—a retrospective, Sept. 10 through Oct. 24
A sixty-year retrospective of Millard’s Sheets paintings from the private collection of Ralph and Lois Stone is currently on display at the California Museum of Art at the Luther Burbank Center for the Arts.
Los Angeles born artist Millard Sheets, called the father of the California school of watercolor, lived a charmed life, winning numerous awards while still in school. Hatfield Galleries gave him the first one-man show while he was still at Chouinard School of Art in 1929; he also received a prize from the Edgar B. Davis competition in Texas. The $1750 prize allowed him to travel to New York and Paris via a banana boat through the Panama Canal; he was able to paint Central American scenes.
A sixty-year retrospective of Millard’s Sheets paintings from the private collection of Ralph and Lois Stone is currently on display at the California Museum of Art at the Luther Burbank Center for the Arts.
Los Angeles born artist Millard Sheets, called the father of the California school of watercolor, lived a charmed life, winning numerous awards while still in school. Hatfield Galleries gave him the first one-man show while he was still at Chouinard School of Art in 1929; he also received a prize from the Edgar B. Davis competition in Texas. The $1750 prize allowed him to travel to New York and Paris via a banana boat through the Panama Canal; he was able to paint Central American scenes.
One painting in particular, “The Women of Cartegena,” was accepted at the prestigious International Exhibition of Paintings at the Carnegie institute in Pittsburg, and was pivotal in shaping his career; this acceptance opened east coast watercolor establishment doors to him and to other California artists.
In the ’30s, the representational style of watercolor painting was at its apex, but WWII ended that movement as American artists became influenced by the new style of abstract art in Europe. At the turn of the century, artists studied in Europe, where elaborate, carefully rendered pencil sketches were highlighted with watercolor, but California artists took an entirely different approach. They worked boldly and directly on the paper, often with little, or no preliminary sketches.
In the ’30s, the representational style of watercolor painting was at its apex, but WWII ended that movement as American artists became influenced by the new style of abstract art in Europe. At the turn of the century, artists studied in Europe, where elaborate, carefully rendered pencil sketches were highlighted with watercolor, but California artists took an entirely different approach. They worked boldly and directly on the paper, often with little, or no preliminary sketches.
During the 1930s, their paintings became much larger. The California watercolorists’ fresh, bold regional views knocked the east coast establishment on its ear. Sheets, chief exponent of the California School of Watercolor, epitomized this bold new style.
This new California style, Synchronism, founded by Stanton McDonald Wright, utilized a highly stylized subject matter with abstract composition, and influenced Sheets and other artists. Their works were often featured on magazine covers, which made the style familiar to the general public.
Often hailed as a one-man renaissance, the internationally acclaimed artist Millard Sheets, worked in various styles. Some of his earliest works, from 1926 to 1936, including “Farm Near Lompoc,” “South Pomona Granary,” and “San Francisco Bay, Ship at Dock,” evoked the era of Social Realism, where 20th century industrial triumphs were viewed as works of art.
This new California style, Synchronism, founded by Stanton McDonald Wright, utilized a highly stylized subject matter with abstract composition, and influenced Sheets and other artists. Their works were often featured on magazine covers, which made the style familiar to the general public.
Often hailed as a one-man renaissance, the internationally acclaimed artist Millard Sheets, worked in various styles. Some of his earliest works, from 1926 to 1936, including “Farm Near Lompoc,” “South Pomona Granary,” and “San Francisco Bay, Ship at Dock,” evoked the era of Social Realism, where 20th century industrial triumphs were viewed as works of art.
As I viewed the art exhibit, the experimental film “Metropolis” came to mind. When Sheets gave Eleanor Roosevelt a painting of tenements, which promptly was hung in the White House, (and is now at the Smithsonian), he was appointed as one the four directors to the Public Works of Arts which is best remembered for the huge WPA (Works Progress Administration) murals depicting regional America. This bold representational style helped to shape the imaginative eye of the public.
During the 1930s and ’40s, Sheets was one of the most recognized and influential artists who portrayed the California Scene. Though rooted in the rich color and emotional light of impressionism, Sheets often worked with a limited color palette; the more tonal modulations defined the forms in abstract shapes.
