0 roughton_galleries.fmp12 3304 18th Century Italian School As we discover examples of these unsigned landscapes from the middle or late 18th century, we do as much research as possible to ascertain (as close as possible) their origin. We then try associate the style, palette and subject to a particular artist or his studio. If this fails, we list it as close a possible to the period and the school. In this case 18th century Italian School. The history of Italian art is in many ways also the history of Western art. After Etruscan civilization and especially the Roman Republic and Empire that dominated this part of the world for many centuries, Italy was central to European art during the Renaissance. Italy also saw European artistic dominance in the 16th and 17th centuries with the Baroque artistic movement. Nonetheless, by the 18th century, the country saw a decline in its artistic output and it started to lose its lustre as Europe and the Western world's artistic leader, with France reaching its artistic zenith through movements such as the Rococo and Neoclassicism. Nonetheless, it re-established a strong presence in the international art scene from the mid-19th century onwards, with movements such as the Macchiaioli, Futurism, Metaphysical, Novecento Italiano, Spatialism, Arte Povera and Transavantgarde. Italian art has influenced several major movements throughout the centuries and has produced several great artists, including painters and sculptors. Today, Italy has an important place in the international art scene, with several major art galleries, museums and exhibitions; major artistic centres in the country include its capital city, Rome, Florence, Venice, Milan, Naples, Turin, and other Unknown 18th Century Italian School 18th Century Italian School 3118 Lucien Abrams was born on June 10, 1870 in Lawrence, Kansas and died April 14, 1941 in New Haven, Connecticut. He was in Old Lyme from 1915-41. When Lucien Abrams graduated from Princeton in 1896, the university offered him a post as instructor of Latin — a subject he excelled in. Intent on becoming an artist, Abrams declined the offer and spent the next two winters studying at the Art Students League in New York. Like so many of the Old Lyme group, Abrams later enrolled at the Academic Julian in Paris, where he received instruction from Benjamin Constant and Jean-Paul Laurens. Yet years later, Abrams would note that "My art was developed, not in the schools, but by independent study before nature, not trying to copy, but to interpret, to find order in chaos, and put it in plastic form." Since his family had considerable means, Abrams was able to live and travel in Europe from the time of his enrollment in the Academie Julian in 1894 until 1915. He was strongly influenced by Whistler during a short period at the latter's art school in Paris. It is true, nevertheless, that most of his study was done independently during his extensive travels through Europe. He painted in Belgium, Provence, Brittany, Southern France, Italy, and Spain. In 1905-96 he spent six months in Algeria. In museums he studied the Old Masters and developed a keen sense of art connoisseurship. Particularly interested in the French Impressionists, Abrams over the years amassed an important collection of paintings by Auguste Renoir, now in the Marion Koogler McNay Art Institute in San Antonio, Texas. From 1902 until 1914, Lucien Abrams exhibited annually in Paris at the Salon d'Automne and the Salon des Indéndants. His participation in French art circles no doubt contributed to the influences of Impressionism, Post-Impressionism, and Fauvism that are evident in his work. Abrams said that his aim was " to interpret the beauty of reality; to place it in expressive form before others." The Old Lyme landscapes of his mature years reflect this aim most clearly. Using a lean palette — he once said that he had tried to limit himself to five colors — marked by rich shades of blue, green, red, and white, Abrams worked with swatches of paint, alternating in thickness, that produce harmonies of bold color. Unfortunately this approach does not translate well in his figure studies, where his deficiencies as a draftsman become apparent. Abrams was a relative latecomer to Old Lyme, arriving in 1915, when he was forty-five years old. He and his wife, Charlotte Gina Onillon, a native of Paris and a graduate of the Sorbonne, had just recently been married. They purchased a summer residence in Old Lyme that commanded a fine view of Long Island Sound. Abrams was an active