Artists who were able to strike a balance between abstraction and the literal were always admired by Richard Goetz (father of Mary Anna Goetz). He collected works by Chauncy Ryder who was a master poetic landscape painter for this reason. When Goetz taught he also emphasized the importance of a balance between detail and vagueness (see Hovsep Pushman in this exhibit)
Ryder in many ways brought American landscape painting into the 20th century. After studying and living in France for eight years he was uniquely equipped to appreciate and then depict the abstract qualities in the American landscape. The artist developed a signature style with easy natural rhythm that was both personal and broadly accepted. During a time (1915-1930) when schools of traditional and abstract painting were vying for prominence Ryder adroitly combined both.
An accomplished plein aire painter the artist also made small black and white sketches on paper, which aided in his development of larger works in the studio. These sketches attracted the attention of Woodstock lithographer Bolton Brown who encouraged Ryder to work with crayon on lithographic stone. The two successfully collaborated and produced a series of fine lithographs.
Ironically after wide acceptance of abstract art Chauncy Ryder was branded old fashioned. A long series of successful exhibits and honors came to an end. His New York galleries Macbeth and Grand Central Art Galleries continued to show his paintings to a public which considered his work too conservative. From the end of World War II until the 1980’s Chauncy Ryder sank into obscurity. When museums, scholars, dealers and collectors began to reassess the major contributions of American painters of the early 20th century Ryder was once again given a special place in the country’s landscape painting genre. Today Ryder’s paintings are sought after for their unique, highly recognizable simplicity, perfect balance of color, positive and negative space, and of course his use of abstraction. -JC