Wright Auction

Expertise by Dr. Susan Weininger

This small, late painting by Abercrombie is not mentioned in any records of which I am aware. This is not unusual for such a late work, as the artist did not keep very good records toward the end of her life, nor were there many exhibitions in which such a work might have been recorded. Therefore, it requires an analysis of style and subject matter, or a secure provenance, to determine its authenticity.

The painting is one of at least three other paintings in which the chicken-and-egg theme is explored by Abercrombie, beginning in the mid-1950s. By this time, eggs had become a staple element in many of her still life paintings, but the addition of a chick added an Abercrombie-esque charm, wit, and humor to the subject. The paintings have titles like Which Came First? (1955, Private Collection) and Eggs-it (ca. 1955, location unknown), Abercrombie titles that could be applied to the current painting. Like her work in general, these paintings have some of the same elements, but they are unique compositions, often showcasing the artist’s love of visual and verbal repartee. In these examples, she painted a chick emerging from an egg; sometimes she combined the eggshell with a snail shell; sometimes it would be a chick in an egg cup, but meaning and wit were always present.

In Untitled (Chick Emerging from an Egg), an appealing baby chick pokes its head out of the egg in which it has lived, its big round eyes greeting the world.

In Untitled (Chick Emerging from an Egg), an appealing baby chick pokes its head out of the egg in which it has lived, its big round eyes greeting the world. The composition is simple, consisting of the chick emerging from the egg, the shards of broken eggshell on the flat dark surface against a characteristic turquoise background. Abercrombie, always frugal, treats the subject with her characteristic, deceptively simple style. Although some of Abercrombie’s work seems to have been done in haste, Untitled and many of the still life paintings she composed in the period from the early 1950s on are products of a time when she was trying to paint more carefully and precisely, encouraged by her good friend, artist John Wilde. The beautifully rendered egg evidences her prowess in creating believable three-dimensional objects and attests to the skills she worked hard to acquire in her traditional art classes at the University of Illinois (some of her class studies are now in the Illinois State Museum). The chick, while sweet, has an endearing awkwardness that typifies many of her renderings of living beings.

Eggs may have appealed to Abercrombie as subjects for the same reason that shells did—they are a kind of enclosure, a home of sorts, a subject the artist was drawn to all of her life. Beginning with the empty, closed rooms that appear early in her career, the tents she painted in the 1940s and 1950s, and the shells that begin appearing in the 1950s, Abercrombie had an abiding interest in spaces that served as a metaphor for her own feelings of isolation and insecurity. While the egg is not exactly parallel, she found in it a subject that not only resonated with the idea of enclosure, but also offered the possibility of employing her sense of humor in themes like the one in Untitled.

Despite its simplicity, Untitled rewards the viewer, not only with its wit but its ability to encourage thoughts about “which came first” as well as the function of home and shelter. Unless something emerges to prove otherwise, in my opinion, this is an authentic work by Gertrude Abercrombie.

Broadly considered, Chicago Modernism includes works in a range of styles covering all manner of themes from the 1890s through the mid-20th century. From portraiture to landscapes, from still lifes to abstractions, and more, artists who were active in Chicago prior to the turn of the 20th century up through World War II helped to define the emerging city to itself and the world outside. This period featured notable artists producing finely executed and innovative examples of Impressionism, Realism, Abstraction, Regionalism, Surrealism, and Magical Realism. While connected to the major artistic currents in cultural centers like New York City and Paris, Chicago Modernism was able to develop in a relatively organic and original fashion given the Midwest’s geographic isolation and its tendency to be sometimes overlooked.

Following the 1893 World’s Columbian Exposition in Chicago, which certainly put the city on the map, in a literal and figurative sense, Impressionism, and its variants, began to take hold in Chicago, as it had already on the East Coast. When the modern era dawned, much of the Impressionist artwork done in Chicago contrasted rural and urban life or manifested as formal portraiture. Some of the key figures of this time were Oliver Dennett Grover, Adam Emory Albright, Frederick Fursman, Pauline Palmer, Frank C. Peyraud, Walter Krawiec, Carl Krafft, Karl Albert Buehr, and Alfred Juergens. The early decades of the 20th century also saw increased immigration to the United States, in particular, by Central and Eastern Europeans. In Chicago, some of these recent arrivals, and first-generation residents, sought to preserve their heritage while capturing the urban development around them. Among these were prominent Jewish-American artists like Emil Armin and Todros Geller, who exhibited with Grant Wood at the Art Institute of Chicago, as well as William Schwartz, Herman Menzel, Charles Turzak, and George Josimovich.

