Russell Cowles - Knowledge

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This, he wrote, "is a complicated affair of balances, weights, patterns, textures, pigments and color—the sum total of which is almost a metaphysical realization of equilibrium". Cowles himself addressed this subject. In 1947, Cowles showed a painting called "Still Life With Melon" in a solo exhibition at the Dalzell Hatfield Galleries in Los Angeles. This painting is shown at right. In its review of the show, a critic quoted Cowles's comments on the painting. Cowles said, "The dark shapes of the fruit against the very white tablecloth give the objects a sufficient feeling of mass and weight without much of any modeling in light and shade. no particular sense of light from an outside source falling on the objects, only objects dark in their own color against a light ground. The folds of the tablecloth reduce themselves practically to lines and are utilized for compositional reasons—straight horizontals playing against the large curves of table top, melon, and platter. These curves like the pattern in the cloth are no longer merely qualities of the objects, but are felt as qualities of the picture as a whole." A year later, Howard Devree addressed this topic. He wrote, "Cowles is one of the American artists who paint with a profound realization that the primary problem of the artist is the organization of space in depth—a philosophy of which Cézanne is perhaps the most notable exponent." In a review published in 1948, Devree explained further. He wrote, "Cowles began in youth with a thorough study of the old masters and their methods, evolving slowly into a sound abstractly based modernism... Lights and darks, cools and warms, tonalities, the diverse ways of achieving recession in space and the whole spatial problem are inherent in his work, which includes some of the subtlest and most beautiful painting being done by contemporary Americans." He concluded, "This is some of the most disciplined work being done today and it bears the promise of enduring, for it derives both from tradition and the basic abstract elementals of the modern movement." Two years later Devree succinctly summarized his appreciation for Cowles's work: He wrote, "Cowles is eminently a painter's painter who has contrived to blend in his work something of the essential abstraction of the Orient with something of the richness of color and deeply rooted organization of Renaissance masters, always from a highly modern view-point."

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satisfying sense of realism. He said he wished to establish "a heightened sense of reality through a rhythmic organization of space". A "clear expression of rhythmic space" was, he believed, "the basic source of all satisfaction in art". In 1939, a critic said Cowles expressed himself through abstraction but was not a "pure abstractionist". In 1946 another critic pointed out that Cowles was "discreet in his modifications; forms are divested of superficialities, but never subjected to extreme distortion."

418:, Cowles continued to show in commercial galleries and to draw favorable critical reviews. In addition to solo exhibitions at Kraushaar's (1950, 1954, 1959, 1965), he was given solo shows at the Dalzell Hatfield Galleries (Los Angeles) in 1952 and the gallery at Dartmouth College in 1963 (a retrospective). In 1950, Howard Devree said he saw Cowles "at his best" in a Kraushaar exhibition. Two years later another critic called him a "master colorist and a faultless designer". In March 1954, the 1469:

twenty years ago, has been based soundly on the fundamentals of abstraction made to serve the purpose of interpretative realism. Few American painters combine so admirably the satisfying qualities of intelligent organization and a profound sensuousness. Few have Produced work so consistently and intrinsically decorative without ever becoming banal or thin. Few have such an ability to give the specific subject such sense of universal significance.

314:. A third critic saw the influence of Cowles's study in Asia and said he seemed receptive to the modern art of Europe, but was hardly "a convert". In 1935, Cowles himself expressed a belief that "the artist must shut from his vision all mere outward currents and eddies, and fads and fashions." In 1933, he showed a painting, "Seated Nude", in a group show in New York sponsored by Salons of America. This painting is shown at left. 274:. One of them symbolized the press and its functions and the other symbolized the contributions that newspapers make to social justice, freedom of speech, and open debate of issues. In 1925, while traveling abroad, he was awarded a $ 500 prize by the Art Institute of Chicago for another neo-classical painting, "The Consolation of Ariadne". Cowles's three allegorical paintings received an unusual amount of attention in the press. 121:

measured by gallery representation, commercial sales of his work, critical reception, and representation in museum collections. He traveled widely throughout his life, combining the study and practice of art with an interest in learning about distant places and cultures. These travels included a circumferential world tour of nearly two years as well as frequent trips to Europe and travel within the United States.

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tonalities, the diverse ways of achieving recession in space and the whole spatial problem are inherent in his work, which includes some of the subtlest and most beautiful painting being done by contemporary Americans. Organisation of color and form in convincing unity are a passion with him. An early, sometimes cold, intellectuality has mellowed into a warmth of spirit in this recent Work at Kraushaar's.

