RSW's Diary Comments

The sepia print of June Sun.

"Painted in 1944. Painting of double South Studio Windows, similar (but more inclusive) to April Sun (25 x 30) owned by Miss Garbose of Gardner - which see. Blossoming geraniums, red glass lamp, etc. on shelves, fluted lamp shade and base at far left with winter garden and corner of blue and red desk square. Exhibited first at G.C.A.G Exhibition .on E. 57th St. in May, 1944, and bought at this exhibition by Mr. F. Jacobus, 156 76th St. Brooklyn N.Y. through the G.C.A.G. (July, 1945). I think Mr. Jacobus himself is an art dealer."

Editor's Note:

There is a discrepancy between Woodward's account of this painting's exhibition history and our records. He did not start compiling his painting diary until just a couple of years before. It is possible, like we all do from time to time, that he fell behind in filling out the entries of his recent paintings as he worked on putting together the previous 24 years of material. Because he did not date the entries, we do not know if he made the entry in 1945 or 1950.

April Sun, 1944

We are not sure what Woodward meant by "more inclusive" when referring to the smaller yet similar painting April Sun. There are clear differences between the two pieces. For one thing, June Sun is far more bright and sunny. You can see sunlight glowing on the post between the windows. The arrangements are slightly different-- the glass top hat, the fern instead of the ivy, the yellow glass cup versus the green decorative glass, etc.

Still, the greatest difference between the two paintings are their perspectives. June Sun is more rectangled, thus panoramic, with an aspect ratio of 1.5. June Sun is closer to square with an aspect ratio of 1.2 ( 1.0 is square). By including more of the view of the entirety of the window, including what surrounds it, is most likely what Woodward meant by "more inclusive".

RSW's signature from lower left of painting

The color images have been gratiously provided by the current owner for which we greatly appreciate.

Woodward signed his name right in the shadow on the desk-like shelf to the lower lefthand portion of the painting. As such, it is difficult to see in the picture.