Tonalism then
George Henry, View of Venice, 28 x40, oil on canvas.
As a follow up to my recent post offering two contemporary Tonalist works at Oxford Gallery, this painting of Venice, by George Henry, was on view at the same time as the current work. This one is part of Jim Hall’s available inventory 
of historical Tonalist work. It’s an amazing painting, in many ways, not least of which is the impasto, stucco-like, surface of the oil. The paint is applied so generously, in multiple layers, that the tactile quality of its pebbly contours, the way in which shifts in tone create a relief map of color, is extraordinary. The overall impression is of a harbor bathed in a blindingly intense gold at sunset, but the way the paint is organized on the surface of the canvas is what’s most remarkable. Bogert’s life spanned a period of radical changes in technology and culture, and, of course, art.
From Wikipedia: George Henry Bogert (February 6, 1864 – December 13, 1944) was an American landscape painter.In 1911 an exhibit of his work was held at the Albright-Knox Art Gallery in Buffalo, New York, and attracted widespread notice. His work is represented in the permanent collection of the Buffalo Fine Arts Academy.
His work has been displayed in the Metropolitan Museum of Art, National Gallery, Corcoran Gallery of Art, Museum of Fine Arts, Boston, Huntington Library, Pennsylvania Academy, Brooklyn Museum, Edinburgh Museum in Scotland, Shanghai Club in China, Minneapolis Institute of Art, and others, also in private collections, including those of Andrew Carnegie, Clarence Mackay, and Thomas B. Clark.
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