199: 195:. He later referred to his college education as poor preparation for an artist. He said its emphasis on an accurate depiction of the world with archaeological exactness was a "misfortune", implying that he achieved his own approach to art, which he said was neither academic nor conventional, only after he had overcome the influence of this "whole system of education". 464: 570:. There, Cowles made acquaintance with other modern artists and gave his support to the newly formed Santa Fe Art School. Two years later, while continuing to maintain a residence in New York, the couple built themselves a home in Santa Fe. At the end of the decade, they moved to a farm in New Milford, Connecticut, again retaining a residence in New York. 1828:

does not appear to be a one-man show. Turning away from his former lush full bodied, atmospheric painting of nature he speaks now in more formal, decorative and intellectual terms. One's appreciation changes likewise from a warmer readily felt emotion to a less spontaneous but more stimulating and perhaps more enduring appreciation.

489:. Cowles's mother was an Algona native and daughter of Iowa pioneers. A school teacher before her marriage, she had attended classes at the Art Institute of Chicago and had graduated in 1884 from Northwestern University. She and Gardner Cowles, Sr. met at the school where he was superintendent and married in Algona in 1884. 1827:

The exhibition of recent paintings by Russell Cowles which opened at the Dalzell Hatfield Galleries this week reveals a decided change in this artist's work Not only does his outlook seem to have changed completely but there is such variety in the pattern of this recent work that at first the display

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of Washington D.C. reproduced one of his paintings in a review of an exhibition at the Art Center in Des Moines and, regarding a Kraushaar show a month before, he was said to possess "an almost mystical feeling for the essential character of his themes". In reviewing Kraushaar exhibitions of 1959 and

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considered Cowles to have by then secured a position "in the front rank of American artists", saying that "The technical integrity that is characteristic of all Cowles' work helps to give it an immediate appeal for it is combined with a disciplined emotive use of color." "His rhythms", he wrote, "are

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In 1927 and 1928 Cowles traveled extensively in Europe and North Africa as well as South, South-Eastern, and East Asia. By the time he returned to the United States in December 1928, he had made careful study of foreign art styles and cultures and produced a large portfolio of paintings and drawings.

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After graduating from Des Moines public schools and Dartmouth College, Cowles made the first of many overseas trips. These travels often included both study and casual sightseeing. A honeymoon trip to Europe in 1923, for example, appears to have been entirely given over to the latter as was a summer

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In the mid-1930s Cowles began experimenting with abstraction while continuing to produce realistic work. One critic saw his abstractions as a phase that "was entered into consciously with a view to the idea of getting a firmer grip on the fundamentals of pictorial composition". Critics now began to

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New semi-abstract paintings by Russell Cowles at the Kraushaar Galleries deal drily and methodically with landscape and still-life. They are obviously planned with thoughtfulness, but grievously lack, especially in color, the vital spark that animates only one picture here, Mr. Cowles' latest, "Big

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With each succeeding show over a period of more than a decade Russell Cowles has secured a surer position in the front rank of American artists. He works slowly—there are only twelve canvases in the current show at Kraushaar's, but each picture is beautifully finished and convincing. And there have

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From the very first, Russell Cowles' painting has been scholarly. Breadth of background and overtones from complex associations have asserted themselves in his form. In many of the pictures in the present exhibition, the artist has arrived at something that is purely within the ken of painting and,

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In an art exhibition catalog accompanying Cowles's 1936 solo exhibition at the Denver Art Museum, the museum's director, Donald J. Bear, discussed the problem Cowles faced in attempting to "maintain an equilibrium or play between the two dimensional plane of the canvas and three-dimensional space".

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entitled "The Drama as Teacher". The fellowship included residence, use of a studio at the academy, and funds for travel. In 1918, he exhibited another allegorical painting, the "Rape of Europa" at an Academy exhibition. His studies at the Academy being interrupted by World War I, Cowles spread his

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wrote of Cowles's mature style that, "by artful simplification and placement of form, he unfailingly achieves designs of perfect balance. Essentially a realist. he is discreet in his modifications; forms are divested of superficialities, but never subjected to extreme distortion". In 1952, a critic

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Painting which is sheerly beautiful in itself quite aside from what it is about is very rare... Beyond the consistent beauty of the subject, color and design in this exhibition there remains that aura of painting that is fine in itself. This, of course, is something that emanates from a sensitive,

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When the thus comes for a retrospective exhibition of the work of Russell Cowles it will be found to have about as much variety as is possible for an artist who has developed an consistently in his progress to the front rank of American painting. Cowles' work, from his first New York show, nearly

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Cowles achieved his mature style by abandoning his neo-classical mural training and adopting what he called a more "modern school of painting". Calling his early style a "misfortune", he sought a style that was both modern and American. He aimed to use an understanding of abstraction to achieve a

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The artist should strive for nothing except the truest, most complete, most perfect, expression of that thing within himself, which he wishes to put on the canvas. I think all great art must come from that inner single-mindedness and to achieve this, the artist must shut from his vision all mere

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One of the outstanding one-man shows of the season is made up of ten paintings —recent oils by Russell Cowles, at Kraushaar's. The artist, who began as an illustrator and Prix de Rome winner, is one of the growing number of American top-flight painters who have worked through abstraction as a