member of the Lyme Art Association and exhibited there every year from 1915 until the 1930s. Abrams had one-man exhibitions in this period at Pabst Galleries in San Antonio, Texas, where he had a winter home, and at Durand-Ruel Galleries, New York. His work was recently featured in the 1978 exhibition Three American Impressionists: Train Paris to Old Lyon' at A. M. Adler Fine Art, Inc., New York. Abrams was a member of the American Federation of Artists, the Lyme Art Association, and the Princeton Club of New York City. He died in New Haven, April 14, 1941. Further reading: Three American Impressionists: From Paris to Old Lyme; Lunen Abrams, George Burr, Charles Ebert. Exh. cat., A. M. Adler Fine Art, Inc., New York City, 1978. 1870 - 1941 Lucien Abrams 1 Abrams Lucien 3119 Katherine Langhorne exhibited only twice in Old Lyme, in 1912 and 1913, and little is known about her association with the colony, except that she coped readily with a male artist who mistakenly entered her bedroom in the Griswold House one night, having been misdirected by forgetful Miss Florence. She studied at the Art Students League under John Henry Twachtman and Frank Vincent DuMond and was also enrolled in summer courses, possibly in either Cos Cob or Old Lyme. She exhibited at the National Academy of Design as early as 1912, and in 1915 two of her works were included in the Panama-Pacific International Exposition in San Francisco. Although it is not known whether she studied in Paris, she traveled throughout Europe as well as in Japan, and much later, in the 1930s, she lived for a while in Buenos Aires. Around 1916 Katherine Langhorne married Benjamin Pettengill Adams, moved to New York, and thereafter exhibited under her married name. Three exhibitions of her paintings were held during the 1920s at the Milch, Babcock, and Montross Galleries in New York. Her eleven paintings at Milch included both New York City and New England country subject matter. Reviewing her 1928 exhibit at Babcock Galleries, which featured views of the Palisades, a critic for Art News commented on the relative abstraction of her landscapes: Mrs. Adams' interpretations of nature show the influence of her teacher, Twachtman, as well as an excellent sense of Oriental elimination. For those in quest of photographic accuracy these seasonal studies of the Palisades will offer little that is recognizable or satisfying. For those to whom landscape painting at its best is but a state of mind, Mrs. Adams' work loses nothing by its departure from the minutiae of the earlier exponents of Hudson River scenery. Katherine Langhorne Adams was also represented in exhibitions at the Pennsylvania Academy of Fine Arts, the Art Institute of Chicago, and the National Association of Women Painters and Sculptors, where she won the Marcia Tucker Prize in 1935 and an honorable mention the following year. With her husband, she had moved in the 1920s to Sneden's Landing, Palisades, New York, where she designed the stone house they had built there. Her plan won first prize in a contest sponsored by House Beautiful magazine for “the best small house East of the Mississippi.” Later, she lived in Fairfield, Connecticut, and Alexandria, Virginia. Further Reading: “Exhibition in New York,” American Art News, 20 (Jan.14, 1922), 1. “Katherine Langhorne Adams, Alfredo Cini, Babcock Galleries,” Art News, 26(May 12, 1928).11. 1885 - ? Katherine Langhorne Adams Adams Katherine Langhorne 2150 Lucien Adrion was born in Strasbourg, France in 1889 and died in Cologne 1953. Post-Impressionist Lucien Adrion is considered an engraver, watercolorist and painter from the French school. He began his initial studies in Strasbourg as a draftsman. In 1907, at the age of 18, Lucien traveled to Paris to work for a large drafting company but changed his mind upon arrival. Rather than working for a large company, he decided to peruse his dreams of becoming an artist. Traveling like a vagabond, Lucien would leave Paris for London, Munich and to Frankfort, when the war ended to study. After the demobilization of Berlin, Lucien would study engraving under Franz Ritter von Struck (1863-1828), who was Mac Chagall’s teacher. He would return to Strasbourg and spend the next thirty years working as a lithographer. In 1921, Lucien Adrion had his first one-man exhibition at Galerie Chéron. Being independent by nature, Adrion would not divert from his decorative paintings of Normandy beaches or scenes of Paris (his favorite subject). He was a regular exhibitor with the Independents. In 1940, Lucien