During the 1930s and ’40s, Sheets was one of the most recognized and influential artists who portrayed the California Scene. Though rooted in the rich color and emotional light of impressionism, Sheets often worked with a limited color palette; the more tonal modulations defined the forms in abstract shapes.
In the past few years there has been a renewed interest in the American representational art movement—especially the American regional scenes made popular during the WPA mural projects.
When he was painting “Farm Near Lompoc,” Sheets commented, “I was only just beginning to understand the subtle nuances of composition and design. The black cow was placed in a pretty important spot. I think it is a good example of the struggles that people who had not been accustomed to painting in watercolor, as we all were at the time, could try and find a composition and design in complicated rounded forms.”
Of the painting, “South Pomona Granary,” Sheets said, “I would go out to these little farms to try to learn the meaning of value—color as a related problem—to try and understand the way each color created other colors in the thing next to it.”
The painterly oil canvas, “West Los Angeles Wheatfields,” (1928), depicts a strong impressionistic influence with bold brush strokes but with a more subdued palette than, say, a Monet. Sheets' “Chino Dairy” (1935), is alive with brush strokes, the brilliant use of orange shadow befitting a hot southern light, and the ground itself writhes with heat.
When he was painting “Farm Near Lompoc,” Sheets commented, “I was only just beginning to understand the subtle nuances of composition and design. The black cow was placed in a pretty important spot. I think it is a good example of the struggles that people who had not been accustomed to painting in watercolor, as we all were at the time, could try and find a composition and design in complicated rounded forms.”
Of the painting, “South Pomona Granary,” Sheets said, “I would go out to these little farms to try to learn the meaning of value—color as a related problem—to try and understand the way each color created other colors in the thing next to it.”
The painterly oil canvas, “West Los Angeles Wheatfields,” (1928), depicts a strong impressionistic influence with bold brush strokes but with a more subdued palette than, say, a Monet. Sheets' “Chino Dairy” (1935), is alive with brush strokes, the brilliant use of orange shadow befitting a hot southern light, and the ground itself writhes with heat.
In “West Los Angeles Wheatfields,” Sheets recorded a bygone era when Los Angeles was still a place of angels, “The grain fields started at Western Boulevard in Los Angeles and went right to the sea.…”
The large portrait of “Annabella,” a studio work, depicts many of Sheets’ favorite motifs and reflects back on his days in Tahiti. One can also see the influences of Gauguin in his other South Pacific landscapes.
Among my favorite pieces are his Mendocino coastlines, many done from his Barking Rocks studio in Gualala. "Fond Memories of Mendocino" with its olive green and vermilion/magenta sea and Chinese Ming style horses galloping on the bluffs avoids being a cliched riot of color notes.
The large portrait of “Annabella,” a studio work, depicts many of Sheets’ favorite motifs and reflects back on his days in Tahiti. One can also see the influences of Gauguin in his other South Pacific landscapes.
Among my favorite pieces are his Mendocino coastlines, many done from his Barking Rocks studio in Gualala. "Fond Memories of Mendocino" with its olive green and vermilion/magenta sea and Chinese Ming style horses galloping on the bluffs avoids being a cliched riot of color notes.
Compositionally, his work is strong, with an underlying structure based upon sculptural and a liberal use of diagonal shapes that lead us to the heart of the painting. Sheets wrote of “‘Mendocino with Affection," "This painting expresses the mood of color that we get here on strange days when the sun is coming up or going down. It is everything that I like about the coast.”
Many of the pieces in the show are from another style, another era—a more careful study of light with liberal use of hard-edged shadow. When one begins to take apart elements of the pieces, one comes to the sudden realization is that they are very abstract—which comes as a surprise.
“French Alps, 1971,” along with “Evening Luau, Tahiti,” (1973), “Mendocino with Affection” (1987), and “Fish Rock Annual Fishing Contest” (1968) with their curvilinear lines and rounded abstract sculptural forms are both visually pleasing, yet challenging. These works best exemplify Sheets’ distinctive later style, reminiscent of Post-Impressionism—especially Gauguin’s South Sea scenes, and van Gogh’s South of France landscapes.
