RSW's Diary Comments

New England in October, 1944-'45
You can see that there is much less sky in this similar
painting. It is more rectangular, but also note the
grouping of trees to the left are very different as well.
actually the entire foreground is different than the
original painting

"Painted in 1944 [1942]. A brilliant autumn "composite" composed in the studio for a Vose client, which was never bought by said client; road and walls in foreground taken from Aaron Baggs Wind"ll Blow Hill, mountain, farm and view beyond (with orchard), taken from Just After Haying Time. From this same theme, but with a heavy group of trees to the left. I made another canvas (22 x 38) (also refused by the Vose client, but soon bought by Mr. and Mrs. Billings of Hatfield called Through October Hills which see) Sold in late November 1947, through Mr. Earl Perry to Newton Savings Bank, Newton 58, Mass., where with 2 other paintings it had been hanging since May, 1947."

Comments on the back of a sepia print:

"Sold to Mrs. F. Raymond Andrews of Greenfield day before yesterday, Oct. 15, 1945. Returned (as not suiting wallpaper) for November Paths."

Editor's Notes:

Woodward was incorrect regarding the year this painting was made. Exhibition records show it hung at the Vose Gallery in January of 1943 indicating it had to have been made in 1942.

November Paths, 1931, mentioned above

Woodward does not say where he got the stonewall to the right of the road or the group of trees to the left and note that for the other two paintings. The tree group is more pronounced.

It has been a mystery to us as to why Woodward made so many composite paintings between 1938 and 1945.It is very uncharacteristic for someone who always aspired to paint a scene as it is while adding his poetic interpretation to the piece. These scenes of the three paintings mentioned on this page are about as romantic as you will see Woodward go professionally. Privately, he is a romantic. It is the poetry and literature he read. Still, it was always a point of pride for him to not permit his romantic notions into his art... and critics noticed it and commented on it as well.

Evening Mists, 1945, a repainted painting very
similar to an earlier painting- Tranquil Hour, pre-1925

It is perhaps also worth noting that during the same period of time (1938-1945) Woodward also "re-painted," as he phrased it, numerous painting he had stored for as long as 20 years, which is wonderful because a few of them are Quintessential Redgate paintings. To see and compare the differing style as the artist grew and matured over the years is such a treat. While this is wonderful, the question as to what Woodward was trying to do remains. Was he experimenting? Or was he in a creative crisis? The second question is hard to wrap our heads around since the 1940s is the decade he won most of his Awards. Still, maybe these experiments helped him grow just enough to elevate higher.

To us the most bizarre thing about this phase of his career is that it is so well defined. We have only one other example of Woodward painting a composite painting outside the time period and it was early in his career and he states how rarely he does such things. He did re-paint paintings outside the time period but not as intentionally. He'd paint a scene, not like it and paint it again but this was primarily within a few months to no more than a couple of years, not two decades.

For reference, below are the two paintings used to compose this painting.

Wind'll Blow Hill

Just After Haying Time