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The image is a scanned newspaper article from September 10, 1930, with the headline "Scion of a Family of Boston Mayors Interprets the City of His Fathers for Parisians." The article discusses Edmund Quincy, a Bostonian artist, who is exhibiting his paintings of Boston at the Galerie d'Art Contemporain in Paris. The article is written by Thomas Charles Devine and provides commentary on Quincy's work, which is said to depict a more intimate and picturesque aspect of Boston in contrast to the chaotic grandeur typically associated with American cities.

The article is divided into several sections:

1. Headline and Subheadings: The main headline introduces Edmund Quincy and mentions his family's background. Subheadings provide additional context about his paintings and their exhibition in Paris.

2. Main Body of the Article: This section contains the bulk of the text, which is a critique and discussion of Quincy's artwork. It mentions that Quincy's paintings of Boston are seen as charming and quaint by Parisian viewers, who are unfamiliar with the city. The article discusses how Quincy's work contrasts with the typical portrayal of American cities by European artists.

3. Illustrations: There are two black-and-white illustrations of Boston scenes, presumably painted by Quincy. These images depict streets and buildings typical of Boston.

4. Closing Remarks: The article concludes with a brief summary of the writer's thoughts on Quincy's work, emphasizing its charm and historical significance.

The article is presented in a classic newspaper layout with a focus on the text and the two illustrations, which serve to visually represent the subject matter discussed in the article. The newspaper appears to be aged, as indicated by the yellowed paper and the overall coloration.

This image is a newspaper clipping from September 10, 1930, discussing an art exhibition by Edmund Quincy, a descendant of Boston mayors, in Paris. The article is titled "Scion of a Family of Boston Mayors Interprets the City of His Fathers for Parisians."

The clipping includes two black-and-white illustrations of old Boston scenes, which are described as bringing a bit of Boston to Paris. These illustrations are typical views of old Boston that have surprised Parisian gallery visitors due to the quaint charm and comparative antiquity of the subjects.

The text discusses how many American artists come to France to learn their art and paint French landscapes, but there is a lack of American painters showcasing their own country. Edmund Quincy's exhibition at the Galerie d'Art Contemporain in Paris features many scenes from America, highlighting the happy, intimate, and picturesque aspects of the city.

The article also touches on European conceptions of America, noting that Europeans often regard all Americans as living in skyscrapers and rushing madly about. However, Quincy's paintings show a different side of America, focusing on indigenous American scenes and the charm of everyday spots in Boston.

The writer mentions that Quincy's work is appreciated for its charming sense of detail and composition, and that it does not require the maudlin sentimentality often associated with such subjects. The article concludes by praising Quincy's ability to preserve the likenesses of Boston in his paintings, showing that American cities are not composed exclusively of skyscrapers.

This image displays a vintage newspaper clipping from an article dated September 10, 1930, as handwritten in the upper right corner. The article’s headline reads:

“Scion of a Family of Boston Mayors Interprets the City of His Fathers for Parisians”

It discusses the Paris exhibition of paintings by Edmond Quincy, a descendant of a prominent Boston mayoral family (son, grandson, great-grandson, and great-great-grandson of Boston mayors). Quincy exhibited his works at the Salon d’Automne in Paris, offering European audiences a uniquely American — and specifically Bostonian — perspective through his art.

Key Points from the Article:

