Quick Reference

Time Period:
Unknown

Location:
Unknown

Medium:
Chalk Drawing

Type:
Landscape

Category:
Mountains

Size:
22 X 29

Exhibited:
N/A

Purchased:
Private

Provenance:
NA

Noteworthy:

RSW did not travel too far in his excursions due to the difficulty, however, the Green Mountains and Finger lakes area of Southern Vermont was one of his frequent destinations.

Related Links

Featured Artwork: Haystack From Wilmington

Not Available

RSW's Diary Comments

None, RSW did not include chalk drawings in his artwork diaries.


Additional Notes

From Woodward's 1932 personal diary we have learned that he frequently traveled to the Whitingham area of Vermont to paint and draw. Whitingham and neighboring Wilmington, VT are within the proximity of Sadagwa Lake and Mount Haystack. Between July and September of 1932 Woodward and many travel-companions went to the area 14 times, 4 in just one week of September, as RSW made two oil paintings [Red Barns and Mountains in Summer] and various chalk drawings [Mount Haystack over Sadagwa]. It is unclear to us if this particular drawing was made in 1932, however, there is a possibility. Unfortunately, we cannot share the information we have from the diary without violating the privacy of its owners.


A DESCRIPTION OF THIS DRAWING:

Haystack in the distance, dark greens spanning the width of the drawing. In the foreground the patch-work scenery of country farms on rolling hills with tree lines. There appears to be a farmhouse in the lower left of the drawing surrounded by a group of shade trees. The sky to the left is a gradiant of deepening blues. Dramatic clouds began to fan from left to right moving over Haystack's peak.


The following is an excerpt from, "An Artist of his Time", a lecture, hosted by the Friends of RSW, on RSW by Peter Trippi, editor-in-chief, Fine Art Connoisseur Magazine, which also did a feature article on RSW. CLICK HERE to view the Article

"...the pastel works... they're just fantastic. And I'm afraid that they don't photograph very well but you don't really appreciate the difficulty of making them until you see them up close. That as you know with pastel, you have to be very very good to make it work, because it hard to correct a mistake. With oil paint it's much easier to cover over the error. But these are really really spectacular."

October 4, 2014
Peter Trippi, editor-in-chief
Fine Art Connoisseur Magazine