Adrion exhibited Jardines des Tuileries Salon d’Automne in Paris and in 1941; he exhibited several landscapes at the Salon des Tuileries. Listed: E. Benezit, Vol. 1, page 44 Dictionaire des Petits Maîtres de la pienture (1820-1920), Vol.1, page 32 1899 - 1953 Lucien Adrion Adrion Lucien 2070 Ernest Albert was a distinguished theatrical and scenic designer who also became a landscape painter and muralist; Ernest Albert worked in New York, St. Louis, and Chicago. He was born in Brooklyn, New York in 1857, and showing early talent, he received the Graham Art Medal at age 15, while he was studying at the Brooklyn Art Institute. Though Albert had some early success as a newspaper artist, his introduction to the theater world in 1877 began a career in stage design; he worked on productions starring most of the best-known performers of the day. During this time in 1879, he employed and befriended young Jules Guerin, who went on to become the Lincoln Memorial Muralist. From New York City, Ernest Albert went to St. Louis in 1880 and five years later to Chicago. In 1892, he became involved with the World's Colombian Exposition in Chicago. He was responsible for the color schemes and ornamental design of many of the interiors of buildings in that renowned and successful fair. While in Chicago, he helped found the American Society of Scenic Painters. In 1894, Ernest Albert returned to New York City, where, from then on, his work in scenic design was centered. His Albert Studios did the sets for many successful productions. All along, he had painted whenever he could snatch the time. At the pinnacle of his career in 1905, he began to withdraw gradually from his theater work. His family was settled in the striking new house he had built in New Rochelle, New York; his financial independence was established; and from then on, he devoted most of his considerable talent and energy to his landscapes. Ernest Albert's landscapes, painted mostly in Old Lyme, Connecticut and later on Monhegan Island, Maine (as well as a few on the West Coast), are simple in composition but subtle in effect. His impressionistic rendering of color and light imbue his quiet country scenes with all the magic of the moment. The gentle strength of these pictures and of his still lifes ensured their popularity and earned him a place as one of America's respected artists. Albert was active in several organizations and was a founder and first president of the Allied Artists of America. Museums: Wadsworth Atheneum Museum of Art, Hartford, CT. Colby College Museum of Art, Waterville, ME Florence Griswold Museum, Old Lyme, CT. 1857 - 1946 Ernest Albert Albert Ernest 1552 Adam Emory Albright began his career as a landscape painter, later specializing in paintings of children at play, against landscape backgrounds. It is likely that some of his earliest work was done in Kansas, for he was a graduate of a Kansas university. Born in Monroe, Wisconsin, Albright studied with Henry Fenton Spread and John Vanderpoel at the Academy of Fine Arts and the Art Institute of Chicago from 1881 until 1883, becoming a student of Thomas Eakins at the Pennsylvania Academy of the Fine Arts from 1883 until 1886. After some training in Munich with his fellow Wisconsin artist Carl Marr (later Carl Von Marr), Albright studied with Benjamin Constant in Paris. He was to become the finest Paris-trained figure painter to emerge immediately before the Columbian Exposition, Albright set up a studio in Chicago in 1888 and was exhibiting with the Society of Artists by 1890. Albright appears to have abandoned the landscape early on, and to have chosen juvenile subjects for which he became famous. At first specializing in street urchins, he soon turned to rustic children in outdoor settings. After the Columbian Exhibition, having had greater exposure to Impressionism, Albright began painting more colorful and sun-filled work. In 1897 the Birth of his twin sons, Ivan Le Lorraine and Malvin Marr Albright ( both of whom became well known painters, the latter under the professional name Zsissly), provided new models, and his subsequent canvases feature the growing boys posed in rural surroundings. From 1908 many of his finest works were painted during summers at the art colony in Brown County, Indiana, where Albright was the foremost figure painter. Albright's popularity is reflected in his numerous exhibitions and in the extensive contemporary literature about him. No other Chicago artist's work was so widely exhibited at the Art Institute; during the first two