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Winter Quiet

Oil on canvas
24 x 30 in. (60.96 x 76.2 cm)
Folinsbee 191220s stockbook: pp. 27, 130
Current location unknown


Current location unknown

Exhibition History

1915 PAFA: 110th Annual Exhibition, no. 550
1915 Saint Louis: 10th Exhibition of Paintings by Selected American Artists
1916 AIC: 29th Annual Exhibition of American Paintings, no. 100
1916 Cleveland: Inaugural Exhibition, no. 44
1916 NAD: 91st Annual Exhibition, no. 41, Awarded Third Hallgarten Prize
1917 Ferargil II: Paintings by John Folinsbee
1917 Mahoning (Butler): The First 1917 Exhibition of American Paintings, no. 26

Published References

NY Evening Post 1916a
NY Times 1916: "Academy Exhibits Its Prize Paintings"
Youngstown Vindicator 1916a
American Art Annual 1917: American Art Annual, p. 172, b/w ill.
Brooklyn Eagle 1917: "Landscapes by John Folinsbee at Ferargil"
Caffin 1917b: "John Folinsbee's Steady Advance"
Mahoning 1917: Mahoning Institute of Art: Loan Exhibition of American Paintings from the American Federation of Arts, p. 30, b/w ill.
NY American 1917
NY Herald 1917b
Jensen 2010: John Folinsbee and American Modernism, p. 7, b/w ill.
Jensen 2013: Folinsbee Considered, p.43, b/w ill.; p. 226, cat entry


Winter Quiet (currently unlocated), which received the Third Hallgarten Prize at the National Academy Annual in 1916, was Folinsbee's first real professional success on a national level. Reviewing the prize-winning paintings, the Youngstown Vindicator remarked, "It is a grey, hazy winter day with just enough sun to cast a faint shadow. The title, 'Winter Quiet' is very fitting; there is a hushed and silent quality of a snow-covered winter landscape. The trees are lavender and violet grey in the haze." (1) Writing to his friend, Edith Rossiter Bevan, shortly after the close of the exhibition, Folinsbee was quite modest about his new-found success. "That any jury should think my work worthy of a prize seems impossible," he reflected, "Ruth and I have not yet recovered from the surprise of receiving it."

Folinsbee also commented to Bevan on the subject of the painting, writing "I wonder if you were disappointed in finding the prize canvas an old one--the one of the Old Mill! It surely doesn't seem worthy of the honor." (2) It is unclear whether Folinsbee was referring to the Old Mill in Washington, Connecticut, or one in New Canaan, where the Silvermine Artist Colony was located; Folinsbee had spent the summer of 1915 painting in New Canaan and exhibiting with the other artists at Silvermine. He could also be referring to a mill in Woodstock, New York, another locale with which both were familiar (Bevan was the grand-daughter of genre painter Thomas Rossiter and the sister of architect Ehrick Kensett Rossiter). A Washington or New Canaan location seems most probable, but so far the setting has so far proved elusive.

(1) Youngstown Vindicator, 31 January 1916, Folinsbee clipping book, John F. Folinsbee Art Trust.
(2) Folinsbee to Edith Rossiter Bevan, 20 April 1916 (Thomas P. Rossiter Papers, Archives of American Art)