Jones, Hugh Bolton
Baltimore, 1848 - Nueva York, 1927
Summer in the Blue Ridge, 1874
Signed lower left: ''H. Bolton Jones 1874''
Carmen Thyssen-Bornemisza Collection
Location: Thyssen-Bornemisza National Museum, Madrid
Oil on canvas
76,5 x 138,5 cm
Union League Club, New York, (acquired at the 1874 exhibition in New York).
Parke-Bernet, lot 64, New York, March 24th, 1938.
Parke- Bernet, New York, January 11th, 1964.
Helen McGehee, Tuxedo (NY), 1964.
Christie’s, lot 34, New York, September 22nd, 1994.
Carmen Thyssen-Bornemisza Collection
Exhibition, New York, Century Association, nº 140.
De Canaletto a Kandinsky. Obras maestras de la Colección Carmen Thyssen-Bornemisza, Madrid, Museo Thyssen-Bornemisza, nº 47, p. 138.
1996 - 1997
From Zurbaran to Picasso. Masterpieces from the Collection of Carmen Thyssen-Bornemisza, Shanghai, Shanghai Museum; Beijing, China National Art Gallery, p. 86.
Capolavori dalla Collezione di Carmen Thyssen-Bornemisza: 60º anniversario dell'apertura della Pinacotecca di Villa Favorita, Lugano, Villa Favorita, nº 57, p. 158.
1998 - 1999
Masterworks from the Carmen Thyssen-Bornemisza Collection, Tokyo, Tokyo Metropolitan Art Museum; Takaoka, Takaoka Art Museum; Nagoya, Matsuzaka Art Museum; Sendai, Miyagi Museum of Art, nº 23, p. 64.
Aspectos de la tradición paisajística en la Colección Carmen Thyssen-Bornemisza, Málaga, Salas de Exposiciones del Palacio Episcopal, nº 43, p. 148.
1999 - 2000
Naturalezas pintadas de Brueghel a Van Gogh. Pintura naturalista en la Colección Carmen Thyssen-Bornemisza, Madrid, Museo Thyssen-Bornemisza, nº 27, p. 96.
Il trionfo del colore. Collezione Carmen Thyssen-Bornemisza. Monet, Van Gogh, Gauguin, Toulouse-Lautrec, Matisse, Kandinsky, Rome, Palazzo Ruspoli, p. 76.
Paisatges de llum, paisatges de somni. De Gauguin a Delvaux. Col·lecció Carmen Thyssen-Bornemisza, Sant Feliu de Guíxols, Espai Carmen Thyssen, p. 34, illus. p. 35.
2016 - 2017
La Ilusión del Lejano Oeste.Museo Carmen Thyssen Málaga. November 19, 2016- March 19, 2017. Cat. MA-5.
Paraísos. Impresionismo europeo y americano. Colección Carmen-Thyssen Bornemisza. Fundación Bancaja, Centro Cultural Bancaja, Valencia. p. 28-29.
-The Evening Post. New York, 1832-1920, (1874), p. 2.
-New York Daily Tribune, 1874, p. 4.
-Clement, C. E. and Hutton, L.: Artists of the Nineteenth Century and their Works. Boston (MA), 1879, vol. 2, p. 16.
-Champlin, John Denison (ed.): Cyclopedia of Painters and Painting. New York, C. Scribner’s Sons, 1885 , vol. 2, p. 352 (listed as ”Summer in Blue Ridge”).
-The Magazine Antiques. 1922-1971 , p. 391 (1948), illus.
-In The New York Times. New York, January 17th, 1954, p. 4.
-Zeizel, J. H.: ”Hugh Bolton Jones. American Landscape Painter”. [Graduation thesis]. Washington (DC), 1972, nº 26, p. 184.
-De Canaletto a Kandinsky. Obras maestras de la colección Carmen Thyssen-Bornemisza Museo Thyssen-Bornemisza. [Exhib. Cat. Museo Thyssen-Bornemisza]. Llorens Serra, Tomàs (ed.). Madrid, Fundación Colección Thyssen-Bornemisza, 1996, nº 47, p. 138. [Sheet by Kenneth W. Maddox].
-From Zurbaran to Picasso. Masterpieces from the Collection of Carmen Thyssen-Bornemisza, Shanghai, Shanghai Museum; Pekín, China National Art Gallery, [Exhib. Cat. China], 1996, p. 86.
-Capolavori dalla Collezione di Carmen Thyssen-Bornemisza: 60º anniversario dell’apertura della Pinacotecca di Villa Favorita, Lugano, Villa Favorita, [Exhib. Cat. Villa Favorita], 1997, n. 57, p. 158.