decades of the present century, Albright enjoyed numerous solo shows there and at the museums in Detroit and Cincinnati. A constant flow of articles appeared about the artist and his work, all praising his innate sympathy with childhood and with the rural environment and referring to him as the "James Whitcomb Riley of the Brush. Museums: Laguna Beach Art Museum City Art Museum of Saint Louis Toledo Museum of Art Illinois State Museum of Natural History and Art, Springfield Detroit Museum of Arts Cincinnati Art Museum Exhibited: Pennsylvania Academy of the Fine Arts, 1884- 1910 National Academy of Design, 1892 Art Institute of Chicago, 1896-1939 Columbian Exhibition, Chicago, 1893 Published: "Items," American Magazine of Art, June 1920, p.295 Minnie Bacon Stevenson, "A Painter of Childhood," American Magazine of Art, October 1920, p.432-433 Tom Vickerman, "Gray-Haired Artist Paints Child Epics," Magazine of the Art World, Chicago Evening Post, February 18, 1930 NMAA-NPG Library, Smithsonian Institution 1862 - 1957 Adam Emory Albright Albright Adam Emory 1751 Landscape painter and etcher George Ames Aldrich was born in Worcester, Mass, in 1872. As a member of the Chicago Galleries Association, he was established as a Chicago talent and exhibited there regularly. His early art experience was as a magazine illustrator in the 1890s, when he did illustrations for The London Times and Punch magazine. Aldrich was enrolled at the Art Students League, his art studies continued in Paris, where he was a pupil at the Academies Julien and Colarossi. Aldrich won four prizes from the Hoosier Salon in Chicago, the first in 1923 for a snow scene. Many of his landscapes were painted in Normandy and Brittany, probably in 1909 and 1910, when he lived in Dieppe. A critic who saw Aldrich's works in a Chicago show wrote that his paintings had "a sense of a romantic approach to each subject, a spirit of adventure in painting it . . . . His American landscapes were painted with imagination and faithful observance of the original". In 1924, Aldrich received an architectural-club traveling scholarship for a European study trip. During that time he spent six months in residence at the Academy in Rome, and three months at the Fontainebleau School of Fine Art in France. He traveled and sketched in Italy, France, Spain, Germany and England. Aldrich died at his home in Chicago in 1941, at age 68. Memberships: Chicago Society of Painters and Sculpture Chicago Gallery of Art Hoosier Salon, Chicago Societe des Artistes Francais Public Collections Ball State Teachers College, Muncie, Ind. Decatur Museum, Ill. Houston Museum of Fine Arts Musee de Rouen Union League Club, Aurora, Ill. Elgin State Hosp., Chicago Fellow, Pennsylvania Academy of Fine Art American Watercolor Society Salmagundi Club Association of Chicago, Painters and Sculpture Chicago Gallery Association Listed: AAA 1898-1900 (Chicago) AAA 1903-1913 (Edison Park, Ill. AAA 1915-1924 (Hubbard Woods, Ill. AAA 1925-1933 (Warrenville BENEZI MANTE L / FIELDIN HAVLIC MALLET WHO WAS WHO IN AMERICAN ART, 1936-1959 1872 - 1941 George Ames Aldrich Aldrich George Ames 3243 Considered a sporting artist, engraver & illustrator, Henry Alken was born in London into the family of sporting artist Samuel Alken. After studying painting with his father, Alken moved to Melton Mowbray to train horses & eke out a livelihood in decorating trays with hunting scenes. Alken would become a leading British sporting artist, exploring the comic side of riding in this series of prints depicting the follies and foibles of aristocrats on their weekend outings. They were part of a larger movement of caricature prints lampooning British society that were published in England in the first half of the 19th Century, by artists such as Thomas Rowlandson. Sir Henry Thomas Alken worked in London and the provinces and was prolific in a variety of media, including painting, etching and watercolor. Trained as a miniature painter, his works always had a graphic precision. He is known for hunting, coaching, racing and other animal subjects. He was also employed by sporting periodicals as an illustrator. He later wrote The Beauties and Defects in the figure of the Horse, and in 1821 he illustrated The National Sports of Great Britain, "strengthening the market for his work in sporting circles, in particular the notorious clique of wealthy and reckless huntsmen who gathered at Melton. The majority of Alken’s paintings were of horses, although he occasionally did dog subjects. Early on, he used the pseudonym, "Ben Tally Ho", working as a graphic journalist. He is best known today for perhaps one of the most collected series of sporting prints of all time, The Midnight Steeplechase or The First Steeplechase On Record, which was published by Ackermann. 