GENERAL DESCRIPTION
Time and Tide is considered Alfred Thompson Bricher’s finest painting. In its title and mood it reflects the shift toward literary and psychologically potent themes in landscape painting toward the end of the 19th century. Shortly after the end of the Civil War, the vogue for the grand landscapes painted by Frederic Edwin Church and Albert Bierstadt gave way to a preference for a more introspective vision of the American land. Literary allusions that viewers would recognize immediately became popular in titles for paintings, reflecting that generation’s emphasis on the written word. Bricher was an avid reader, and for Time and Tide he drew on a line from Sir Walter Scott’s The Antiquary of 1816: “Time and tide tarry for no man,” recast in 1843 by Charles Dickens in Martin Chuzzlewit to read, “Time and tide will wait for no man, saith the adage, but all men have to wait for time and tide.”
Excerpt from
Sue Canterbury, DMA label text, 2012
NOTES
TMS had 50 year range, I changed it to 10 per usual c. guidelines.
From "American Paradise: The World of the Hudson River School." Metropolitan Museum of Art, 1987, Exh. Cat.
"probably along the New England coast" p. 324
"By the time Bricher made this painting in 1873, his sketching trips to the favorite spots of earlier Hudson River painters—the Adirondacks, the Catskills, the White Mountains, Lake George, and Lake Champlain—had all but ceased, and he was giving more and more attention to paintings devoted to the seashore and ocean, a natural development for a man who had grown up in old coastal towns in New England." p. 324
Publications: (Found this list in object file)
- The Beckoning Land (Nature and the American Artist: A Selection of Nineteenth Century Paintings), The High Museum of Art, Atlanta, April 17-June 13, 1971 (Ill. b/w, p. 79; cat #68; cat. entry, p. 28) (DMFA 759.13 H537b)
- Brown, Jefferey R., assisted by Ellen W. Lee, Alfred Thompson Bricher 1837-1908, Indianapolis Museum of Art, September 12-October 28, 1973 (Ill. b/w, p. 58; cat #34; cat. entry, p. 58; text p. 19-20, 22, 23). (DMFA 759.13 B761b0
- Stein, Robert B., Seascape and the American Imagination, New York: Clarkson N. Potter, Inc. In association with the Whitney Museum of American Art, distributed by Crown Publishers, Inc., 1975 (Ill. b/w, p. 108, Fig. 116; cat #13; cat. entry, p. xxiv; text p. 104). (DMFA 759.13 St34se)
- Stebbins, Theodore E., Jr. The Life and Works of Martin J. Heade, New Haven and London: Yale University Press, 1975 (Ill. b/w, p. 82, Fig. 47; text p. 81-81). (DMFA 759.13 H341st)
- Wilmerding, John, American Light: The Luminist Movement, 1850-1875, Catalogue produced by the Editors Office, National Gallery of art, Washington. Printed by Eastern Press, Inc., New Haven, Connecticut, 1980 (Ill. b/w, p. 131, Fig. 144; Ill. color, p. 206, plate 30) (DMFA 758.1 WIL)
- (not on original list, but this is another publication) The Metropolitan Museum of Art, New York, American Paradise: The World of the Hudson River School, October 4, 1987-January 3, 1988, pp. 324-24 (color ill.).
Other label copy, unsure of author or date:
As one of the final painters to join the prestigious ranks of the Hudson River School, Alfred Thompson Bricher’s choice of subject deviated slightly from the School’s early mission of capturing the grandeur of untouched American wilderness. Rather, Bricher’s work is characterized by exaggerated coastal seascapes and nautical scenes painted from close studies done along the eastern coast. He spent majority of his fifty-year career as a landscape painter in Newburyport, Massachusetts, a location which would serve as a visual reservoir for the imagery featured in his dramatic water scenes. In this painting, Bricher captures the tide, painting the waves as sleek shelves, which momentarily froth before collapsing onto the stretch of beach in the foreground. In the distance, the peaks of small sailboats dot the horizon, indicating human presence amidst the ocean waves. Favoring a horizontal composition, Bricher uses the monumentality of his landscapes to achieve an unrivaled luminosity, here seen in the clouds, whose reflection is mirrored on the seashore’s glossy sand surface.
Drawing literary allusions in painting titles was quite common during this time and Time and Tide is no exception. For his title, Bricher draws on a line from Sir Walter Scott’s The Antiquary of 1816: “Time and tide tarry for no man,” recast in 1843 by Charles Dickens in Martin Chuzzlewit to read, “Time and tide will wait for no man, saith the adage, but all men have to wait for time and tide.”
