'Foggy morning' signed 'Guy Rose' (lower right) and titled and inscribed 'Foggy Morning 15*' (on the reverse) oil on canvas 15 x 18in
PROVENANCE: Private collection, Pasadena, California Private collection, Massachusetts
While living in Los Angeles, Guy Rose took advantage of his proximity to the sea and took excursions to the coast whenever possible. He sought the solitude of the ocean and its quaint sleepy seaside hamlets. Carmel-by-the-Sea and the surrounding Monterey Peninsula was a region of California that that had become well known throughout the art community as a stunning setting for plein-air painting. The established art community was comprised of numerous artists that resettled in Carmel and Monterey following the 1906 San Francisco earthquake and fire. Childe Hassam and William Merritt Chase, amongst others, had completed painting trips to the area and came away offering rave reviews. Rose found his true inspiration in these quaint seaside towns.
In hopes to explore the Carmel landscape sooner, Roses first visit was not until the summer of 1918. Enthused by the landscape, Carmel became the focal point of his mature years as a painter. He and his wife, Ethel Rose, spent the next three summers there whereupon Rose produced many of his best-known works.
Rose completed a number of paintings specifically focusing on the sand dunes and shoreline of the region, often painting from, what appears to be, virtually the same vantage point. Will South writes in his 1995 book Guy Rose, American Impressionist that a comparison could be made in these works to Claude Monets focus on capturing the same scene in a variety of different lighting conditions. Guy Roses association with the French master is well documented and one can detect many similarities in style and approach between the two artists. During his years in Giverny, Rose was sure to have many opportunities to study Monets variations of Haystacks, Rouen Cathedral and Londons Houses of Parliament.
In the current composition, Foggy Morning, the artist is capturing the tonal subtleties of the classic foggy Carmel coastline. Rose was clearly as fascinated with both the vibrant and sun-filled Carmel days as the overcast ones. He saw beauty and the potential of worthy plein-air easel paintings in both.
This painting will be included in the catalogue raisonné on the artist being compiled by Roy Rose and the Irvine Museum.