American Antique Oil Painting of Evening Landscape by George W. Drew

Details

Description

GEORGE DREW
American, 1875-1968


Evening Landscape

Oil on panel | signed lower left

10” H x 14” W x 7/8” … Read more GEORGE DREW
American, 1875-1968


Evening Landscape

Oil on panel
 | signed lower left

10” H x 14” W x 7/8” D [frame]

7” H x 11” W [panel]



Essay
A very finely painted and brilliantly luminous oil painting on an artist's panel by the renowned American landscape painter George W. Drew. The work depicts the last moments of "golden hour" as the sun has just set along the extreme edges of the horizon and light bends through the dense atmosphere to produce a nearly orange sky. The landscape is left in the shadows, an opaque scene with a large body of water in the left two-thirds of the scene while a grove of trees encircle the lake and come close to the viewer around the right of the scene. It is a painting that unwraps slowly as it is viewed and studied with indelible details in the shadows and tiny brushstokes bringing the intricate landscape to life. Housed in an early and likely original giltwood frame.

Condition:
Carefully cleaned, old varnish removed, inpainting to the minor losses (notably the extreme edges where the frame rubs), traditional Dammar varnish applied. Early and perhaps original giltwood frame with mostly original gilding intact - losses, chips and shrinkage cracks throughout.

GEORGE W. DREW
George W. Drew (1875–1968) was an American painter best known for his landscapes rooted in the pastoral traditions of New England. Born in Massachusetts, he developed a lifelong interest in the natural beauty of the countryside, which became the central focus of his artistic output. Drew trained under Henry Pember Smith, a painter associated with the American Barbizon tradition, whose influence is apparent in Drew’s quiet, atmospheric scenes. He also studied with John Califano, an Italian-born artist active in both Rome and New York, who likely introduced Drew to European compositional methods and an attention to tonal harmony.

Drew established himself within the New York art community by the end of the 19th century. In 1898, he was recorded as living on Columbus Avenue in Manhattan and began to exhibit at major institutions, including the National Academy of Design. He later became associated with the Independent Artists Association and contributed regularly to exhibitions held by the Allied Artists of America, Salons of America, and various regional fairs and museums such as the Newark Museum and the New York Museum of Science and Industry.

His paintings are characterized by a delicate rendering of light and an unhurried approach to space and perspective. Farmhouses, meadows, and tree-lined clearings appear frequently in his compositions, often suffused with the warm glow of late summer. While his style remained representational throughout his career, it carried a refinement and compositional clarity that distinguished his work even as abstraction and modernist movements rose to prominence in the early 20th century.

Drew's work resonated with collectors who favored traditional American landscapes, and though he did not actively align himself with avant-garde circles, he remained visible through consistent exhibition activity and a body of work that reflected technical assurance and a clear sense of place. His paintings now serve as artifacts of an American visual language that valued quietude, continuity, and the pastoral ideal, even as the cultural center of gravity in the art world was shifting.

Though there is limited documentation of students or a formal school around Drew, his paintings continued to circulate in both museum and private collections, underscoring a career that, while not radical, was steady and well-regarded. His legacy lies in his faithful documentation of the American landscape at a moment when such imagery was beginning to yield to more conceptual forms of expression.

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