Seong Moy���s Abstract Visit, 1948
This sculptural quality, as well as the Impressionist sensitivity
to light and color is exemplified powerfully by his portrait of
Christopher S. Hyland (yes, brother of Douglas K. S. Hyland
who first envisaged this exhibition).
Hensche on one side, Hofmann on the other, would for decades
represent two distinctive trends in Provincetown, both in their
work and in their schools.
The Bostonians fused the academic and Impressionist traditions
and used that combination to great advantage aesthetically.
They required their students to master each method to achieve
a satisfying combination. Ives Gammell required his students
to acquire these necessary tools before pursuing the particular
branch of painting or subject matter that intrigued them.
The end of World War II brought an influx of young artists
eager to get on with their training. Sal Del Deo, Robert
Douglas Hunter, Varujan Boghosian, and Edward Giobbi all
arrived in the summer of 1949 fresh from their studies at the
Vesper George School of Art in Boston. The immediate draw
was Henry Hensche who had taken over Charles Hawthorne���s
HYLAND