-Masterworks from the Carmen Thyssen-Bornemisza Collection, Tokio, Tokyo Metropolitan Art Museum; Takaoka, Takaoka Art Museum; Nagoya, Matsuzaka Art Museum; Sendai, Miyagi Museum of Art, [Exhib. Cat. Japan], 1998, n. 23, p. 64.
-Aspectos de la tradición paisajística en la Colección Carmen Thyssen-Bornemisza, Málaga, Salas de Exposiciones del Palacio Episcopal, [Exhib. Cat. Palacio Episcopal, Málaga], 1999, n. 43, p. 148.
-Naturalezas pintadas de Brueghel a Van Gogh. Pintura naturalista en la Colección Carmen Thyssen-Bornemisza, Madrid, Museo Thyssen-Bornemisza, [Exhib. Cat. Museo Thyssen-Bornemisza], 1999, n. 27, p. 96.
-Il trionfo del colore. Collezione Carmen Thyssen-Bornemisza. Monet, Van Gogh, Gauguin, Toulouse-Lautrec, Matisse, Kandinsky, Roma, Palazzo Ruspoli, [Exhib. Cat. Palazzo Ruspoli, Rome], 2002, p. 76.
-Colección Carmen Thyssen-Bornemisza. Arnaldo, Javier (ed.). 2 vols. Madrid, Fundación Colección Thyssen-Bornemisza, 2004, vol. 1, p. 290, illus. p. 291 [Sheet by Kenneth W. Maddox].
-Paisatges de llum, paisatges de somni. De Gauguin a Delvaux. Col·lecció Carmen Thyssen-Bornemisza, Sant Feliu de Guíxols, Espai Carmen Thyssen, [Exhib. Cat. Espai Carmen Thyssen], 2012, p. 34, lám. p. 35.
– Paraísos. Impresionismo europeo y americano. Colección Carmen-Thyssen Bornemisza. Centro Cultural Bancaja. Fundación Bancaja [Exhib. Cat.], Fund. Bancaja, Valencia, 2020. p. 28-29 [Sheet by Kenneth W. Maddox].
Barbara Novak’s vivid description of the artists using the train as “a moving platform from which to inspect the landscape” aptly describes Hugh Bolton Jones’s sketching excursions during the summer of 1873. He travelled by rail through Maryland and Virginia using both the Baltimore and Ohio Railroad and the Western Maryland Railroad to explore the landscape and collect material for paintings. Jones would have been aware that the value of such landscapes had been enhanced by the publication the previous year of the first volume of William Cullen Bryant’s Picturesque America, which included several illustrated essays on Virginia and the Blue Ridge Mountain scenery.
The paintings from his excursions exhibited in Baltimore at the Charity Art Exhibition the following year received favourable reviews, but it was Summer in the Blue Ridgeat the forty-ninth Annual Exhibition of the National Academy of Design in New York that established the young artist’s reputation. The exhibition was considered one of the finest held by the academy, and the New York Evening Post extolled Jones’ painting as “One of the most brilliant works by the new men or rising artists […] which in the freshness and beauty of its treatment can hardly be excelled.” More importantly, the painting was singled out by the powerful critic, Clarence Cook, writing for the New York Daily Tribune. Cook was obviously not familiar with Jones’s work, although the artist had been showing in the academy’s exhibitions since 1867. “Summer in the Blue Ridge, by Mr. H. Bolton Jones,” he wrote, “is a pleasant picture, agreeably composed, showing the fruits of study, and with natural feeling. If, as we learn, Mr. Jones is a young artist, we must hear more of him hereafter; this is most creditable, if it be an early work.”
Only in the review of the New York Times is there a hint of censure regarding Jones’s painting. It reported that while Summer in the Blue Ridge gave a very faithful representation of the area with the foliage rendered with remarkable care and crispness, the colour pure and truthful, “there scarcely seems to be sufficient atmosphere in the picture. The distinction between foreground and middle distance has not been sufficiently observed.” It is apparent that is was the painter’s more progressive tendencies, the breadth of his landscape with its affinities to the Barbizon painters (whose work Jones could have seen on his 1870 trip to Europe), that attracted the critics to his work. Those elements in Jones’ painting which reflected earlier American landscapes -he was later criticised for his “interest in all the minutiae of nature which characterised the old Hudson River School”- are the qualities which the reviewers found objectionable. Two years later Jones would travel to France with his brother, settling for a time at Pont-Aven, where his bonds with French painting would grow stronger.
Jones’s rural landscape no longer carries the nationalistic feelings of the harvest, often equated with the millennium, found in the mid-century Hudson River landscapes of Frederic E. Church and Jasper F. Cropsey. His canvas retains the panoramic format of the Hudson River painters, but the figures are larger and assume a different significance. The farmer is a simple labourer, not an emblem of the American yeoman, as Jones is concerned with the activities of the harvesters, rather than their symbolic importance within his pastoral countryside.
Kenneth W. Maddox