John Joseph Enneking had a sylistic foot in both the pre-Impressionist and Impressionist worlds of the late nineteenth century, but perfected his own style to such an extent that those conversant with his technique can identify his works without hesitation. Robert C. Vose (1873-1964), a young art dealer during Enneking's later years, wrote about his style: 

He loved Autumn with her glorious auburn tresses, and he loved Twilight, from her flaming sunsets, to her tenderest afterglows, for his keen senses thrilled with love of color… equally delightful are his groups of Trout Brooks, Pastorals in Blossom Time, and Mountain Views. Last, chronologically, and dearest to the artist’s own heart, are the “Moods,” a lovely series of impressions of nature, subtle, subjective, tonal harmonies, which will take high rank in American Art.

One of Boston's best-known and much beloved landscape painters, Enneking's death in 1916 was mourned, with respected art critic A. J. Philpott stating,

John J. Enneking’s death will be a great loss to American art, for not only was he one of the world’s great landscape painters but he was, and has been for half a century, one of the healthiest and most inspiring influences in the American art world…”

 –A.J. Philpott, The Boston Globe, Nov. 17, 1916

More information about this painting...

Provenance:

Pierce Gallery, Hingham, Massachusetts

To private collection, Andover, Massachusetts, circa 1980s

By descent to private collection, Scituate, Massachusetts, 2000 to present

Labels:

1). (on frame, torn in spots) [Irving] Casson / [A. H.] Davenport Co. / [illegible handwritten numbers] / [Copley] Square

2). Pierce Gallery’s John J. Enneking catalogue raisonne label, with Summer Landscape, N. H. as title (appears more spring-like)