as an engineer for the City of Los Angeles and began to study art with a number of California painters. He studied with W.T. McDermitt (1884-1961)at the Businessman’s Art Institute near downtown Los Angeles, before he headed home to South Pasadena in the evenings. Matson studied privately with Trude Hascomb and Jack Wilkenson Smith. He learned printmaking from Franz Geritz (1895-1945), who taught at the University of Califrnia Extension in Los Angeles. It was Jack Wilkinson Smith, however, who had the greatest influence on Matson’s developing plein-air work. Matson accompanied Smith and his fellow painters on many sketching trips to the San Gabriel Mountains and the Mojave Desert, north of Palm Springs , a favorite location for the Alhambra painters. Sam Hyde Harris was also a major influence on Matson and a life-long friend.
Matson became part of the declining Arroyo Seco Arts and Crafts culture based in Pasadena and Highland Park. He exhibited frequently with all of the major southern California arts organizations from the 1930’s through the 1960s. Matson won dozens of awards in local and regional exhibitions, including the Purchase Prize at the California Statewide Exhibit in both 1943 and 1946. He had solo exhibitions at the Los Angeles Arts Center, the Alhambra City Hall, the Glendale Art Association and the Beverly Hills Women’s Club. In 1965, a special exhibition was held for Matson at the Los Angeles City Hall. As the first generation of the California plein-air painters died and the art world changed, the museums no longer welcomed exhibitions of plein-air impressionism, which they viewed as retrograde and conservative. Thus, the painters had to rely on smaller, less prestigious venues in order to exhibit their work and attract collectors. Matson participated in many group exhibitions at the Greek Theatre, the Duncan Veil Galleries, the Friday Morning Club, Bullocks Department Store, the Pasadena City Library, the Eden Club, the Hollywood Women’s Club, the Selan Gallery, as well as local banks.
Matson and his wife, Virginia, were incredibly active in organizing exhibitions and running the various arts organizations that he belonged to. He served on the advisory Board for the California State Fair and was President of the California Art Club, the San Gabriel Art Association and the Valley Artists’ Guild. Matson was actively painting and exhibiting until shortly before his death in 1972.
Victor Matson worked primarily out-of-doors. He began all of his work on location, even quite large paintings. Because he worked out-of-doors, he limited his largest works to about 26×32 inches. He didn’t like to paint small canvases, so works are rarely smaller than 18×24 inches. After beginning a painting on location, he would often complete the work in his upstairs studio. He augmented his location work in oil with pencil sketches and reference photographs.
Matson painted more scenes of the Mojave than any other subject, working around Palm Springs and Indio and in the Coachella Valley. He painted marines infrequently on trips to the Southern California Coast or when he traveled north to Monterey . On vacations to the eastern United States, Matson painted scenes of the fall colors and snow scenes. His palette was conservative and subdued in color and his best works exhibit the airy, atmospheric quality that is the hallmark of the plein-air style. Matson’s style of painting was honest and straightforward, never particularly mannered or stylized, characteristics which reveal the strong influence of Jack Wilkenson Smith.
Matson’s photographs have an altogether different quality, for they are primarily dreamy, diffused works that reflect the influence of the tonalist movement on the early fine arts photographers. His books of pencil sketches show Matson’s great facility for drawing and his accurate draughtsmanship. Matson’s engineering training seems to have kindled a great affection for architectural detail, as the many of his plein-air pencil sketches depict buildings, often nestled in mountain settings.
Victor Matson played an important role in the preservation and the continuation of the plein-air tradition. His works were painterly but accurate transcriptions of what he saw on location, whether it was a house in the San Gabriel foothills, a stand of Monterey Pines on the Carmel coast or a portrait of a single smoke tree in the arid California desert. Copyright 1992-2011, Jeffrey Morseburg, not to be reproduced without express written permission of the author.