• Edmond Quincy is introduced as a young Bostonian, son of the late Mayor Quincy, who exhibits his paintings at the Galerie d’Art Contemporain, 15 Boulevard Raspail in Paris.
• The article addresses a common European perception that American artists are overly reliant on European styles and lack originality in portraying native scenes. Quincy’s work, however, challenges this notion by showcasing distinctly American, and specifically Bostonian, urban and suburban landscapes with an "intimate and picturesque aspect."
• His subjects are not the typical scenes Europeans expect — such as skyscrapers or the Brooklyn Bridge — but rather “indigenous American scenes”: the South End, Beacon Hill, Charlestown Heights, the wooden cottages on Monument Square, and even an “expansive and placid elegance” in Dorchester.
• The article notes Quincy’s artistic approach: he paints “without fussiness,” focusing on quiet, everyday scenes — “a little cul de sac on Charlestown Heights,” “a South End house,” or “a three-flat house in Dorchester.” These are rendered with “urban pleasure” and a “charming sense of detail and composition.”
• Quincy is described as having “the reverent fervor of one whose family has lived there for eight generations,” bringing emotional authenticity to his depictions of Boston.
• The article includes commentary from Thomas Charles Darby, a Bostonian writer for the Paris edition of the Chicago Tribune, who praises Quincy’s ability to portray Boston as having “the atmosphere and a past” comparable to Paris or London — particularly noting “the quaint charm and comparative antiquity of the subjects.”
• The article also critiques European conceptions of America as overly focused on industrialism and modernity, contrasting them with Quincy’s focus on “the dramatic obviousness of Brooklyn Bridge” and “the Woolworth Tower,” which he deliberately avoids.

Visual Elements:

• The clipping features two black-and-white illustrations:
  1. A left-hand illustration: Depicts an urban street scene, likely Boston, with a horse-drawn carriage on a cobblestone street, leafless trees, and brick buildings with awnings and signage. It shows a low-rise, historic streetscape with people walking — a quiet moment in daily life.
  2. A right-hand illustration: Shows a more formal, stately street or public space — possibly the Custom House Tower area or Beacon Hill — with an ornate, multi-story brick or stone building fronted by an arcaded colonnade. A flag flies, and pedestrians are visible on the sidewalk. The architecture suggests 19th-century urban grandeur.
• The illustrations appear to be woodcut or lithographic reproductions typical of newspapers of the era.
• The paper itself is aged, with visible creases and a yellowish-brown tint, suggesting it’s preserved from the 1930s.
• The article is printed in dense, justified columns with a serif font, characteristic of early 20th-century newsprint.

Context & Significance:

The article reflects a moment in transatlantic cultural exchange — a Boston-born artist interpreting his native city for Parisian audiences, asserting the legitimacy and depth of American urban scenery in the face of European skepticism. It also underscores the pride in local heritage and the artistic value of depicting the “everyday” over the monumental.

In summary, this clipping is a historical document capturing the reception and promotion of American regional art in Europe, centered on the work of Edmond Quincy — a painter who sought to show that Boston, despite its lack of European grandeur, possessed its own rich architectural and emotional landscape worthy of attention and respect.

The image is a page from a newspaper, dated September 10, 1926. The headline reads, "Scion of a Family of Boston Mayors Interprets the City of His Fathers for Parisians." The article discusses Edmond Quincy, a Bostonian artist, who has exhibited his paintings of Boston in Paris. The article highlights the interest of Parisians in American art and the lack of recognition American artists receive from their own country. The article also mentions the beauty and charm of Boston as depicted in Quincy's paintings, which have surprised Parisians. The image includes two illustrations, one of a building and another of a street scene in Boston.

The image is a newspaper clipping with a headline that reads, "Scion of a Family of Boston Mayors Interprets the City of His Fathers for Parisians." The clipping features an article about Edmond Quincy, who is the son, grandson, and great-grandson of Boston mayors. Edmond Quincy has an exhibition of Boston paintings in Paris.

The article is accompanied by two black-and-white photographs of Boston streets and buildings. The first photograph shows a street with a large tree and a building on the left side. The second photograph depicts a street with several buildings, including a large building with many windows on the right side.

The article discusses Edmond Quincy's exhibition in Paris, which showcases his paintings of Boston. The author notes that there are many American artists in Paris who come to learn from the city's landscapes, but they often struggle to capture the unique character of Boston. Edmond Quincy, on the other hand, is praised for his ability to bring a sense of Boston's charm and character to his paintings.

The article also highlights the Quincy family's long history of political involvement in Boston, with Edmond Quincy's great-grandfather, grandfather, and father all serving as mayors of the city. The author suggests that Edmond Quincy's paintings offer a unique perspective on Boston, one that is informed by his family's deep connection to the city.

