Lindenmuth first exhibited in Provincetown in 1915, showing a group of his woodcuts, and his talents would come in handy when he designed catalogue covers for the 1916 and 1917 annual exhibitions of the Provincetown Art Association (PAA), of which he was a founding member. Established in 1914 with the goal of collecting and promoting work by local artists, the PAA would eventually experience a rift between traditional and modern painters, and from 1927 to 1937 two separate “Regular” and “Modern” shows were organized to placate both factions. Lindenmuth studied with more conservative members like George Elmer Browne and E. Ambrose Webster, yet he easily mingled with the avant-garde sect and joined his friend Ross Moffett in bridging the gap; by 1938, the PAA’s Board of Honorary Trustees became more representative of the range of styles found throughout Provincetown and once again the “Regulars” and “Moderns” exhibited together.
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In addition to the PAA, Lindenmuth exhibited with the Society of Independent Artists, the Rockport Art Association, the Art Institute of Chicago and the Pennsylvania Academy of the Fine Arts. While the vibrant color palette and fluid brushwork of Provincetown Beach demonstrates the influence of his studies with Browne and Webster, and may therefore have been done earlier in his career, there are elements of the modernism to come, particularly in the simplified forms of the dory and crumbling dock posts, and in the sails of the boats clustered along the horizon.
Private collection, Littleton, Massachusetts