As one of the final painters to join the prestigious rank
s of the Hudson River School, Alfred
Thompson Bricher
’
s choice of subject deviated slightly from the School
’
s early mission of
capturing the grandeur of untouched American wilderness. Rather,
Bricher
’
s work is
characterized by exaggerated coastal seascapes and nautical
scenes painted from close studies
done along the eastern coast. He spent majority of his fif
ty-year career as a landscape painter in
Newburyport, Massachusetts, a location which would serve as
a visual reservoir for the imagery
featured in his dramatic water scenes. In this painting, Bri
cher captures the tide, painting the
waves as sleek shelves, which momentarily froth before co
llapsing onto the stretch of beach in
the foreground. In the distance, the peaks of small sailbo
ats dot the horizon, indicating human
presence amidst the ocean waves. Favoring a horizontal
composition, Bricher uses the
monumentality of his landscapes to achieve an unrivaled lu
minosity, here seen in the clouds,
whose reflection is mirrored on the seashore
’
s glossy sand surface.
Drawing literary allusions in painting titles was quite comm
on during this time and
Time and
Tide
is no exception. For his title, Bricher draws on a line f
rom Sir Walter Scott
’
s
The Antiquary
of 1816:
“
Time and tide tarry for no man,
”
recast in 1843 by Charles Dickens in
Martin
Chuzzlewit
to read,
“
Time and tide will wait for no man, saith the adage, but al
l men have to wait
for time and tide.
”
Catalogue essays
Artist/designers
Bricher, Alfred Thompson (American, 1837-1908)
Cultures
Geography
Depicted location and place of origin: New England (general region/United States): TGN: 7014203
Process/materials
Historical periods
Individuals
Subject terms
RELATED OBJECTS
PROVENANCE
n.d.: Osborne Family, Auburn, N.Y.
n.d.: Mrs. Agnes G. Trimingham, Auburn N.Y.
n.d.: her daughter, Bermuda Trimingham (?)
n.d.: Mr. and Mrs. Robert C. Vose, Jr., Boston, MA
n.d.: Foundation for the Arts Collection, gift of Mr. and Mrs. Frederick M. Mayer (purchased from Vose Galleries of Boston, Inc.)
From 1976: Dallas Museum of Art, Foundation for the Arts Collection, gift of Mrs. and Mrs. Frederick Mayer [1][2][3]
[1] The name of the Dallas Museum of Fine Arts, founded in 1933, was changed to the Dallas Museum of Art in 1983.
[2] The Foundation for the Arts is a non-profit corporation created as a title-holding entity to serve the people of Dallas but to operate independently of the City. The Dallas Museum of Art (at its own cost) is responsible for the care, storage, insurance, conservation and maintenance of the collection, and agrees to maintain the highest museum standards in the management and handling of the Foundation’s collection. The title to all works of art purchased or otherwise acquired by the Foundation for the Arts is retained by the Foundation.
[3] The main source for this provenance was existing information in the object collections record. Exceptions and other supporting documents are noted.
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General Description
Time and Tide is considered Alfred Thompson Bricher’s finest painting. In its title and mood it reflects the shift toward literary and psychologically potent themes in landscape painting toward the end of the 19th century. Shortly after the end of the Civil War, the vogue for the grand landscapes painted by Frederic Edwin Church and Albert Bierstadt gave way to a preference for a more introspective vision of the American land. Literary allusions that viewers would recognize immediately became popular in titles for paintings, reflecting that generation’s emphasis on the written word. Bricher was an avid reader, and for Time and Tide he drew on a line from Sir Walter Scott’s The Antiquary of 1816: “Time and tide tarry for no man,” recast in 1843 by Charles Dickens in Martin Chuzzlewit to read, “Time and tide will wait for no man, saith the adage, but all men have to wait for time and tide.”
Excerpt from
Sue Canterbury, DMA label text, 2012
Fun Facts
Archival Resources
Web Resources
Notes
TMS had 50 year range, I changed it to 10 per usual c. guidelines.
From "American Paradise: The World of the Hudson River School." Metropolitan Museum of Art, 1987, Exh. Cat.
"probably along the New England coast" p. 324
"By the time Bricher made this painting in 1873, his sketching trips to the favorite spots of earlier Hudson River painters—the Adirondacks, the Catskills, the White Mountains, Lake George, and Lake Champlain—had all but ceased, and he was giving more and more attention to paintings devoted to the seashore and ocean, a natural development for a man who had grown up in old coastal towns in New England." p. 324
Publications: (Found this list in object file)
- The Beckoning Land (Nature and the American Artist: A Selection of Nineteenth Century Paintings), The High Museum of Art, Atlanta, April 17-June 13, 1971 (Ill. b/w, p. 79; cat #68; cat. entry, p. 28) (DMFA 759.13 H537b)
- Brown, Jefferey R., assisted by Ellen W. Lee, Alfred Thompson Bricher 1837-1908, Indianapolis Museum of Art, September 12-October 28, 1973 (Ill. b/w, p. 58; cat #34; cat. entry, p. 58; text p. 19-20, 22, 23). (DMFA 759.13 B761b0
- Stein, Robert B., Seascape and the American Imagination, New York: Clarkson N. Potter, Inc. In association with the Whitney Museum of American Art, distributed by Crown Publishers, Inc., 1975 (Ill. b/w, p. 108, Fig. 116; cat #13; cat. entry, p. xxiv; text p. 104). (DMFA 759.13 St34se)
- Stebbins, Theodore E., Jr. The Life and Works of Martin J. Heade, New Haven and London: Yale University Press, 1975 (Ill. b/w, p. 82, Fig. 47; text p. 81-81). (DMFA 759.13 H341st)
- Wilmerding, John, American Light: The Luminist Movement, 1850-1875, Catalogue produced by the Editors Office, National Gallery of art, Washington. Printed by Eastern Press, Inc., New Haven, Connecticut, 1980 (Ill. b/w, p. 131, Fig. 144; Ill. color, p. 206, plate 30) (DMFA 758.1 WIL)
- (not on original list, but this is another publication) The Metropolitan Museum of Art, New York, American Paradise: The World of the Hudson River School, October 4, 1987-January 3, 1988, pp. 324-24 (color ill.).