Overall, the newspaper clipping presents Edmond Quincy as a talented artist who is able to capture the essence of Boston in his paintings, and who comes from a family with a rich history of political involvement in the city.

The image is a scanned newspaper clipping from September 10, 1930, titled "Scion of a Family of Boston Mayors Interprets the City of His Fathers for Parisians." The article discusses the work of Edmond Quincy, a Bostonian artist and the son, grandson, and great-grandson of Boston mayors. The piece highlights Quincy's participation in the "Commode de l’Art" exhibition in Paris, where he showcased his paintings of Boston.

Key Elements of the Image:

Left Side: Article Text

• The article begins with a headline emphasizing Quincy's lineage and his role in interpreting Boston for a Parisian audience.
• It discusses the interest in Bostonian artists in Paris and the unique perspective Quincy's work offers. The text mentions that Quincy’s paintings reflect the charm, history, and character of Boston, capturing scenes such as:
  • Lowell’s railway tracks and New England colonial doorways.
  • Beacon Hill, described as a "picturesque street" that contrasts with the modern phase of American urban life.
  • Charles Street, noted for its charm and historical significance.
  • The Bates House, an example of early American architecture.
• The article emphasizes Quincy's ability to convey the essence of Boston, including its industrial landmarks (e.g., steel elevators in Pittsburgh) and its colonial heritage.

Right Side: Illustrations

The right side of the image features two detailed illustrations that accompany the article:

1. Top Illustration:

   • Title: "Bringing a Bit of Boston to Paris"
   • Caption: "Typical Views of Old Boston Which Are Reported to Have Surprised Parisian Gallery Visitors Because of the Quaint Charm and Comparative Novelty of the Scenes Depicted. The Canvas Are Somewhat Probably Considered by the Late Mayor and Josiah Quincy."
   • Content: The illustration depicts a charming, old Boston street scene. Key elements include:
     • A low railway track running alongside a row of colonial-style houses.
     • A doorway that appears quintessentially New England, with a colonial architectural style.
     • Trees and greenery lining the street, adding to the picturesque quality.
     • The overall composition evokes a sense of nostalgia and historical charm, typical of Boston’s colonial-era neighborhoods.

2. Bottom Illustration:

   • Title: "Scenes Indigenously American"
   • Caption: (Not fully visible in the image, but implied to showcase uniquely American scenes.)
   • Content: This illustration portrays another iconic Boston scene:
     • A view of the Charles River, with its gentle slope and reflective surface.
     • A wooden wharf or dock, emphasizing the maritime heritage of Boston.
     • A small building or structure near the river, possibly a boathouse or dockhouse, adding to the scene’s authenticity.
     • The illustration captures the serene and historic atmosphere of Boston’s waterfront, highlighting its connection to water and industry.

Additional Text Elements:

• The article includes quotes and commentary from Edmond Quincy and other sources, discussing the reception of his work in Paris and the unique perspective his paintings offer.
• It also touches on the broader context of American artists in Paris and the appeal of Boston’s historical and architectural charm to European audiences.

Overall Impression:

The image combines textual and visual elements to tell a story about Edmond Quincy’s artistic contribution. It highlights how his paintings bring the essence of Boston—its colonial architecture, industrial landmarks, and maritime heritage—to a Parisian audience, offering a glimpse into the city’s history and character through an artist’s lens. The illustrations serve as visual proofs of Quincy's ability to capture the charm and uniqueness of Boston, making the article both informative and visually engaging.

The image displays a newspaper clipping dated September 10, 1920, titled "Scion of a Family of Boston Mayors Interprets the City of His Fathers for Parisians." It features an article discussing Edmond Quincy, who is described as the son, grandson, great-grandson, and great-great-grandson of Boston mayors. Quincy has participated in the Paris Exhibition by showcasing paintings of Boston.