1785 - 1851 Henry Thomas Alken Alken Henry Thomas 3197 Lady Laura Alma-Tadema (1852-1909) was the daughter of the late Dr George Epps and the sister of Mrs. Edmund Gosse [wife of English poet and critic, Mr Edmund Gosse], and of Mrs. Rowland Hill [wife of Mr Rowland Hill]. In 1871, Lady Alma-Tadema became the second wife of Laurence Alma-Tadema, who, after making a reputation in Antwerp and winning medals in Paris, had settled in London. Under his instruction his wife soon developed a remarkable artistic gift and already in the early eighties she was well-known as a contributor to the principal exhibitions. Her method and style had much in common with her husband's, but she wisely chose a different class of subject. Instead of Imperial Rome she gave us Dutch interiors, a little idealized and adorned; with pretty young mothers, with small children, often in dresses of the seventeenth century, placed in rooms with white walls and old oak furniture. Lady Alma-Tadema's treatment of light was extremely skilful, her colour exquisite, her textures subtly wrought, her effects charming. She generally sent one little picture to the Academy, and another to the New Gallery, where they always gave a great deal of pleasure. Lady Alma-Tadema was a gracious hostess, and her parties, both in the old house facing Regents Park, and in that, to which she and her husband subsequently moved in the Grove-End Road, were amongst the most agreeable in London. In the fine studio planned for music as much as painting, all those great performers were delighted to play to a well-chosen audience of friends, who now look back with a melancholy pleasure to evenings when [Joseph] Joachim, [Pablo de] Sarasate, Mr [Igance Jan] Paderewski, Mr [Leonard] Borwick and other musicians of equal rank gave them of their best. The delightful personality of the mistress of the house completed the charm of these evenings. We are but giving voice to the feelings of all who used to frequent them when we offer Sir Lawrence Alma-Tadema an expression of our deepest sympathy in his great loss. A correspondent writes; "Lady Alma-Tadema spent the months of June and July in a German cure, from which she returned a few days ago in a very weak state. She was advised to leave town immediately, and she entered an establishment in Hindhead. Here her malady suddenly took a critical turn on Friday last and she passed away painlessly after an unconsciousness of many hours on the night of Sunday." "From childhood Lady Alma-Tadema and her sisters were accustomed to the arts, and the cultivation of which was encouraged in them by the close association of their family with the group which circled around the Rossetti's and Madox Brown. But it is remarkable that Laura who was to become particularly famous for her pencil started alone as a musician. It was thought that she would show some originality as a composer, and she was being trained in music when she became acquainted with Mr Alma-Tadema, almost immediately after his arrival in London from Antwerp. He was a widower and Miss Laura Epps became his second wife in 187l. She began at once to study painting under her husband, and developed a notable technique for the rendering or textures and surfaces. Her early works were simply still-life studies, somewhat heavy and labored at first, but always careful and effective. In 1873 she began to be, as she has remained for 36 years an almost regular contributor at the Royal Academy. In Her Mamma's Chair of that year there was already shown an individuality which became more marked in her Birds Cage of 1875 and A Blue Stocking of 1877. On these canvasses the influence of her husband was apparent, but already there was a manifest leaning to purely Dutch methods of the seventeenth century which differentiated her from him. No living Englishwoman, it is probable, has received so many tributes to her genius in painting as flowed in during late years on Lady Alma-Tadema, but particularly from France and Germany. She was a constant exhibitor at the Salon, and received many honors from Berlin, which culminated in her being awarded the gold medal of the German government in 1896, when one her best pictures was bought by the Emperor for the collection of the Empress. Although she had been in full professional creativity for 35 years, her signed works are less than 100 in number. Lady Alma-Tadema was of a remarkable beauty of face and figure, the charm of which is preserved in several other husbands' pictures, in a graceful seated statuette by Amendola in 1879, by a bust by Dalou in 1876, and a portrait by Bastien-Lepage. 