American Still-Life Oil Painting of Apples by Bryant Chapin Ca. 1900

Description

BRYANT CHAPIN
United States, 1859-1927

Still Life of Apples (1900)

Oil on canvas | signed lower left “BRYANT CHAPIN / … more BRYANT CHAPIN
United States, 1859-1927

Still Life of Apples (1900)

Oil on canvas | signed lower left “BRYANT CHAPIN / 1900.”

Item # 404PDJ21Q

A vivd scene that captures the essence of nature's bounty through the portrayal of vibrant, freshly picked apples. Unlike many of his contemporaries who preferred lush, naturalistic environments, Bryant Chapin often chose a simpler greenish-brown backdrop, allowing the viewer's attention to be drawn solely to the meticulously rendered apples.

The apples are the focal point of the image, each depicted with their rich red and yellow skins glistening under the warm sunlight. The manner in which Chapin paints them allows them to almost hover above the rustic surface. This characteristic slight elevation of the fruit from the surface is a distinctive feature of Chapin’s style. The background is largely impressionistic with bold chaotic brushstrokes blending earthy tones of greens and browns with subtle textures, an effect that provides a softened contrast to the hyper-realist bright and shiny apples, emphasizing their freshness and natural beauty.

For a similar example on the open market, see a nearly identical painting Chapin painted in 1907 with almost the same stretcher size (10" x 15") which was offered at Bonham's, New York in their May 21, 2008 sale (lot 1003), which achieved $ 5,400 USD.

ARTIST
Bryant Chapin (American, 1859-1927) was a prominent still life artist, born and raised in Fall River, Massachusetts, where he spent his entire life. The early roots of his artistic inclination were likely nurtured by his maternal aunt, Sarah Augusta Borden née Washburn (1841-1911), a pioneering art teacher in Fall River.

Chapin studied under the prominent still-life painter Robert Spear Dunning (1829-1905), a connection evident in his early works which reflect Dunning’s influence. These initial paintings often feature fruit meticulously arranged on highly polished tabletops with elaborate carved edges and reflective surfaces, showcasing Chapin's attention to detail and his delicate rendering of light and texture.

Before fully dedicating himself to art, Chapin pursued careers in engineering and banking. It wasn't until 1888, at the age of twenty-nine, that he established his first studio and committed to his artistic profession. Chapin maintained this studio in Fall River throughout his life. He also briefly taught freehand drawing at the Fall River Evening Drawing School, part of the local public school system.

Chapin’s artistic repertoire included still lifes, landscapes, marine scenes, and occasional portraits. His still life paintings can be categorized into two styles: arrangements of fruit on polished tabletops with intricate moldings and reflections, and outdoor settings where fruit is placed directly on the ground against a vague, greenish-brown background. His outdoor still lifes often feature vibrant berries spilling from rustic, wooden boxes.

Chapin traveled extensively throughout New England and Canada to paint landscapes, and in 1912 and 1913, he ventured abroad in search of new subjects. His Impressionistic landscapes were described as having a "wistful mysticism," making them popular among contemporary audiences. Hezekiah Anthony Dyer (1872-1943), a fellow artist and friend, remarked that Chapin’s landscape works required careful study to fully appreciate their masterful qualities, a sentiment not always shared by their Fall River audience.

Today, Bryant Chapin is celebrated as a leading figure in the Fall River School of artists. (Source: The Fall River Historical Society)

Measurements: 17 1/4" H x 21 1/4" W x 2 3/4" D [frame]; 10" H x 14 1/8" W [canvas]

Condition Report:
Professionally cleaned and conserved, sealed in traditional damar varnish (conservation notes: surface grime and varnish removed, some acretions removed mechanically, new varnish applied); under UV the surface appears to be free of inpainting; very minor surface craquelure; a very fine presentation. Housed in an early and likely first frame (noted on the frame and reverse of the stretcher "# 26985"); gilding worn and rubbed away in many areas throughout; a few portions of the frame restored. Ready to place. less