Venice Scene by Jane Peterson (1876-1965), goache and watercolor on paper, 17 1/2″ x 17 1/2″, signed lower left.
Peterson refused to identify with any particular stylistic school, incorporating characteristics and techniques of Impressionism, Neo-Impressionism, Expressionism, and Fauvism into her work. Produced during Peterson’s first trip to Venice in 1907, Venice Scene boldly showcases such originally, playing with bright colors and loose shapes to articulate a gracious, warm scene. Peterson developed the piece under Frank Brangwyn’s guidance, whose influence can be seen in her color palette and faithful portrayal of architecture. Venice Scene does not merely capture a moment in Peterson’s stylistic journey as a master painter, but speaks to her commendable collaboration and individuality.
Medium: Goauche and watercolor on paper
Born “Jennie Christine” in Elgin, Illinois, Jane Peterson received no form of formal art training in her youth. It was not until age 18 that Peterson received a generous gift of $300 from her mother and enrolled in the Pratt Institute in New York City. Peterson additionally studied at the Arts Student League of New York, accompanied by close friend and fellow painter Frank Dumond (see Golden Afternoon in Lyme).
Continuing her training, Peterson travelled to Europe in 1907 and produced several watercolors, all endeavors contributing to her developing, unique artistic style. The following year, Peterson studied under Frank Brangwyn in London and Venice, then Joaquin Sorolla y Batiste in Madrid, and finally Jacques Emile Blanche in Paris, as she continuously fraternized with and received mentorship from some of the most revered painters of the period. Her connections only strengthened when Peterson moved next to the salon of Gertrude Stein in Paris, where she mingled with artistic revolutionaries like Pablo Picasso, Henry Matisse, and Paul Cezanne. Returning to America in 1917, Peterson travelled the country with Louis Tiffany and continued to exhibit her works. By the end of her career, Peterson had held over 80 one woman exhibitions and had cemented herself as an independent and bold master painter, paving the way for experimental female artists to come.
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