Wilmerding, John. American Masterpieces from the National Gallery of Art. National Gallery of Art, Washington, D.C., 1980: 134, repro. Those who reviewed the 1902 Macbeth Gallery exhibition evidently did not single out Snow in New York for discussion, but they did react to Henri’s bold technique. Arthur Hoeber complained that “not infrequently Mr. Henri leaves off where the real difficulties of picture-making begin.” [5] [5] Samuel Swift, New York Mail & Express, April 8, 1902; the Brooklyn Eagle, April 4, 1902; both quoted in Bennard B. Perlman, Robert Henri: His Life and Art (New York, 1991), 49. Nevertheless, Snow in New York was one of only two pictures that sold (the second has not been identified). Lest we forget, the city itself is also a character. Having lived in NYC for eleven years, I’ve always been very touchy about how it’s portrayed in books for kids. When contemporary books are filled with alleyways it makes me mighty suspicious. Old timey fare gets a pass, though. Clever too of Phelan to set the book during the winter months. As Snow says at one point, “snow covers everything and makes the entire world beautiful . . . This city is beautiful, too. It has its own magic.” So we get Art Deco interiors, and snow covered city tops seen out of huge plate glass windows. We get theaters full of gilt and splendor and the poverty of Hoovervilles in the park, burning trashcans and all. It felt good. It felt right. It felt authentic. I could live there again.

Snow White in New York | Centre for Literacy in - CLPE

Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 572, no. 875, color repro. Paintings other than French in the Chester Dale Collection. National Gallery of Art, Washington, 1965: 47, repro., color repro. as frontispiece, as New York Street in Winter.Williams, William James. A Heritage of American Paintings from the National Gallery of Art. New York, 1981: color repro. 167, 199, 201. Robert Henri’s energetic but stark image of New York in the snow deviates from impressionist urban snow scenes of the period in several ways: it represents a common side street rather than a major avenue; there is nothing narrative, anecdotal, or prettified about the image; the straightforward, one-point perspective composition is devoid of trivial details; the exceptionally daring, textured brushwork resembles a preparatory study rather than a finished oil painting; and the somber palette creates a dark, oppressive atmosphere. In his Record Book, Henri described Snow in New York as, “N.Y. down E. on 55th St. from 6 Ave. Brown houses at 5 Ave. storm effect. snow. wagon to right.” Charles FitzGerald, “Mr. Robert Henri and Some ‘Translators,’” New York Evening Sun, April 8, 1902, quoted in Bennard B. Perlman, Robert Henri: His Life and Art (New York, 1991), 49. Some critics deemed Henri “a skillful handler of the brush,” and found his work “vital and strong.” [7] [7]

ENGLISH Year 2

Wilmerding, John. American Masterpieces from the National Gallery of Art. Rev. ed. National Gallery of Art, Washington, D.C., 1988: 154, repro. American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1992: 199, repro. Leslie Katz, “The World of the Eight,” Arts Yearbook 1 (1957): 70. Henri’s urban snowscape is fundamentally different from those by impressionist artists of the same period (see, for example, [fig. 2] [fig. 2] Camille Pissarro, The Boulevard Montmartre on a Winter Morning, 1897, oil on canvas, The Metropolitan Museum of Art, New York, Gift of Katrin S. VIetor, in loving memory of Ernest G. Vietor, 1960): it depicts an unspectacular side street in the vicinity of his studio, rather than an imposing view of a major avenue; there is nothing narrative, anecdotal, or prettified about the image; the straightforward, one-point perspective composition is devoid of trivial details; the exceptionally daring, textured brushwork (especially noticeable in the center foreground) has more in common with a preparatory oil sketch, or pochade, than a finished oil painting; and the somber palette creates an oppressive atmosphere. Although more conventional artists exploited snow for its picturesque quality, Henri’s snow is streaked with mud and gravel, a phenomenon that he emphasized in his thumbnail sketch of the painting in his Record Book. His fluid technique conveys a sense of energy and immediacy, and reflects an extensive firsthand knowledge, gained primarily through Henri’s numerous excursions to Europe, of the art of Frans Hals (Dutch, c. 1582/1583 - 1666), Diego Velázquez (Spanish, 1599 - 1660), and Edouard Manet (French, 1832 - 1883). [4] [4] Brown, Milton W. One Hundred Masterpieces of American Painting from Public Collections in Washington, D.C. Washington, D.C., 1983: 124-125, color pl. I was excited to receive this book (I won it in an Armchair BEA giveaway so no pressure to review), because I have grown to love the graphical novel media and who doesn't like fairy tales reinterpreted?

Henri alluded to Snow in New York in a diary entry of March 5, 1902: “Painted snow storm. street. high houses with well of sky between. gray looming sky. brownish houses near horizon. figures. red note electric street lamp. snow.” He identified the exact subject in his Record Book: “N.Y. down E. on 55th St. from 6 Ave. Brown houses at 5 Ave. storm effect. snow. wagon to right.” [2] [2] The thing about Matt Phelan is that he rarely does the same story twice. About the only thing you can count on with him is that he loves history and the past. Indeed, between showing off a young Buster Keaton ( Bluffton) and a ravaged Dust Bowl setting ( The Storm in the Barn) it’s possible “Snow White” is just an extension of his favorite era. As much a paean to movies as it is fairytales and graphic novels, Phelan limits his word count and pulls off a tale with truly striking visuals and killer emotional resonance. I don’t think I’ve ever actually enjoyed the story of Snow White until now. Hand this book to graphic novel fans, fairytale fans, and any kid who’s keen on good triumphing over evil. There might be one or two such children out there. This book is for them.

Snow White in New York | Fractured Fairy Tales | Kids Books Snow White in New York | Fractured Fairy Tales | Kids Books

Matt studied film and theater in college with the goal of one day writing and directing movies. But his first love was always drawing, and the more he saw the wonderful world of children’s books, the more he realized that this was the place for him. Being an illustrator is in many ways like being an actor, director, cinematographer, costumer, and set designer rolled into one. Because of its literal objectivity, Snow in New York has traditionally been interpreted by art historians as exemplifying Henri’s penchant for matter-of-fact reportage of urban subjects. Such a view is reflected in Milton W. Brown’s characterization of it as “a paradigm of the new realism in American painting of the turn of the century that became known as the Ashcan school.” [8] [8] Discouraged by the fact that his New York cityscapes failed to sell and increasingly attracted to figurative art, Henri ceased to paint urban subjects and resolved to become a portraitist late in 1902. In retrospect, the expressive intensity and painterly fluency of Snow in New York qualify it as one of Henri’s most accomplished works from this early period in his career. It exemplifies his advice that students should strive to capture “the romance of snow-filled atmosphere and the grimness of a house.” [10] [10] Walker, John. Paintings from America. Harmondsworth, England, 1951: 36, 43, pl. 43, as New York Street in Winter. American Paintings and Sculpture: An Illustrated Catalogue. National Gallery of Art, Washington, 1970: 66, repro.

For an interesting comparison, see Manet’s Effect of Snow on Petit-Montrouge, 1870, oil on canvas, National Museum Cardiff. The gloomy ambience, enlivened by only a few touches of red, is indicative of the artist’s essentially realist proclivities. American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1980: 174, repro.