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said "his work shows a remarkably dynamic understanding of both traditional occidental and oriental painting as well as of the abstract principles which activate and underlie the modern movement as such". Over a career that spanned some fifty years, he achieved an unusual degree of success as

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Cowles began in youth with a thorough study of the old masters and their methods, evolving slowly into a sound abstractly based modernism. Figures, stilllifes and landscapes are selected as subjects for the painter rather than as interesting subject-matter. Lights and darks, cools and warms,

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Since his last appearance Cowles has developed a more rigorous approach, with greater emphasis on arrangement. By artful simplification and placement of form. he unfailingly achieves designs of perfect balance. Essentially a realist. he is discreet in his modifications; forms are divested of

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Cowles was born in Algona, Iowa, on October 7, 1887. His parents were Gardner Cowles, Sr. (1861–1946) and Florence Maude (Call) Cowles (1861–1950). Gardner Cowles, Sr. was a self-made businessman and lifetime Iowa resident. While Cowles was a child, his father was, first, an Algona school

334:. In 1937 he showed New Mexico paintings in a solo exhibition at the Chappell House gallery in the Denver Art Museum. The museum's director said this recent work showed "a richer and more fluent expression of his ideas". The next year Cowles began a long and fruitful relationship with the 1494:

Cowles is a master or tonal color, and his work possesses an almost mystical feeling for the essential character of his themes, something analogous to the manner in which the rare portrait painter captures—far more than a mere likeness—the essential and even bidden character of his

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see in his work, as one said, an "authentic personal note" or, as another said, he was, in his work, "essentially Russell Cowles, versatile American painter". In 1935, the Feragil Galleries in New York gave Cowles his first solo exhibition and he participated in a group show at the

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newspaper. They met while she was on assignment in Egypt to write a series of articles. Cowles and Stanton divorced in 1954 and later that year he married Nancy Cardozo who was herself recently divorced. Cordozo was the author of books and short stories, including stories in the

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been consistent development and courageous experiment throughout his painting. His work gives promise of enduring. Combining subtle and persuasive color relations with remarkably integrated composition, Cowles' pictures challenge both the eye and the imagination to an adventure.

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The Cumming School of Art evolved from the Des Moines Academy of Arts at the end of the nineteenth century. Its director Charles Atherton Cumming had been a teacher at Cornell College. In 1909, while continuing to operate the Cumming School, he joined the faculty at

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and had taken art classes in New York. Two years later she obtained a divorce in Paris and resumed her maiden name. In 1928 Cowles married Eleanor Stanton in Cairo, Egypt, during his two-year round-the-world travels. She was the women's page editor of the

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critic was less enthusiastic about Cowles's work than his fellow critic Howard Devree. Preston did not dismiss Cowles for being a representational artist, however, but being "methodical" and showing a "puritanical mistrust of natural beauty".

1197:"The Drama as Teacher", awarded the $ 1,000 fellowship prize by the American Academy in Rome. This painting a rectangular panel for a drop curtain for a theater, is the work of Russell Cowles of the National Academy of Design, New York. 206:

After graduating from Dartmouth Cowles traveled in Europe for three months, took a job in the advertising department of one of his father's newspapers, and studied at the Cumming School of Art in Des Moines. He subsequently moved to

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During the early 1920s, Cowles lived and worked in Manhattan. In 1923, continuing his preference for large-scale, neo-classical, allegorical works, he made a mural in two panels for the lobby of one of his father's newspapers, the

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This world tour resulted in a transition in his work away from large-scale neo-classical subjects and treatment. Indicating the complexity of the sources on which Cowles drew, one critic saw in this new approach the influence of

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In an event that was called "a wedding of social prominence", he and Eleanor Lamont Sackett married in New York in 1923. The daughter of a New York banker, she had been born and raised in New York City. She was a graduate of

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After their return from the world tour that they took following their marriage, Cowles and his wife returned to New York where he had kept a studio since 1920. In 1929 they began to spend the colder months of the year in

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Cowles is one of the American artists who paint with a profound realization that the primary problem of the artist is the organization of space in depth—a philosophy of which Cézanne is perhaps the most notable

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Melville Upton (1935-02-07). "Arid West Has New Celebrant; Russell Cowles Exhibits at the Ferargil image caption: "New Mexican Landscape" From the painting by Russell Cowles on view at the Ferargil Gallery".

536:. While traveling around the world between October 1926 and December 1928, he made many paintings and sketches but also wrote many letters for publication on local cultures and politics in places he visited. 539:

Cowles extended his stay in Rome from the usual three years to almost five when, in 1918, he took leave from the academy to work in the secret service branch of the office of the U.S. naval attache in Rome.