The article covers topics such as the American artists' representation in Paris, particularly regarding Quincy's artwork which seeks to exhibit the quaintness, the historical importance, and contemporary life in Boston. Specifically, it mentions his efforts to share the aesthetic character of Boston, stating that the artist has interpreted the "atmosphere of that ancient city." A subheading in the article reads "Bringing a Bit of Boston to Paris," suggesting that Quincy's work has impressed Parisians and offers a contrast to the warm and comparative antiquity of the subjects he illustrates versus the newer architecture of Paris.

In addition to the text, the article is accompanied by two images of buildings. These are presumably reproductions of Quincy's art, depicting Boston's architecture and contributing to the narrative that Quincy is bringing a historical and architectural flavor of Boston to the European audience. The buildings shown evoke a sense of stately, historical urbanity characteristic of old Boston.

The layout includes two columns of dense text, interspersed with the two illustrative images, reflecting typical newspaper design of the early 20th century. The paper appears to be preserved with some form of handling or mounting, as evidenced by the tape or clips visible at the top, suggesting it is part of a collection or archive.

The image is an old newspaper clipping with the headline "Scion of a Family of Boston Mayors Interprets the City of His Fathers for Parisians" dated September 10, 1930. The article discusses Edmond Quincy, who comes from a lineage of Boston Mayors, and his exhibition of Boston paintings in Paris. There are two sepia-toned images in the clipping that depict scenes of old Boston.

The left image shows a street view with tall trees, brick buildings, and lamp posts. The overall atmosphere appears calm and quaint. The caption for this image reads, "Typical Views of Old Boston Which Are Reported to Have Surprised Parisian Gallery Visitors Because of the Quaint Charm and Comparative Antiquity of the Subjects."

The right image displays another street with multiple brick buildings, trees, and shadows cast by the structures, providing a sense of depth and dimension. The text under this image similarly highlights the charm and antiquity of old Boston.

The main body of the newspaper clipping includes detailed descriptions of the exhibition, noting the curious interest shown by Parisians in the Bostonian landscapes and street scenes. It describes how Edmond Quincy, as a Boston artist, has interpreted his heritage through his work and surprised the Parisian gallery visitors with the comparative antiquity and charm of Boston scenes.

Additionally, the text mentions the European conceptions of America and highlights the differences in architectural and historical backgrounds, which contribute to the unique appeal of Quincy's Boston paintings in Paris.

• A yellowed newspaper clipping mounted on a page, with a large headline across the top: “Scion of a Family of Boston Mayors Interprets the City of His Fathers for Parisians.”
• The article appears in two narrow columns of text, with a drop cap at the start of the article.
• In the center are two black-and-white photographic illustrations of old Boston streets:
  • Left image: a tree-lined street with houses and a large building visible.
  • Right image: a row of old brick townhouses along a street with bare trees.
• Under the photos are short captions, including phrases like “Bringing a Bit of Boston to Paris” and “Typical Views of Old Boston…”
• A handwritten note at the top edge reads something like “Transcript Sept. 10, 1930.”
• The overall appearance is aged sepia/brown printing, typical of early 20th-century newspaper clippings. The content describes a descendant of Boston mayors exhibiting Boston paintings in Paris.

This is a newspaper article from September 10, 1930, as labeled at the top. The headline reads: "Scion of a Family of Boston Mayors Interprets the City of His Fathers for Parisians." It discusses an exhibition of paintings by Edmond Quincy, a Boston artist, in Paris. The article highlights his connection to the Quincy family, known for earlier generations of mayors in Boston, and his depictions of the city in his art.

The layout includes a title at the top, with two black-and-white images of Boston cityscapes in the center portion. Captions describe the images as "Typical Views of Old Boston Which Are Reported to Have Surprised Parisian Gallery Visitors." Two columns of text make up the majority of the article, providing context on the paintings, the history of the Quincy family, and European interpretations of American art. Additional details focus on the "quaint charm" and American colonial style captured in the works.

The paper's edges have a slightly aged and weathered appearance, consistent with its historical nature.