Other label copy, unsure of author or date:
As one of the final painters to join the prestigious ranks of the Hudson River School, Alfred Thompson Bricher’s choice of subject deviated slightly from the School’s early mission of capturing the grandeur of untouched American wilderness. Rather, Bricher’s work is characterized by exaggerated coastal seascapes and nautical scenes painted from close studies done along the eastern coast. He spent majority of his fifty-year career as a landscape painter in Newburyport, Massachusetts, a location which would serve as a visual reservoir for the imagery featured in his dramatic water scenes. In this painting, Bricher captures the tide, painting the waves as sleek shelves, which momentarily froth before collapsing onto the stretch of beach in the foreground. In the distance, the peaks of small sailboats dot the horizon, indicating human presence amidst the ocean waves. Favoring a horizontal composition, Bricher uses the monumentality of his landscapes to achieve an unrivaled luminosity, here seen in the clouds, whose reflection is mirrored on the seashore’s glossy sand surface.
Drawing literary allusions in painting titles was quite common during this time and Time and Tide is no exception. For his title, Bricher draws on a line from Sir Walter Scott’s The Antiquary of 1816: “Time and tide tarry for no man,” recast in 1843 by Charles Dickens in Martin Chuzzlewit to read, “Time and tide will wait for no man, saith the adage, but all men have to wait for time and tide.”
As one of the final painters to join the prestigious rank
s of the Hudson River School, Alfred
Thompson Bricher
’
s choice of subject deviated slightly from the School
’
s early mission of
capturing the grandeur of untouched American wilderness. Rather,
Bricher
’
s work is
characterized by exaggerated coastal seascapes and nautical
scenes painted from close studies
done along the eastern coast. He spent majority of his fif
ty-year career as a landscape painter in
Newburyport, Massachusetts, a location which would serve as
a visual reservoir for the imagery
featured in his dramatic water scenes. In this painting, Bri
cher captures the tide, painting the
waves as sleek shelves, which momentarily froth before co
llapsing onto the stretch of beach in
the foreground. In the distance, the peaks of small sailbo
ats dot the horizon, indicating human
presence amidst the ocean waves. Favoring a horizontal
composition, Bricher uses the
monumentality of his landscapes to achieve an unrivaled lu
minosity, here seen in the clouds,
whose reflection is mirrored on the seashore
’
s glossy sand surface.
Drawing literary allusions in painting titles was quite comm
on during this time and
Time and
Tide
is no exception. For his title, Bricher draws on a line f
rom Sir Walter Scott
’
s
The Antiquary
of 1816:
“
Time and tide tarry for no man,
”
recast in 1843 by Charles Dickens in
Martin
Chuzzlewit
to read,
“
Time and tide will wait for no man, saith the adage, but al
l men have to wait
for time and tide.
”
Catalogue essays
Artist/designers
Bricher, Alfred Thompson (American, 1837-1908)
Cultures
Geography
Depicted location and place of origin: New England (general region/United States): TGN: 7014203
Process/materials
Historical periods
Individuals
Subject terms
RELATED OBJECTS
PROVENANCE
n.d.: Osborne Family, Auburn, N.Y.
n.d.: Mrs. Agnes G. Trimingham, Auburn N.Y.
n.d.: her daughter, Bermuda Trimingham (?)
n.d.: Mr. and Mrs. Robert C. Vose, Jr., Boston, MA
n.d.: Foundation for the Arts Collection, gift of Mr. and Mrs. Frederick M. Mayer (purchased from Vose Galleries of Boston, Inc.)
From 1976: Dallas Museum of Art, Foundation for the Arts Collection, gift of Mrs. and Mrs. Frederick Mayer [1][2][3]
[1] The name of the Dallas Museum of Fine Arts, founded in 1933, was changed to the Dallas Museum of Art in 1983.
[2] The Foundation for the Arts is a non-profit corporation created as a title-holding entity to serve the people of Dallas but to operate independently of the City. The Dallas Museum of Art (at its own cost) is responsible for the care, storage, insurance, conservation and maintenance of the collection, and agrees to maintain the highest museum standards in the management and handling of the Foundation’s collection. The title to all works of art purchased or otherwise acquired by the Foundation for the Arts is retained by the Foundation.
[3] The main source for this provenance was existing information in the object collections record. Exceptions and other supporting documents are noted.
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