184:, into a widely-read and financially successful business. As an adult, Cowles participated in the family's prosperity thus ensuring that he could live well and travel widely while pursuing a career in art. 360:

and achieved widespread distribution when sold as a lithographic print in a portfolio called "American Art Today" (New York, National Art Society, 1939). In a caption to a photo of the painting in the

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News accounts said Cowles received the "Prix de Rome" for his submission, however, the Academy did not formally award a prize at that time and, when it began to do so in 1921, the name given was

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superintendent, and, later, a Des Moines banker. While Cowles was a student at Western High School in Des Moines, Gardner Cowles, Sr. put all his capital into saving a failing newspaper, the

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A 1973 solo exhibition at Kraushaar's was the last during his lifetime. Between the 1940s and 1970s, Cowles divided his work year between his home in New Milford and an apartment in the

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and non-objective. As he moved from one to the next, he absorbed its value to him and eventually established a mature style that was seen as completely his own. In 1946, a critic of the

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Howard Devree (1950-03-19). "American Roundup: Three Big Group Shows Stress Diversity—Recent Paintings by Russell Cowles Notable Growth Outstanding Entries Cowles at His Best".

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called him "a sensitive, well balanced, highly cultivated artist who loves his medium and demands of himself a craftsmanship to match his knowledge and sensibility".

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In about 1938, Cowles made what would become one of his best known paintings, "The Farmer and the Raincloud". The painting (shown at right) was exhibited at the

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critic, Howard Devree. Devree said Cowles used "consistent development" and "courageous experiment" to, eventually, achieve "front rank" among American artists.

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Stolidly composed semi-abstract paintings of the eastern Mediterranean are vitiated by extreme dryness of touch and by a puritanical distrust of natural beauty.

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Edward Alden Jewell (1933-05-07). "The Etchings of Georges Rouault -- A Variegated and Numerous Hardy Perennial -- The Prix de Rome and the Mooney Case".

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and, during his childhood, she encouraged his interest in art. After graduating from West High School in Des Moines, he enrolled and spent two years at

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Edward Alden Jewell (1939-02-26). "Another Chapter in American Art: The Whitney Museum Annual Water-Color Exhibition Presents Some Outstanding Work".

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magazine included a painting by Cowles in a review article called "Ten Years of American Art; Life Reviews the Record of a Lively, Important Decade".

31: 322:. At that time he also began splitting his year between New York and New Mexico In 1936 he was given a solo exhibition that appeared first at the 440:

With each succeeding show over a period of more than a decade, Russell Cowles has secured a surer position in the front rank of American artists.

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The quoted text comes from a review published in 1946. See Devree's reviews of 1935, 1938, 1940, 1941, 1944, 1946, 1947, 1950, 1954, and 1955.

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well balanced, highly cultivated artist who loves his medium and demands of himself a craftsmanship to match his knowledge and sensibility.

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Editor's Note — The following is one of a series of letters which Russell Cowles, now on a tour of the orient, has written to his mother.

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Howard Devree (1954-02-17). "Russell Cowles Exhibits New Art: Recent Landscapes and Semi-Abstractions Are on View at Kraushaar Gallery".

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Cowles's siblings were Helen (1892–1963), Bertha (1892–1980), Florence (1895–1985), John, Sr. (1898–1983), and Gardner, Jr. (1903–1985).

1903:"Traveler Finds Survival in Cambodia Is for Those Who Do Little As Possible; Russell Cowles Contrasts Life There to Northern Lands". 398:

said Cowles was able to achieve "stunning results" through "skillful line usage and suggestive color accompaniment" and a critic for

364:, Cowles said that it might appear to have been painted in Iowa, but was actually suggested by an event he witnessed in Nova Scotia. 327: 236: 2094: 1358:

Howard Devree (1944-04-02). "A Reviewer's Notebook: Brief Comment on Some Recently Opened Shows -- Paintings by Russell Cowles".

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studies over four years rather than the usual three. "The Drama as Teacher" was reproduced as the frontispiece of a book called

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Howard Devree (1948-03-07). "Range and Vitality: Shows of Recent Painting by Feininger, Cowles, Laufman and Raphael Soyer".

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Howard Devree (1938-12-25). "A Reviewer's Notebook: Brief Comment on Some of the Recently Opened Shows in Local Galleries".

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Howard Devree (1941-11-02). "A Reviewer's Notebook: Comment on Recent Paintings by Cowles, Bohrod, Pleissner and Others".

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Howard Devree (1941-04-13). "A Reviewer's Notebook: Brief Comment on Some of the Recently Opened Shows in the Galleries".

357: 485:. Over the next few decades, he transformed it into an award-winning, widely read, and financially successful paper, the 632:

Kraushaar's gave Cowles solo exhibitions in 1939, 1941, 1944, 1946, 1948, 1950, 1954, 1959, 1965, 1973, 1983, and 1987,

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auto tour in England & Scotland. In between these two trips, Cowles spent the autumn months of 1924 painting in

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As a major stockholder in his father's newspaper empire, he was not dependent on art sales for financial support.