1852 - 1909 Lady Laura Alma-Tadema 1 Alma-Tadema Lady Laura 2139 Aurelio Tolosa y Alsina was born in Barcelona July 25, 1861 and died in 1938. He is considered a landscape and still life painter from the Spanish school. Aurelio began his formal art education at the Beaux-Arts Academie in Madrid under landscape and genre painter Modesto d’Urgell y Inglada (1839-1919). While studying at the academy, Tolosa y Alsina would adopt the very fluid although academic French formula for still life painting and launch a very successful painting career. Aurelio began exhibiting at the salons in Paris where his large-scale floral still lives received wide critical acclaim. He would continue to exhibit in Paris, Madrid and Rome. He would finally return to Spain and open his studio and atelier in Barcelona. His magically lush still lives can be found in museum and private collections throughout the Western and European continents. Listed: E. Benezit, vol. X, and pg. 215 1861 - 1938 Aurelio Tolosa y Alsina Alsina Aurelio Tolosa y 1903 Mabel Alvarez was considered a painter and lithographer. She was born in Oahu, Hawaii on November 28, 1891. Alvarez moved with her family to California in 1906. Settling in Los Angeles, she studied with James E. McBurney, William Cahill, Stanton MacDonal Wright and Morgan Russell. An advocate of modern art, her work includes figures, still lifes and portraits. She died in Los Angeles on March 13, 1985. Member: Group of Eight Los Angeles Artist Association California Art Club San Diego Fine Art Association American Federation of Art Los Angeles Museum Association Exhibited: San Francisco Art Association, 1918 Art Institute Chicago, 1923 Museum of Modern Art, 1933 Calif. State Fair, 1950 San Joaquin Pioneer Museum, 1950 Crocker Art Gallery, Sacramento, 1951 Los Angeles County Museum of Art, (solo) 1929, 1941, 1954, 1955. Awards: Silver, Panama Calif. Expo, San Diego, 1916 California Art club, 1918, 1919, 1931 Federal Women's Club, 1923 Laguna Beach Art association, 1928 Ebell Club of Los Angeles, 1933-1935 Oakland Art Gallery, 1938 Honolulu Public Museum, 1939 Madonna Art Festival, Los Angeles, 1954 Laguna Beach Museum, 1984 1891 - 1985 Mabel Alvarez 1 Alvarez Mabel 2057 Wilhelm August Lebrecht Amberg is considered a genre and historical painter from the German school. He was born February 25, 1822 and died in Berlin September 10, 1899. Amberg received his formal training as an artist at the Berlin Academy under Professor and historical painter Fredrick Wilhelm Herbig (1787-1861) from 1839-1842. He would also study sculpture at the Reinhold atelier of sculptor Karl Begas. Wilhelm Amberg had his first exhibition in 1842. French master Léon Cogniet (1794-1880) attended the Berlin exhibition and admired this young artist’s work and subsequently invited him to study in Paris at his atelier. Amberg would remain in Paris until 1845. To enhance his education, Amberg traveled to Venice, Rome and Munich. He would return to Berlin in 1869 to open his studio and become on of Berlin’s favorite genre painters. Amberg was elected member of the Berlin Academy in 1877 and to the academy senate in 1886. Museums: Museé de Breme Museé de Cologne Listed: E. Bénézit. Vol. I, p.150 1822 - 1899 Wilhelm August Lebrecht Amberg Amberg Wilhelm August Lebrecht 3194 For Wayne Amerine, the septuagenarian artist, who lives in San Antonio, the days are much the same as they have been for more than a half-century: He works on his art. "I used to have shows with good comments and positive write-ups in the paper," he said. "But that's not as important. What is most important is to do the art and enjoy it yourself." The enjoyment of creating art has kept Amerine working since he learned more than a decade ago that he has bone marrow cancer. He suspects that he contracted the disease as a result of handling - and most likely inhaling - the formaldehyde and fumes from toxic glues used in the production of plywood, his favorite medium. Amerine was born in Great Bend, Kansas in 1928. He attended Bethany College in Lindsborg, Kansas and the Kansas City Art Institute. After moving to Dallas, Texas, he worked as the art director for Batten, Barton, Durstine & Osborn and then as a full-time artist. While