History And Context


Sometime after 1911 Tack’s style began to shift. He began to apply his colors in a manner that playfully stitched a network of staccato dashes laid on the canvas in thick impasto somewhat reminiscent of Prendergast. This style is evident in Allegro Giocoso where he works with unblended pigments thickly laid in side by side in horizontal or radiating daubs to create a jewel-like effect. In this painting he records his family life in Deerfield, depicting not only his wife and children, but even the family dog. The pastoral and intimate mood of the canvas is enhanced by the twilight sky painted with soft tones of white fading to pink.

Tack’s pointillist technique in this work relates not only to Prendergast, but also to the French artist Georges Seurat and to Vincent van Gogh. Tack understood the “neoimpressionist” origins of his technique, writing: “Colors…placed in juxtaposition, pure and broken…at a certain focus…mix in the eye, give a sensation of solidity and envelopment more vivid and vital than conventional painting.” He traveled to France in this period to absorb first hand the more recent avant-garde styles.

More Works by Augustus Vincent Tack In the Collection


Far Reaches
Augustus Vincent Tack
1930
Ideal Figure in Rose
Augustus Vincent Tack
not dated
Allegro Giocoso
Augustus Vincent Tack
before 1918

Night, Amargosa Desert
Augustus Vincent Tack
1935
Above the Treetops
Augustus Vincent Tack
between 1934 and 1936
Daybreak
Augustus Vincent Tack
between 1934 and 1936

Sketch for Portrait of Nicholas Murray Butler
Augustus Vincent Tack
not dated
Time and Timelessness (The Spirit of Creation)
Augustus Vincent Tack
between 1943 and 1944
Aspiration
Augustus Vincent Tack
1931