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of life as well as of color and form and they evoke a response from both the mind and the heart". Later that year

1537: 525: 371: 232: 504:, a publishing business based in Minneapolis, Minnesota. Established in 1935, when the family purchased the 379: 271: 181: 367:

Beginning in 1939, Kraushaar's gave him eleven solo exhibitions, nine during his life and two after death.

1921:"Cowles-Sackett Wedding Takes Place in New York, Bride's Home, Thursday; a wedding of social prominence". 411: 124:

During the first two decades of his career, he experimented with a range of styles from neo-classical and

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Stuart Preston (1959-10-24). "Bank Shows Interest in Design: Chase Manhattan Unit Tastefully Decorated".

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Howard Devree (1940-05-12). "Brief Comment on Some of the Recently Opened Shows in the Local Galleries".

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Howard Devree (1955-06-05). "Kraushaar Shows Sculpture, Drawings-- French and American Work at Kootz".

1069:"High Honors Won by Iowa Painter; Russell Cowles Appointed to Fellowship in American Academy in Rome". 743:

Leila Mechlin (1939-12-03). "Art Exhibitions in Which Variety Is Notable Steadily Increase in Number".

2084: 2079: 567: 517: 501: 1212:"Russell Cowles Paints World of "Sensuous Objectivity" and Work Is "Pungently Real", Critic Says". 1164:"The Consolation of Ariadne Russell Cowles Awarded the Norman Wait Harris Silver Medal and Prize". 335: 278:

printed a photographic reproduction of "The Drama as Teacher" in its issue for August 1, 1915, the

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training and discipline and incorporated what it had to give in subsequent representational work.

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In the 1940s, he began splitting his time between an apartment in Manhattan and a farm in

162: 307: 348: 645:, by Louise Orwig and Zenobia Brumbaugh Ness (Wallace-Homestead Company, 1939), p. 51. 555: 352:

Russell Cowles, The Farmer and the Raincloud, about 1938, oil on canvas, 50 x 40 inches

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Howard Devree (1947-08-17). "Dynamic Understanding: Russell Cowles by Donald Bear ".

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While studying at Dartmouth Cowles attended two sessions of the summer school of the

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Russell Cowles, Still Life With Melon, about 1946, oil on canvas, 28 1/2 x 36 inches

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in a group exhibition and he participated in another group show at the Whitney.

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Andrew Stern (1997-11-15). "McClatchy Is the Surprise Winner of Cowles Media".

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devoted a full page to the two press panels in its issue for June 3, 1923, and

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Howard Devree (1935-02-10). "In the Art Galleries: From Daumier to Santa Fe".

1111:"Italy Is United by War; Russell Cowles Says Nation Accomplished Great Task". 607: 559: 224: 97: 202:

Russell Cowles, The Drama as Teacher, 1915, design for a theater drop curtain

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Edward Alden Jewell (1940-03-05). "106 Water-colors of West Exhibited".

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of Manhattan. He died at the Manhattan apartment on February 22, 1979.

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Russell Cowles, Seated Nude, about 1932, oil on canvas, 36 x 28 inches

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A History of French Painting from Its Earliest to Its Latest Practice

704:"Russell Cowles at 92; Painter of Landscapes in the Lyrical Manner". 614:

that is most widely known is the one given by the French government.

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father had succeeded in banking and turned a failing newspaper, the

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During the 1950s and 1960s, despite the art world's enthusiasm for

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reproduced "Consolation of Ariadne" in its December 1925 issue.

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Howard Devree (1946-04-28). "New York by Cowles and Others".

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superficialities, but never subjected to extreme distortion.

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Patrick J. Kelleher (Autumn 1963). "College Museum Notes".

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Between 1935 and 1955, Cowles received encouragement from

1936:"Weddings and Engagements; Sackett-Cowles (engagement)". 699: 697: 695: 693: 691: 689: 687: 685: 665: 663: 661: 394:(1940 and 1943). In the Spring of 1946, a critic for the 1855:"Register's "Mike" Cowles Is Dead of Cancer at Age 82". 1768:. Vol. 21, no. 22. 1946-11-25. pp. 72–81. 1266: 1264: 1248: 1246: 1244: 1242: 1714: 1712: 758: 756: 754: 738: 736: 734: 732: 730: 1305:"Charles Demuth's Paintings Shown in Whitney Museum". 1219:

at the same time, remains objective—satisfyingly so.

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outward currents and eddies, and fads and fashions.

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outward currents and eddies, and fads and fashions.

