Granville Redmond

Granville Redmond

Armand Cabrera

Grenville Richard Seymour Redmond was born on March 9, 1871 in Philadelphia, Pennsylvania. He later changed his name to “Granville Redmond” when he began his professional career.

Granville became deaf when he contracted scarlet fever at the age of 2 ½ years and he never again gained the ability to speak. His family moved to San Jose, California when Granville was four. Granville boarded at the California School for the Deaf in Berkeley, California from the time he was 8 until he graduated at 19. Upon his graduation, Superintendent Warring Wilkinson convinced the Board of Directors at the school, in recognition of Granville’s artistic and academic achievements, to pay his tuition to the California School of Design and let him continue to board at the California School for the Deaf.

Granville received the W.E.B. Award for Life Drawing in his second year at the school. The award gave him free tuition for a third year at the school. At the end of his term at the California School of Design, Granville had few prospects and knew he needed to continue his education. Once again, the Superintendent for the California School for the Deaf intervened and on Wilkinson’s recommendation, Granville was granted a two year loan by the Board of Directors to study in Paris.

Granville studied at the Academie Julian under Benjamin Constant and Jean Paul-Laurens. After three years of study in Paris and only moderate success, Granville returned to the United States in 1898, settling in Los Angeles. He opened a studio and began painting and creating illustrations for magazines.

In 1899, Granville married Carrie Annabelle Jean. The couple had three children. In 1910, the Redmond’s moved to Menlo Park, just south of San Francisco. In 1916, the family moved again to Belvedere in Marin County on the San Francisco Bay. World War I started, Granville’s sales dropped and he obtained work as a silent actor signing on with Charlie Chaplin’s studio in Marin County. He continued both professions for the rest of his life.

As his success as a landscape painter grew, Granville focused his subject matter on the California coastal range from Marin County in the North to Laguna Beach and Catalina Island in the South. His style ranged from Tonalism, (an almost monochromatic look), to a bright Impressionist palette with broken color.
Granville Redmond died of heart failure on May 24, 1935 at the age of 65.


Granville Redmond
Oakland Museum 1988
Plein Air painters of the Southland
Ruth Westphal
Westphal Publishing 1986


It is impossible for artists to succeed in art unless they work with thought and true insight…one must as he paints on a canvas try and put his soul into the work.
~Granville Redmond

William Wendt

Armand Cabrera

William Wendt was born in Bentzen, Germany on February 20, 1865. At the age of fifteen, he immigrated to America, working in Chicago as a staff artist and illustrator. He attended night classes at the Art Institute of Chicago, but was primarily a self-taught artist. While working as a commercial artist, Wendt was also exhibiting in Chicago area art shows where he won Second Place in the prestigious Charles T. Yerkes Competition from the Chicago Society of Artists in 1893.

It was in Chicago he met the plein air painter, Gardner Symons. The two became friends and traveled to California to paint; it was the first of many trips there. They also traveled to the Saint Ives Art Colony in Cornwall, England in 1898. In 1906, Wendt married Julia Bracken, a sculptress. The couple moved to California where they spent the rest of their lives.

In California, Wendt spent his time painting the landscape outdoors. His art was an extension of his religious beliefs. Wendt had a deep respect for untamed nature and found not only peace and comfort, but the manifestation of the Creator. His feelings are reflected in the titles of his paintings that use poetic— almost biblical style phrasing like, ‘Where Natures God has Wrought’ and ‘I Lifted Mine eyes to the Hills’. He became a founding member of the California Art Club, and in 1911 was elected as its 2nd President serving until 1914. He later served as President from 1917 to 1919.

In 1912, the Wendt’s moved to Laguna Beach. He was a founding member of the Laguna Beach Art Association. Wendt was also elected to the National Academy of Design as an Associate Member the same year.

During his career, Wendt won many prestigious awards including a Bronze Medal in the Pan American Exposition in Buffalo, New York, Silver Medals in the 1911 Louisiana Purchase Exposition and 1915 Pan-American Exposition in San Francisco and a Gold Medal in the 1925 Pan American Exposition in Los Angeles.

During his lifetime, William Wendt became known as the Dean of the Southern California landscape painters. He influenced generations of painters with his monumental canvases filled with bold bravura brushwork, strong color and design. William Wendt died in Laguna Beach in 1946.

A Special Note:
From November 9, 2008 – February 8, 2009, The Laguna Art Museum will host In Nature’s Temple: The Life and Art of William Wendt. It will be the first, full-scale retrospective on the art of William Wendt. This exhibition will be accompanied by a major 164-page color catalogue with a 50-page essay by Guest curator, Dr. Will South.

California Impressionism
William H.Gerdts and Will South
Abbeville Press 1998

Plein Air Painters of California
The Southland

Ruth Westphal
Westphal Publishing 1982

QuoteHere away from conflicting creeds and sects, away from the soul destroying hurly burly of life, it feels that the world is beautiful; that man is his brother; that God is good.

~ William Wendt

Surface Quality

by Armand Cabrera

Oil Paintings are more than just good drawing and good color and design. Often the way the paint is applied can be just as important. Once you learn the basics of representational picture making in oils it is important that your work take advantage of all the properties of the paint.


One way of achieving this is the use of paint quality and handling. Imprimatura, scumbling, impasto and glazing all add an extra dimension of interest to traditional work when applied with intelligence and forethought.


Walk into any museum and look at a representational painting from the impressionist painters or golden age illustrators and you will see the use of all dimensions and properties of the paint at play. Nowhere was this more apparent than at the Howard Pyle show at the Delaware and the concurrent N.C. Wyeth show at the Brandywine Museum. Huge areas of the total canvas rendered with nothing more than a dark imprimatura. Lights loaded with impasto, color glazed and scumbled over other colors instead of blended. In some places the raw weave of the canvas showing through all to great effect.


It’s the same for the impressionists here and abroad at the turn of the 20th century. These artists knew their materials and let the unique properties of each artists chosen medium exert itself in the image. It is this philosophy of fidelity to the paint itself that give these works so much power and beauty.
It is an important lesson to be learned, that a thing has an inherent beauty and purpose. As an artist we must be sensitive enough to recognize those qualities and use them in service of our ideas so that it complements the work and raises it beyond the commonplace.