In the 1920s and 1930s, as the built environment of Chicago expanded, artists sought to represent this growth in their work. Many of these individuals were also employed by the New Deal-sponsored WPA (Works Progress Administration) Federal Art Project, which aimed to enhance the cultural fabric of America as the Great Depression threatened to fray the social contract. While there was some overlap aesthetically with work created by noted Regionalists like Grant Wood and Thomas Hart Benton, the Chicago WPA artists operated in a variety of modes that ranged from Modernism to Art Deco to Abstraction. Around this time, the exceedingly versatile artist/designer Edgar Miller also began to make his mark on Chicago by blending elements of Arts & Crafts with Modernism in virtually every medium available.

Along with many of the European immigrants in Chicago, additional artists who were employed by the WPA to produce murals, paintings, prints, sculpture, and more included Jean Crawford Adams, Max Kahn, Eve Garrison, Roff Beman, Frances Foy, Harold Haydon, Rowena Fry, John Winters, Burton Freund, Hildreth Meiere, and countless others. The diversifying city was also represented in the WPA by artists of color like Eldzier Cortor, Archibald J. Motley, Jr., Jacob Lawrence, and Julio de Diego. Moreover, formally distinct Abstraction existed within Chicago Modernism by WPA artist Rudolph Weisenborn, as well as his student at the Art Institute of Chicago, Dorothy Stafford, along with the groundbreaking Manierre Dawson, Constructivist artist Paul Kelpe, Richard A. Florsheim, and Daniel Massen, who taught at the School of Design and the Art Institute of Chicago.

“Fantasy art afforded these [Chicago] artists a way of departing from tradition without abandoning many of its values: grounded in figuration and narrative, such art gave expression to highly personal visions in accordance with the aims of Modernism.” — Susan S. Weininger, Chicago Modern, 1893-1945: Pursuit of the New, Terra Museum of American Art, pg. 67

Modernism in Chicago further encompassed both Surrealism and Magical Realism. Given the city’s physical and cultural isolation, these fantasy-based art forms were able to flourish in unconventional, idiosyncratic ways. Gertrude Abercrombie, known as the “Queen of Bohemian Art,” was also a WPA artist, but, rather than presenting Chicago cityscapes or urban scenes, Abercrombie established herself on symbolic terrain. A master of self-portraits, Abercrombie inserted female figures into her beguiling works, but she was also fond of painting herself via owls, cats, horses, and other animals, or through elegantly simple still lifes with charged, everyday elements.

Among Abercrombie’s contemporaries were various highly skilled female artists, such as Julia Thecla, Helen Mann, and Margo Hoff, who each elaborated uniquely imaginative approaches to otherworldly effect. Macena Barton and Fritzi Brod were likewise accomplished fantasists whose work combined aspects of Expressionism and Folk Art. Milwaukee artist Karl Priebe trained at the Art Institute of Chicago and became known for his particular brand of Surrealism, with favorite subjects being portraits of Black figures he encountered teaching at a settlement house in Chicago as well as birds and exotic animals. Priebe was a longtime friend of Abercrombie's and they both were close with Wisconsin artist John Wilde—another proponent of Surrealism. Chicago native Aaron Bohrod faithfully chronicled local landscapes early in his career, before becoming adept at trompe-l’œil still lifes while an artist in residence at the University of Wisconsin–Madison. By contrast, Ivan Albright—son of Impressionist painter Adam Emory Albright—applied painstaking, classical techniques to render Modernism with a macabre vision and moody palette; his dark, high-relief portraits and still lifes provide a somber, yet undeniably compelling, counter to the soft brushstrokes and light-filled canvases of the Impressionists who ushered in Chicago Modernism over a half century before.

Not only did the many incarnations of Chicago Modernism serve to produce a robust aesthetic culture by the mid-20th century, but several of the aforementioned artists proved to be key influences for later generations. Gertrude Abercrombie, Eldzier Cortor, Todros Geller, and others have benefited from posthumous critical reevaluations, in which they have become more highly regarded now than they were during their lifetimes. Thematic and stylistic traces of Modernism may also be observed in the work of some artists associated with subsequent movements, such as the Monster Roster, Hairy Who?, and Chicago Imagists, proving that art history is indeed a continuum.