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Alessandra and Marion

When focusing on waterfront recreation, Potthast often highlighted greens, oranges, whites and yellows against cobalt blue, as in "A Sailing Party (Going for a Sail)," circa 1924. The Cincinnati Enquirer wrote, "Here we feel the brisk breeze and alluring sense of adventure." Cincinnati Art Museum, gift of Henry M. Goodyear, MD.

Potthast often depicted adults having fun at the beach in oils like "Surf Bathing," circa 1924, in which he draws viewers into the spectacle of a group braving chilly waters. "We imagine the force of the waves, the resistance of the water when moving against the current, the sharp pull of the undertow and the bracing temperature of air and water," says curator Julie Aronson. Cincinnati Art Museum, gift of the Procter & Gamble Company.

Among Potthast’s late nocturnes is "At the Summit (At the Summit, Moonlight Night)," circa 1924, showing figures silhouetted in a moonlit setting. It "represents Potthast at his most abstract," notes Aronson, who organized the exhibit. Cincinnati Art Museum, gift of Adelaide Blackburn.

"The seaside gave children the freedom to express joy, unfettered by the constraints that polite society attempted to impose," says Cincinnati Art Museum curator Cynthia Amneus, referring to "Little Girl in Green," 1915–18. Here, "Potthast expressed the energy and enthusiasm felt by those of all ages when visiting the beach." Courtesy of Mr and Mrs Stephen Vollmer.

When former Cincinnati Art Museum curator John Wilson observed that "the harsh summer light and the effect of its reflections on water, sand and skin were ideal subjects for a painter [like Potthast] concerned with an Impressionistic facture," he could have been referring to "Brother and Sister," circa 1915. Here, a nursemaid in the distance holds a baby in her arms as she watches the siblings testing the waters. Cincinnati Art Museum, bequest of Mr and Mrs Walter J. Wichgar.

See photo in original gallery.

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