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This painting was possibly the work shown as Winter at the Society of American Artists in 1883. Clarence Cook wrote in the Art Amateur: "Mr. Twachtmann shows best in his small landscape, 'Winter' . . . . the artist has made much of little, though even here we doubt if his work will be so suggestive to laymen as it will be to his brother artists.”[1]
The locale is most certainly the suburbs of Cincinnati, featuring the tall, narrow homes that were a carryover from the urban environment, despite the openness of the countryside. Twachtman gently structured the arrangement to create a sense of harmony between the natural and human-made elements of the scene, using the calligraphic lines of trees to mediate between the sinuous pattern of the bare ground, where spring grass has already emerged, and the contours of buildings. His thin paint application and closely modulated tones anticipate his French period style, representing a departure from Bloody Run (OP.507), also a snow scene, which is dated 1882.
The first owner of the work was Twachtman's childhood friend and former classmate from Cincinnati's McMicken School of Design, the artist William J. Baer (1860–1941), who was well known for miniature paintings in the 1890s. Baer sold the painting to the collector William T. Evans, and it was included in the sale of Evans's collection in 1913.
[1] Cook 1883.
From American Art Association 1913
Over a low, uneven countryside the grass is still a fresh green in a meadow where the hollows have been filled with an early drifting snow. Across the background a ridge of high hills, wooded and dark for the most part, reveals one broad field on a steep slope, which is snow-covered, with patches of its green grass coat apeparing here and there. In front of the hill is a group of gray buildings with snow on their roofs, from the chimney of one of them a line of smoke curling skyward in the wind. Before them two trees retain a few of their leaves. The air is filled with a fine drifting snow.