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  • Eanger Irving Couse
    Sep 03, 1866 - Apr 26, 1936
  • Watching the Rising Trout - Eanger Irving Couse was One of the more accomplished figure painters of the original Taos Society of Artists, His lifelong pursuit of painting Native Americans was kindled by the beauty and tranquility of the local Chippewa and Ojibwa cultures. The training he received in Europe, particularly under Adolphe Bouguereau and Tony Robert-Fleury, influenced the measured studio style he practiced for the rest of his life.
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Watching the Rising Trout
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  • Watching the Rising Trout

  • Eanger Irving Couse
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  • Oil on canvas
    23 x 28 inches

    In Watching the Rising Trout, E.I. Couse gives his fondness for depicting contemplative Native subjects a definite object: the concentric rings of a trout rising in a stream under an overhanging bough. Despite the stillness, there is tension in this teaching moment as elder teaches younger something about the very different clocks and schedules that the natural world runs on. When the aquatic nymphs of insects- mayflies and stoneflies and caddis- begin to make their way up from the stream bed to emerge and sprout wings, the trout turn on like lights and rise to gorge on them. Since Couse has painted the overhanging branch, it could also be that ants or grasshoppers or caterpillars have tumbled into the pool and roused the trout. At any rate, now is the time to fish, now that the fish are showing themselves. Standing behind the man and boy, the girl, though she is just as attentive, seems less convinced. Perhaps she has already heard her share of trout tales unaccompanied by actual trout ("No trout were harmed in the making of this story," might be the way we'd say it). But perhaps it's past the children's bedtime and the girl's frown is sleepiness. Stars peek through the branches and the light Couse is throwing around, dappling beautifully here and there, is the moonlight he was famous for in his paintings, light that is often the best for trouting. Watching the Rising Trout becomes, then, a kind of nocturne, in the musical as well as in the artistic sense of the word, as the silence is broken only by the splash of the fish, and the concentric rings in the water are almost like the orbits of heavenly bodies.

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Watching
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Watching Game
Watching Game
Water Birds
Water Birds
Western Sunlight
Western Sunlight
Eanger Irving CouseEanger Irving Couse was born in Saginaw, Michigan. His lifelong pursuit of painting Native Americans was kindled by the beauty and tranquility of the local Chippewa and Ojibwa cultures. Couse chose a career in art at an early age, studying at the Chicago Art Institute, the National Academy of Design in New York, and, as was the dream of many young artists of the time, at the Académie Julian in Paris. The training he received in Europe, particularly under Adolphe Bouguereau and Tony Robert-Fleury, influenced the measured studio style he practiced for the rest of his life.

In Paris, Couse married a fellow artist whose family ranch in Washington State provided him with access to a number of Indian tribes. Lyrical portraits of the Klikitat, Yakima, and Umatilla, painted in the Barbizon style, were his first attempts at this truly American subject. His historical narratives of the West brought him great acclaim at the Paris Salon exhibitions.

Finding French peasant scenes and European landscapes more saleable, Couse returned to a successful career in France. However, upon the advice of fellow artists, Joseph Henry Sharp and Ernest Blumenschein, Couse made his first visit to Taos in 1902. Though Couse maintained a studio in Manhattan during the winter months until 1928, Taos was his inspiration and became his permanent home.

Couse was elected to full membership in the National Academy of Design in 1911. His paintings are represented in numerous museums and private collections including the Detroit Institute of Art, the Metropolitan Museum and the National Portrait Gallery of the Smithsonian Institution. Through the many paintings created for the railroad, his painting received national exposure and brought recognition to Taos. Couse created images that were highly influential in changing the public's perception of the West and many are regarded as poetic renderings of a vanished time.