576:Cowles died in New York City on February 22, 1979. 79: 61: 40: 21: 1680:Stuart Preston (1965-02-06). "Other Exhibitions". 219:At this time, he also studied independently under 1309:. Lancaster, Pennsylvania. 1935-02-24. p. 4. 1132:. Doubleday, Page & Co. p. frontispiece. 524:in 1998. Gardner Cowles, Jr. was a co-founder of 1966:"Eleanor Stanton Is Married to Russell Cowles". 791:"Russell Cowles Proves Top Colorist, Designer". 390:(1940), the Whitney (1940, 1943, 1945), and the 438: 252: 149:Russell Cowles was born on October 7, 1887, in 92:(1887–1979) was an American artist who painted 1821:"Russell Cowles—a Good Show and a Fine Book". 1888:"Russell Cowles and Wife Return From Spain". 913:Louise Orwig; Zenobia Brumbaugh Ness (1939). 211:where, in 1911, he took classes first at the 8: 516:. It branched into magazine publishing with 1810:. Washington, D.C. 1954-03-28. p. 127. 306:, while another saw in it the influence of 2044:"Russell Cowles' Art at "New High Mark"". 1925:. Davenport, Iowa. 1923-03-19. p. 13. 1084:"Recent Work of the School of Fine Arts". 1052:Clara Cornelia Harrison Stranahan (1888). 29: 18: 1723:. Iowa City, Iowa. 1939-03-05. p. 5. 1086:Memoirs of the American Academy in Rome 916:Iowa Artists of the First Hundred Years 657: 643:Iowa Artists of the First Hundred Years 585: 500:joined with their father to create the 2105:Art Students League of New York alumni 962:. Algona, Iowa. 1910-07-22. p. 9. 159:School of the Art Institute of Chicago 7: 1561:"Some Paintings by Russell Cowles". 858:Iowa Journal of History and Politics 2014:"Name Santa Fe Artists Examiners". 1981:"Russell Cowles, Artist, Marries". 1719:"Native Iowan Displays Art Works". 719:"Russell Cowles Wins First Prize". 1999:"Deaths Cowles, Nancy Cardozo: ". 1734:"Cowles' Paintings at Institute". 763:"Academic Themes Dominate Shows". 508:, the company grew to include the 14: 1058:. C. Scribner's Sons. p. 29. 392:Pennsylvania Academy of Fine Arts 328:Colorado Springs Fine Arts Center 169:. He subsequently transferred to 831:"OK Art Pieces for New School". 1951:"Mrs. Cowles Awarded Divorce". 1823:Metropolitan Pasadena Star-News 1253:"Quintanilla and Some Others". 2059:"Artist Russell Cowles Dies". 1126:John Alexander Pierce (1916). 747:. Washington, D.C. p. 87. 483:Des Moines Register and Leader 320:Whitney Museum of American Art 104:in a style that combined both 1: 2100:Artists from Des Moines, Iowa 2090:20th-century American artists 1146:"Two Large Mural Paintings". 813:"Mrs. Cowles Is Dead at 88". 1129:Masterpieces of Modern Drama 1092:(5). Rome, Italy: 13. 1918. 919:. Wallace-Homestead Company. 558:magazine and a biography of 384:Minneapolis Institute of Art 242:Masterpieces of Modern Drama 1195:. 1915-08-01. p. SM8. 795:. 1952-09-28. p. 131. 510:Minneapolis Evening Journal 16:American artist (1887–1979) 2121: 2003:. 2014-07-03. p. B12. 1907:. 1928-02-05. p. 12. 1825:. 1947-02-16. p. 35. 1705:. 1973-04-08. p. 183. 1616:. 1987-06-21. p. H30. 1598:. 1983-12-04. p. G17. 1580:. 1939-12-10. p. 176. 1526:. 1939-05-21. p. RP6. 1172:(12): 650. December 1925. 358:1939 New York World's Fair 213:National Academy of Design 2048:. 1941-11-09. p. 66. 1970:. 1929-02-06. p. 16. 1940:. 1923-01-14. p. 29. 1738:. 1941-12-21. p. 24. 1576:"Here,There, Elsewhere". 1216:. 1937-12-13. p. 2. 1150:. 1923-05-03. p. 51. 943:. 1935-03-06. p. 2. 767:. 1944-04-28. p. 9. 708:. 1979-02-23. p. B4. 449:, April 28, 1946, page X6 28: 2063:. 1979-02-24. p. 8. 2033:. 1930-10-25. p. 6. 2018:. 1929-02-06. p. 2. 1985:. 1954-03-20. p. 3. 1955:. 1926-06-01. p. 1. 1892:. 1925-07-17. p. 5. 1874:. 1923-10-02. p. 9. 