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...baby blue and lavender reflect a magical violet and pink sky shining down on picnickers in sun-bonnets sitting under the shade of stubby saplings whilst a glow of yellow gold bathes the hillock rising up from the watery expanse. Vose Galleries deemed this, Picnic Overlooking the Harbor, as Farndon's most important work, and indeed his success in capturing a vision of paradise seems to have compelled him in many of his works only with incomplete and less satisfactory results...

Author: By Thomas Madsen, | Title: Yankee Impressed | 11/3/1994 | See Source »

Spanning about 70 years, Farndon's career saw the compilation of a fairly large corpus of work. He won numerous prizes for both oil and watercolor (mostly for his oils) and made the transition between four or five fairly distinct styles with varying degrees of success. Presumably early influences (Farndon eccentrically refused to date a single canvas) can be found in the late Romantics, as evidenced in some uneventful and rather unexciting landscapes which ended up relegated to the basement of Vose galleries...

Author: By Thomas Madsen, | Title: Yankee Impressed | 11/3/1994 | See Source »

...Farndon's later experimentation with ever greater abstraction found a model in Munch's simplification of form and the Jugendstil's fragmentation of form through the juxtaposition of radically polarized colors as demonstrated by his Central Park. New York City and Relaxing under the Porch...

Author: By Thomas Madsen, | Title: Yankee Impressed | 11/3/1994 | See Source »

...Although Farndon was known primarily as an impressionist, he was not one exclusively. Summer Sails and Eastport Maine show Farndon was capable not only of great freedom of workmanship and loose interpretation of the buildings and boats from which he painted, but also of extending himself beyond a purely idealistic frame into moody, sometimes hasty applications of deep oranges and purples, casting darker clouds on the exuberance of his most popular Renoir imitations...

Author: By Thomas Madsen, | Title: Yankee Impressed | 11/3/1994 | See Source »

...Farndon neglected to title any of his work (his family later coined titles in cooperation with Vose galleries) and none of it was framed or dated; only at the prompting of his family did Farndon ever bother to sign his work. Despite what seems a casual approach, Farndon was elected to the National Academy and his work exhibited in the permanent collections of such prestigious museums as the Metropolitan Museum of Art in New York City and others. But with out his family's pursuit of the posthumous gallery exhibition and sale of his work, its future would have remained...

Author: By Thomas Madsen, | Title: Yankee Impressed | 11/3/1994 | See Source »

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