Details
Description
Sunlight breaks through an autumn canopy and settles on the still water of a woodland creek in “Fiddle Creek,” a …
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Sunlight breaks through an autumn canopy and settles on the still water of a woodland creek in “Fiddle Creek,” a palette-knife landscape by the Belgian-born San Francisco painter Robert Elsocht (1908–1999). Deep shadow in the undergrowth and along the banks sets off broken flashes of ochre, gold and white among the trees, and their reflections carry the light down into the pool in the foreground. The paint is laid on in moderate to heavy impasto, with broad knife-drawn planes in the water and rocks and dragged, fractured color in the foliage.
Elsocht spent most of his career in the Bay Area, where he painted landscapes that push a recognizable scene toward abstraction. The subject is likely Fiddle Creek, near San Francisco in the Sierra foothills. This canvas, from the 1960s, shows that approach at a confident scale for the subject. It is signed “Robert Elsocht” in white paint at lower right. The verso is inscribed in pencil with the title, the size “28 x 31,” the medium “Oil-Acrylic,” and “J-62.” Pairing a fast-drying acrylic underlayer with oil for the final color and impasto was a common practice of the period. The canvas is housed in a gilded wood frame with a black recessed inner edge.
Photographs were white-balanced to a gray card under daylight-balanced lighting; colors may display slightly differently across screens.
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- Dimensions
- 31ʺW × 3ʺD × 28ʺH
- Art Subjects
- Landscape
- Frame Type
- Framed
- Period
- 1960s
- Country of Origin
- United States
- Item Type
- Vintage, Antique or Pre-owned
- Materials
- Acrylic Paint
- Canvas
- Oil Paint
- Wood
- Condition
- Good Condition, Original Condition Unaltered, Some Imperfections
- Color
- Olive
- Condition Notes
- Examined in its frame; the painting was not removed from the frame, and the reverse of the canvas was inspected … moreExamined in its frame; the painting was not removed from the frame, and the reverse of the canvas was inspected from the back. The canvas is taut on its stretcher, and the paint layer appears stable, with no flaking or lifting observed. The frame shows wear to the gilding along the edges and corners, with small areas where the base shows through. The reverse of the canvas has light overall tide staining and discoloration. There are remnants of old masking tape on the frame back, and the original twisted hanging wire is in place. less
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