Many of the pieces in the show are from another style, another era—a more careful study of light with liberal use of hard-edged shadow. When one begins to take apart elements of the pieces, one comes to the sudden realization is that they are very abstract—which comes as a surprise.
“French Alps, 1971,” along with “Evening Luau, Tahiti,” (1973), “Mendocino with Affection” (1987), and “Fish Rock Annual Fishing Contest” (1968) with their curvilinear lines and rounded abstract sculptural forms are both visually pleasing, yet challenging. These works best exemplify Sheets’ distinctive later style, reminiscent of Post-Impressionism—especially Gauguin’s South Sea scenes, and van Gogh’s South of France landscapes.
Of the simply painted “Church of Arles, France” (1970), with its muscular trees, Sheets commented, “This scene is one van Gogh knew…the trees are bare in winter and the atmosphere is very evocative. I thought about van Gogh, the man, while I was here.” A much earlier piece, “Ancient Church, Armenia” (1951), evokes a kindred connection to van Gogh’s work.
Sheets wrote of the small watercolor, “Kahili Valley” painted in 1934, “I made it during a period in my life when I was trying to figure out how to improve design elements of my work. This small painting is a bit static but I like its innocent charm…” Sheets had just returned from a visit to Central and South America; the painting strongly reflects the influence of that experience.
The collective body of Millard Sheets' paintings hang on the walls of some 45 museums in the US including the Smithsonian Gallery, Chicago Art Institute, the New York Museum of Modern Art, The Metropolitan Museum of Art, the Whitney Museum of American Art, and the Los Angeles County Museum. The California Museum of Art show from the private collection of Ralph and Lois Stone, brings together the varied themes of many of his works under one roof. Not to be missed.
© Maureen Hurley photos
California Museum of Art at the Luther Burbank Center, 50 Mark West Springs Road, 527-0297. There will be a gallery talk with David Stary-Sheets, son of Millard Sheets on Thurs. Sept 16 at 7 p.m.
Sheets wrote of the small watercolor, “Kahili Valley” painted in 1934, “I made it during a period in my life when I was trying to figure out how to improve design elements of my work. This small painting is a bit static but I like its innocent charm…” Sheets had just returned from a visit to Central and South America; the painting strongly reflects the influence of that experience.
The collective body of Millard Sheets' paintings hang on the walls of some 45 museums in the US including the Smithsonian Gallery, Chicago Art Institute, the New York Museum of Modern Art, The Metropolitan Museum of Art, the Whitney Museum of American Art, and the Los Angeles County Museum. The California Museum of Art show from the private collection of Ralph and Lois Stone, brings together the varied themes of many of his works under one roof. Not to be missed.
SIDEBAR (some text is missing)
Born in 1907, Sheets died at the age of 82. His life included many events which influenced his work. Sheets was a war artist for the government and for Life magazine. He lived in Hawaii, Tahiti, and took artist all over the world to hone their craft. He received numerous honorary doctorates. He was Director of Art Scripps College, he was an instructor at Otis Art Institute, and Chouinard Art Institute where he influenced innumerable artists during his 40 years of teaching.
Sheets was also a renowned sculptor, and architectural designer, with over 100 buildings, murals and mosaics to his credit including public buildings, civic centers, universities, airports, hotels, malls, and hospitals. He designed over 40 Home Savings and Loan banks, and the Scottish Rite Temples in Los Angeles and San Francisco.
Many of us may recall the bold tile mural at Waikiki’s Honolulu Hilton, and the murals at the Great Western Savings Bank, but few may know that the late Millard Sheets was the artist who designed them. In 1988, a year before his death, he received the coveted Dolphin Award from the American Watercolor Society.
© Maureen Hurley photos
California Museum of Art at the Luther Burbank Center, 50 Mark West Springs Road, 527-0297. There will be a gallery talk with David Stary-Sheets, son of Millard Sheets on Thurs. Sept 16 at 7 p.m.
The Western Sonoma County Paper, 9/3/93
(Alas, this is a facsimile of the original article as I don't have printed copy or tear sheet. This was from a damaged file and some text was lost. I am hoping a hard copy will resurface someday. Most of my clippings were lost during the Russian River floods of 1996.)
