RSW's Diary Comments

"Painted prior to 1930, an autumn still life made in the old studio that burnt in 1933. Yellow and white chrysanthemums in a brown jug backed by a round black Italian plate all against the lower part of an old wall map of Shelburne Falls, grapes and pears and pomegranates grouped on the cabinet around the brown jug. Rather academic and trite in approach but still nice color for the right wall."

North Adams Transcript, June 8, 1932

To the Right: North Adams Transcript, June, 1932

An article clipping from the New Hamphire Transcript regarding RSW's exhibition at the Deerfield Academy (1932). This painting is one of 12 oil paintings mentioned in the article and one of 20 oil paintings and 10 chalk drawings exhibited. The exhibit was so popular, Deerfield's Headmaster at the time, Frank Boyden, asked if it could be extended through June and close on July 3, 1932.

North Adams Transcript, June 8, 1932

"Under the Village Map, showing a fruit and flower composition arranged below an old map of Shelburne Falls......"

Above is a picture of the Italian plate as
it sits on a shelf in the Southwick studio today. The
chipped edge and crack does not appear in the painting.

Boston Post, Feb., 1931

"Under the Village Map shaggy yellow and white garden chrysanthemums in stout brown jug hold court amid a wealth of colorful fruit grouped harmoniously about."

Comments in a notebook by RSW:

May 28, 1935: "In my motor car brought home from Myles Standish Hotel : Under the Village Map, 27 x 30" to studio in Buckland."

Editor's Note:

With the exception of The Chinese Lily in 1938, 1932 would be the last year Woodward would make a still life painting. In January and February of 1932 he would paint My Grandmother's Lamp and Cora and the Amaryllis and paint only The Chinese Lily for the remander of his career.

We have no known reason Woodward painted the The Chinese Lily so many years after leaving still lifes behind. However, the years between 1938 and 1945 Woodward did "repaint" a number of paintings he was never fully satisfied, as well as, experiment with new perspectives, such as, more retangular, panoramic compositions. It was a period of time that coincided with the global turmoil that would lead to the Second World War. We wonder if the world events prompted the uncertainty and angst that disrupted his creativity.