1859:. 1985-07-09. p. 1. 1565:. 1940-08-24. p. 4. 1166:American Magazine of Art 1115:. 1918-11-17. p. 1. 1073:. 1915-07-23. p. 1. 1033:American Academy in Rome 1001:"Prix de Rome Winners". 889:. 1946-03-01. p. 1. 854:"Mural Painting in Iowa" 835:. 1922-12-15. p. 1. 817:. 1950-03-23. p. 1. 723:. 1936-06-05. p. 1. 476:Personal life and family 423:1965, Stuart Preston of 372:New Milford, Connecticut 284:American Magazine of Art 264:, February 6, 1935, p 2. 233:American Academy in Rome 145:Early life and education 2095:American modern artists 1522:"The American Scene". 1191:"Photo Standalone 3". 468: 442: 412:abstract expressionism 353: 294: 257: 203: 173:, graduating in 1909. 1009:(35): 6. 1915-08-14. 595:Iowa State University 466: 376:Iowa State University 351: 292: 201: 2031:Santa Fe New Mexican 2029:"Cowles Buys Land". 1214:Santa Fe New Mexican 941:Santa Fe New Mexican 721:Santa Fe New Mexican 568:Santa Fe, New Mexico 502:Cowles Media Company 262:Santa Fe New Mexican 260:Russell Cowles, 153:, and was raised in 2061:Des Moines Register 2046:Des Moines Register 1983:Des Moines Register 1968:Des Moines Register 1953:Des Moines Register 1905:Des Moines Register 1890:Des Moines Register 1872:Des Moines Register 1857:Des Moines Register 1842:Des Moines Register 1806:"Art on the Farm". 1113:Des Moines Register 1071:Des Moines Register 887:Des Moines Register 815:Des Moines Register 514:Minneapolis Tribune 487:Des Moines Register 445:Howard Devree, 336:Kraushaar Galleries 280:Des Moines Register 272:Des Moines Register 217:Art Students League 193:Woodstock, New York 189:Art Students League 182:Des Moines Register 2001:The New York Times 1938:Des Moines Tribune 1751:The New York Times 1703:The New York Times 1682:The New York Times 1658:The New York Times 1634:The New York Times 1614:The New York Times 1596:The New York Times 1578:The New York Times 1563:Des Moines Tribune 1524:The New York Times 1509:The New York Times 1490:The New York Times 1464:The New York Times 1436:The New York Times 1414:The New York Times 1394:The New York Times 1379:The New York Times 1360:The New York Times 1340:The New York Times 1325:The New York Times 1292:The New York Times 1233:The New York Times 1193:The New York Times 1148:Des Moines Tribune 864:(3): 272–274. 1939 833:Des Moines Tribune 706:The New York Times 672:The New York Times 498:Gardner Cowles Jr. 469: 447:The New York Times 425:The New York Times 400:The New York Times 362:Des Moines Tribune 354: 343:The New York Times 332:Wichita Art Museum 295: 276:The New York Times 204: 167:Mount Vernon, Iowa 114:The New York Times 112:elements. In 1947 1003:American Art News 793:Los Angeles Times 518:Harper's Magazine 326:and later in the 324:Denver Art Museum 176:By this time his 139:Los Angeles Times 87: 86: 65:February 22, 1979 2112: 2065: 2064: 2056: 2050: 2049: 2041: 2035: 2034: 2026: 2020: 2019: 2011: 2005: 2004: 1996: 1987: 1986: 1978: 1972: 1971: 1963: 1957: 1956: 1948: 1942: 1941: 1933: 1927: 1926: 1918: 1912: 1911: 1900: 1894: 1893: 1885: 1876: 1875: 1867: 1861: 1860: 1852: 1846: 1845: 1837: 1831: 1830: 1818: 1812: 1811: 1803: 1797: 1796: 1776: 1770: 1769: 1761: 1755: 1754: 1746: 1740: 1739: 1736:Minneapolis Star 1731: 1725: 1724: 1716: 1707: 1706: 1698: 1689: 1688: 1677: 1666: 1665: 1653: 1642: 1641: 1629: 1618: 1617: 1609: 1600: 1599: 1591: 1582: 1581: 1573: 1567: 1566: 1558: 1552: 1551: 1549: 1548: 1534: 1528: 1527: 1519: 1513: 1512: 1504: 1498: 1497: 1485: 1472: 1471: 1459: 1444: 1443: 1431: 1418: 1417: 1409: 1398: 1397: 1389: 1383: 1382: 1374: 1368: 1367: 1355: 1344: 1343: 1335: 1329: 1328: 1320: 1311: 1310: 1302: 