American artist (1870–1966) best known for his luminous, often fantastic landscapes and romantic illustrations of nudes. His 1920 painting Daybreak was extensively reproduced, becoming the biggest-selling print of its day. Interesting TLS, one page trimmed in size to 7 x 10.5, personal letterhead, October 27, 1929. Parrish writes to Mr. Currie. In part: “I am somewhat puzzled how to answer your question. ‘How do I get the effect of mistiness and distance?’ Well‚ presupposing that I DO get them, which is very much open to doubt, I dare say it is obtained by analyzing as far as possible the way nature gets them. It is safe to say that in the average landscape the farther you go off into the distance the bluer and fainter become the objects: yellows and reds loose [sic] their strength, etc. It is largely a question of juxtaposition: the distance is much cooler and bluer when compared to objects in the foreground, particularly if the distance is seen through openings in the foliage of an autumn colored tree. Getting distance is a relatively simple manner [sic] compared to getting the effect of light and air: to getting a picture to give the impression of a scene bathed in light, of being really out of doors with air all about. That is a difficult matter to analyze and the results are most elusive, and nine times out of ten you don’t get them at all. If I could tell you how these things are got [sic], I might be able to get them oftener, which is far from the case….” In very good condition, with trimming as noted, intersecting folds (light vertical fold to “P”), staple holes, and a few wrinkles. R&R COA.
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