EDWARD HENRY POTTHAST (1857-1927)
EDWARD HENRY POTTHAST (1857-1927)
EDWARD HENRY POTTHAST (1857-1927)
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EDWARD HENRY POTTHAST (1857-1927)

Beach Scene

Details
EDWARD HENRY POTTHAST (1857-1927)
Beach Scene
signed 'E Potthast' (lower right)
oil on canvas
24 x 20 in. (61 x 50.8 cm.)
Provenance
Jacob F. Schoellkopf IV, Buffalo, New York.
By descent from the above to the present owner.
Further details
This work will be included in M. Ran’s forthcoming catalogue raisonné of the artist’s work.

Presentado por

Emmanuelle Loulmet
Emmanuelle Loulmet Specialist, Head of the Impressionist and Modern Day Sale

Ensayo del lote

Beginning in the early 1900s, Edward Henry Potthast turned his attention to New York’s burgeoning leisure culture, gravitating toward the bustling shores of Coney Island, Far Rockaway, and Brighton Beach. Northeastern seashores provided an inexhaustible source of inspiration, becoming virtually synonymous with the artist's name. As Americans increasingly sought respite from urban life, Potthast embraced the energy and optimism of these popular seaside retreats, developing a freer, more luminous style that reflected both the vitality of his subjects and the influence of American Impressionism. His paintings celebrated life's simple pleasures, depicting children splashing in the surf, families gathered along the sand and mothers strolling along the shore. In Beach Scene, a young woman carries a child while another toddler follows just behind, a tender moment animated by Potthast’s loose, expressive brushwork. Potthast's extraordinary command of color is evident in the richly applied blues and violets that model form and shadow, enveloping the figures in the sunlit atmosphere that characterizes his mature beach scenes. So closely was Potthast associated with these pictures that a contemporary writer for Macbeth Galleries observed, “When a man paints a theme as well as Potthast paints seashore scenes, we forgive him for sticking to it to the exclusion of other subjects” (A. Jacobowitz, "Edward Henry Potthast," The Brooklyn Museum Annual, vol. IX, 1967-1968, p. 123).
The present work descended through the prominent Schoellkopf family of Buffalo, New York, known for building the first hydroelectric power plant in the country, the pioneering Schoellkopf Power Plant in Niagara Falls. From the collection of Jacob F. Schoellkopf IV, businessman, philanthropist and noted patron of the arts who served on the Board of Directors of the Buffalo Fine Arts Academy, the painting hung for generations at the Schoellkopf family estate known as Seeheim in Lake View, New York, the setting for the family’s notable collection of art and antiques.

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