1296: 1295: 1287: 1278: 1277: 1268: 1259: 1258: 1250: 1237: 1236: 1228: 1222: 1221: 1209: 1200: 1199: 1188: 1182: 1181: 1161: 1152: 1151: 1143: 1134: 1133: 1123: 1117: 1116: 1108: 1102: 1101: 1081: 1075: 1074: 1066: 1060: 1059: 1049: 1043: 1042: 1040: 1039: 1025: 1019: 1018: 998: 989: 988: 986: 985: 970: 964: 963: 955: 949: 948: 936: 921: 920: 910: 891: 890: 882: 873: 872: 870: 869: 850: 837: 836: 828: 819: 818: 810: 801: 800: 788: 773: 772: 760: 749: 748: 740: 725: 724: 716: 710: 709: 701: 680: 679: 667: 646: 639: 633: 630: 624: 621: 615: 604: 598: 590: 522:the McClatchy Co 506:Minneapolis Star 450: 388:Riverside Museum 380:Corcoran Gallery 265: 215:and then at the 155:Des Moines, Iowa 68: 50: 48: 33: 19: 2120: 2119: 2115: 2114: 2113: 2111: 2110: 2109: 2070: 2069: 2068: 2058: 2057: 2053: 2043: 2042: 2038: 2028: 2027: 2023: 2013: 2012: 2008: 1998: 1997: 1990: 1980: 1979: 1975: 1965: 1964: 1960: 1950: 1949: 1945: 1935: 1934: 1930: 1923:Quad-City Times 1920: 1919: 1915: 1902: 1901: 1897: 1887: 1886: 1879: 1869: 1868: 1864: 1854: 1853: 1849: 1839: 1838: 1834: 1820: 1819: 1815: 1805: 1804: 1800: 1778: 1777: 1773: 1763: 1762: 1758: 1748: 1747: 1743: 1733: 1732: 1728: 1718: 1717: 1710: 1700: 1699: 1692: 1679: 1678: 1669: 1655: 1654: 1645: 1631: 1630: 1621: 1611: 1610: 1603: 1593: 1592: 1585: 1575: 1574: 1570: 1560: 1559: 1555: 1546: 1544: 1536: 1535: 1531: 1521: 1520: 1516: 1506: 1505: 1501: 1487: 1486: 1475: 1461: 1460: 1447: 1433: 1432: 1421: 1411: 1410: 1401: 1391: 1390: 1386: 1376: 1375: 1371: 1357: 1356: 1347: 1337: 1336: 1332: 1322: 1321: 1314: 1304: 1303: 1299: 1289: 1288: 1281: 1270: 1269: 1262: 1252: 1251: 1240: 1230: 1229: 1225: 1211: 1210: 1203: 1190: 1189: 1185: 1163: 1162: 1155: 1145: 1144: 1137: 1125: 1124: 1120: 1110: 1109: 1105: 1083: 1082: 1078: 1068: 1067: 1063: 1051: 1050: 1046: 1037: 1035: 1027: 1026: 1022: 1000: 999: 992: 983: 981: 972: 971: 967: 957: 956: 952: 938: 937: 924: 912: 911: 894: 884: 883: 876: 867: 865: 852: 851: 840: 830: 829: 822: 812: 811: 804: 790: 789: 776: 762: 761: 752: 742: 741: 728: 718: 717: 713: 703: 702: 683: 674:. p. 157. 669: 668: 659: 655: 650: 649: 640: 636: 631: 627: 622: 618: 605: 601: 591: 587: 582: 494:John Cowles Sr. 478: 457: 452: 444: 433:Upper East Side 416:New York School 267: 259: 250: 163:Cornell College 147: 75: 70: 66: 57: 52: 51:October 7, 1887 46: 44: 36: 24: 17: 12: 11: 5: 2118: 2116: 2108: 2107: 2102: 2097: 2092: 2087: 2082: 2072: 2071: 2067: 2066: 2051: 2036: 2021: 2016:El Paso Herald 2006: 1988: 1973: 1958: 1943: 1928: 1913: 1895: 1877: 1862: 1847: 1832: 1813: 1798: 1771: 1756: 1741: 1726: 1708: 1701:"Display Ad". 1690: 1684:. p. 22. 1667: 1660:. p. 18. 1643: 1636:. p. X8. 1619: 1612:"Display Ad". 1601: 1583: 1568: 1553: 1529: 1514: 1499: 1492:. p. 26. 1473: 1466:. p. X9. 1445: 1438:. p. X6. 1419: 1416:. p. X10. 1399: 1396:. p. X10. 1384: 1381:. p. 140. 1369: 1362:. p. 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The 304:Renoir 300:Rubens 227:, and 100:, and 83:Artist 1789:JSTOR 1174:JSTOR 1094:JSTOR 1011:JSTOR 979:TFAOI 580:Notes 1766:Life 1542:Etsy 496:and 405:Life 310:and 302:and 108:and 62:Died 41:Born 191:in 165:in 128:to 2076:: 1991:^ 1880:^ 1785:23 1783:. 1711:^ 1693:^ 1670:^ 1646:^ 1622:^ 1604:^ 1586:^ 1540:. 1476:^ 1448:^ 1422:^ 1402:^ 1348:^ 1315:^ 1282:^ 1263:^ 1241:^ 1204:^ 1170:16 1168:. 1156:^ 1138:^ 1088:. 1031:. 1007:13 1005:. 993:^ 977:. 925:^ 895:^ 877:^ 862:37 860:. 856:. 841:^ 823:^ 805:^ 777:^ 753:^ 729:^ 684:^ 660:^ 597:. 223:, 96:, 1795:. 1550:. 1180:. 1100:. 1090:2 1041:. 1017:. 987:. 871:. 49:) 45:(

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