he produced a wealth of whimsical wooden sculptures with simplistic themes, he was best known for his life-size black-and-white cows. Inspired by abstract expressionist Robert Motherwell, Amerine used the seminal minimalist artist's technique on plywood boards, infusing a stark, white plane with large black spots, and then cutting out the animal's legs and torso. "I liked the effect when black hit white," he said. "It was fresh, not forced or contrived." He constructed the finished piece using a simple traverse method like that of paper dolls to make the art two- and three-dimensional. The result was distinctive. After Amerine's 1984 The Cow Show in Dallas, retail magnate Stanley Marcus purchased several of the cows and put them out to pasture as part of his private collection. Public Collections: Trammel Crow collection, Dallas Stanley Marcus Collection, Dallas Longview Museum, Longview, Texas Dallas Museum Purchase Award Listed: Smithsonian, Archives of American Art Wayne Amerine 1 Amerine Wayne 3281 Robert Amick was born in Canon City, Colorado amidst cowboys, prospectors and Indians. He studied law at Yale and practiced law for two years before becoming an artist. He worked as a printmaker, illustrator and painter. His paintings of landscapes, horses and western life (his childhood) became so popular that several were printed for the public school system. Courtesy: Best of the West Auctions, Colorado Springs, CO ---------------------------------------------------------------------- Born in a log cabin in Canon City, Colorado, Robert Amick became an illustrator of Western subjects, painter, printmaker, commercial artist and teacher. He grew up in the Colorado cattle country during the 1880s amidst cowboys, Ute and Sioux Indians, homesteaders, and prospectors-"all the characters on the western stage " (Samuels). Amick earned a law degree from Yale University while also taking art courses. After practicing law for two years in Ohio, he became a full-time artist, taking private lessons and studying at the Art Students League. He did illustrations for "Harpers," "Scribner's," "The American," and other publications but was most comfortable with subjects from the life of his background. His western scenes of brilliantly colored landscapes with horses and riders became quite popular, and twelve of them were reproduced as prints for the public schools. He spent much of his career living near New York City in Greenwich, Connecticut where he was, according to a family member, the founder of the Art Society of Greenwich in 1927. Given the circumstances of his background, it is likely he was in Arizona before 1940, but that is not proven. Source: "The Illustrated Biographical Encyclopedia of Artists of the American West" by Peggy and Harold Samuels. 1879 - 1969 Robert Amick Amick Robert 3362 Paul-Jean Anderbouhr (1909-2006) Paul Jean Anderbouhr established his work in the major salons of Paris at an early age. He consistently contributed to the Salon d'Automne and Salon des Artistes Franais beginning in 1934. His paintings are built upon the subtle tone and moods of the "impressionists" but with a distinct variation. Expressionistic qualities have been combined to add a vitality of spirit and motion through his use of quick brush strokes and splashes of color. The results are paintings of motion and mood but with a sense of stability. He was recognized with numerous awards and in 1953 had his first one-man exhibition with the prestigious gallery Durand-Ruel, a relationship which produced eleven one-man shows with them until 1973. In 1949 he began living and working in the French Congo and divided his residency between Africa and his native France. 1909 - 2006 2 Paul-Jean Anderbouhr Anderbouhr Paul-Jean 3297 Roy Andersen (1930- ) Known as a western painter, Roy Andersen did paintings of Crow, Cheyenne, and Apache Indians. He began his career living in Chicago and New York and working as an illustrator. He did numerous covers for Time Magazine including portraits of Albert Einstein and Prince Fahd. He also did illustrations for National Geographic magazine, and did a stamp series on Dogs and American Horses, and in 1984 and 1985, won Stamp of the Year Award. As a muralist, he has filled commissions for the National Park Service, the Royal Saudi Naval Headquarters, and the E.E. Fogelson Visitor Center at Pecos National Monument in New Mexico. To pursue his talent for painting, Roy Anderson went west, living in Arizona and settling in Cave Creek. In 1990, he was voted official artist for