Arthur Carles: Colors in Concert

Art in America, Nov, 2000 by Miriam Seidel

Carles was apparently a remarkable and inspiring teacher. Many students followed him to his studios when he left the Academy. For the Woodmere Museum, artist and critic Bill Scott mounted a companion show of art by students of Carles, notable for works by Quita Brodhead (at 99, she is also due for rediscovery), Francis Speight, Moy Glidden and Jane Piper. Through Piper, who taught at Philadelphia College of Art (now University of the Arts) for many years, and Academy instructor Morris Blackburn, a second generation of Philadelphia artists developed a distinctively Carlesian, color-based approach to abstraction; among these are Scott himself, Jan Baltzell and Mary Nomecos. His shadow in Philadelphia is long, but Carles remains relatively unknown, nearly 50 years after his death, despite his artistic accomplishments. One hopes that these linked shows will offer another step toward the fuller recognition this artist's work demands.

(1.) Conversation with Perry Ottenberg, June 5, 2000.

(2.) As to Carles's relationship with Stieglitz, Barbara Wolanin suggests that because Carles was close to Edward Steichen, the falling out of Stieglitz and Steichen over World War I may have cooled Steiglitz and Carles's friendship at a crucial moment. Conversation, June 13, 2000.

"The Orchestration of Color: The Paintings of Arthur B. Carles" opened at the Hollis Taggart Galleries, New York [Feb. 10-Mar. 18], and then traveled to the Woodmere Art Museum, Philadelphia [Apr. 16-June 25]. The 184-page catalogue includes an essay by Barbara Wolanin.

Author: Miriam Seidel is a Philadelphia-based critic and writer.