The 1930s represented a period of great social and economic change in the United States. During this time, American artists sought to free themselves from European influences in an effort to create truly American art. Throughout the country a significant number turned to painting the American scene, ushering in a movement known as Regionalism. Concentrating on local subject matter and themes and painted in a representational manner, the work reflected a generally positive view of rural and urban life.
Within this broader movement, one regional school of watercolor rose to prominence: The California School. Because watercolor was ideally suited to painting outdoors in a direct and spontaneous manner, it perfectly suited the temperament of these artists who liked to take advantage of the mild California climate to paint directly from nature all year round.
Watercolor was considered a particularly American means of expression whose characteristics were often compared to the national temperament. In an article in the Los Angeles Times in April, 1934, Arthur Millier wrote: “The medium’s swift fluidity fits our experience and outlook. We go fast. We decide quickly. We may not go deep, but we are not as rooted in an acre or a belief as a European is likely to be.”
The medium had an accessibility that made it seem truly democratic. Less expensive than oils both to produce and to exhibit, watercolors were sold for reasonable prices. Many watercolor exhibitions included paintings matted but not framed, a practice which facilitated shipment and contributed to the large number of traveling exhibitions.
Today, artists continue to paint in the California Regionalist Style. Through March 5, 2020, the work of four top Northern California watercolor artists will be on display at Elliott Fouts Gallery in Sacramento. Nationally known for their landscape paintings, Dale Laitinen, Carolyn Lord, Barbara Nechis, and Juan Peña have been working in watercolor for most of their adult lives and put their own unique spin on the style.
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