Alger, John [Herbert] (1879-1967)

The son of Irish immigrants, Alger was born in Boston, MA and studied at the Lowell Institute of Design and the Massachusetts Institute of Technology. Around 1914, he began dividing his time between Massachusetts and showing his work in New York group exhibitions; a 1921 review of the Whitney Studio Club declared that its “chief interest centers about the technical novelty of John Alger. He has painted some sand dunes with a sweeping grace despite the fact that his colors, always modest, are laid down flatly and without accent” (New York Tribune 18 Dec. 1921: 50). Another admiring critic thought Alger had “developed a point of view which represents the utmost in simplification without, however, becoming in any sense of the word an abstractionist” (Brooklyn Daily Eagle 7 Mar. 1926: 66). Alger was a founding member of the Salons of America. In later years, he seems to have taught art lessons in addition to his painting. 5 more images at FAP.


Works in the New Deal Collection at GVCA by John Alger:

Featured
Chrysanthemums
Chrysanthemums

Alger paints a beautiful bouquet of pink, red and yellow chrysanthemums in a yellow vase. What strikes you immediately is the balance of his painting, the chrysanthemums rising symmetrically to fill the frame, their leaves drooping down to further balance the frame and fill negative space. The colors, too, are congruous: vibrant reds and fuchsias of the chrysanthemums are complemented by softer yellows of their discs and the vase; lush greens are contrasted by the dry brown of dying leaves. Alger's brushwork is visible enough to be striking, but he blends enough that the strokes are soft on the eye.

Entrance to Chapel, St. Tropez
Entrance to Chapel, St. Tropez

Entrance to Chapel, St. Tropez: A clean sunny painting that shows a chapel next to a tall tree, beneath a light blue sky. Painted very smoothly with little to no noticeable brush strokes, this illustrates a warm and amiable picture with a pleasant vibe. Boasts a green, light sky blue, and reddish-mahogany color scheme.

St. Ann's Chapel
St. Ann's Chapel

We see a small chapel with terra cotta roof and a small bell. The only spots of color are the red roof tiles and the teal of bricks around the door. The rest of the painting is bleached, faded to hues of pale beige and blue. The door inside, framed by both the only vibrant blue in the painting, and by the circular arch of the chapel's portico, is made the focus of the painting.

Three Roses
Three Roses

A hilly landscape sets a picturesque scene of three vibrantly colored roses, placed in an ornate ceramic vase. Seemingly supported by a small black table, the vase and the roses overlook a hilly landscape with green grass and a bright blue lake. The sky behind it is a calming blue grey that contrasts sharply with the dark black table. The crisp edges of the table are also in contrast with the rolling hills, and the curved nature of the roses, including the rounded design of vase and how it is decorated. The combination of a clear sky, and pastel colors of pink, blue, green, and tan have a calming effect on the eye.

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