Scottsdale's Parada Del Sol, the "world's largest" horse-drawn parade commemorating the Old West. Andersen grew up on an apple farm in New Hampshire and learned about Indian customs from his many hours spent at the Chicago Museum of Natural History. He is meticulous about being historically accurate in his paintings. Of him, it was written: "There are no 'happy accidents' in an Andersen painting. He has knowledge of his subject that is attained only through extensive research. You will not find an Apache medicine bag around a Sioux warrior's neck nor a Cheyenne carrying a rifle that is a bit too 'modern'. What you will see is accuracy, an almost uncanny sense of composition and color harmony and strength of drawing that is remarkable. "(Dickerson) His training is from the Chicago Academy of Fine Art and the Art Center School of Los Angeles. Influenced by a cowboy uncle from Nebraska, he often painted cowboy scenes that his art teachers said were passé. For thirty years, he was an illustrator for National Geographic, Time magazine and Sports Illustrated and lived in New York and Chicago. Then he "went West looking for peace and a place where he could be his own man in both his life and his art" (Prix de West, 14). He lived in Arizona and Texas. In 1989, he was voted into membership into the Cowboy Artists of America*, a group from whom he has received recognition at the annual exhibitions: Oil Painting Award, Silver, 1999 and Drawing and Other Media, Silver, 2000. Sources: Prix de West 2003 catalogue Bill Dickerson, Roy Andersen, 1998 Exhibition Catalog of O'Brien's Emporium, Scottsdale, Arizona Southwest Art magazine Artist Files of Phoenix Art Museum Library Roy Andersen Andersen Roy 2081 Victor Coleman Anderson was born July 3, 1882 in Altamont, New York. New York. He was the son of lesser-known landscape painter Frank Anderson (1844-1891), who painted in the Hudson River Valley between 1860 and 1880. Although his father died when he was eight years old, Victor, like his father, was interested in becoming an artist at an early age. In 1900, Victor Coleman Anderson enrolled in the Pratt Institute in Brooklyn and he was accomplished enough to go directly into the life-drawing class. Anderson studied with tonalist Birge Harrison (1854-1929) in Woodstock, New York during one summer and took classes from Henry Hobart Nichols (1869-1962) and Herman Dudley Murphy (1867-1945). In New York City,Victor Coleman Anderson maintained a highly successful career as an illustrator. He illustrated for several magazines including "Life", "Woman's Home Companion", "Collier's", "Country Gentlemen", and "The Ladies Home Journal". Anderson illustrated two children's books, "Tommy Trot's Visit to Santa Claus" and "Moonbeam Wish Book". Victor Anderson also had a very active career as a painter. He was a member of the Grand Central Art Galleries, where he exhibited, the Westchester Art & Crafts Guild, Chappaqua Art & Craft Guild, and the New Rochelle Art Association. Anderson exhibited at the National Academy of Design; Buck Hill Art Association, Buck Hill Falls, Pennsylvania. He also was a member of the Salmagundi Club and was awarded a prize in the club’s 1934 and 1935 exhibition. During the 1930’s, Victor Coleman Anderson briefly lived in Texas. However, he spent most of his life in New York State, settling in White Plains, where he died July 9, 1937. 1882 - 1937 Victor Coleman Anderson Anderson Victor Coleman 1551 Eliphalet Frazer Andrews is considered an American portrait and general picture painter. He was born in Steubenville, Ohio in 1835 and died in Washington on March 15,1915. He received his initial art training at Marietta College in Ohio (Lilly Martin Spencer also received her initial training at Marietta). Andrews then traveled to Europe to study at the Academy in Berlin. He studied with Ludwig Knaus, at the Düsseldorf Academy and while in Paris at the Ecole de Beaux-Arts with Leon Bonnat (1838-1922). Under the patronage of the late W.W Corcoran, Andrews founded the Corcoran School of Art, of which he was the director from 1877 to 1902. He was also a member of the Metropolitan Club in Washington, D.C. Andrews painted several of the portraits shown in the White House, including Martha Washington, Dolly Madison, and Thomas Jefferson. This painting "Hard to Shoe" was shown at the Academy of Design, New York in 1864 (Exhibition of the National Academy 1861-1900 volume 1, page 13, entry #113), the same year it was painted. Listed: E. Benezit Who was Who in American Art Mantle Fielding 1835 - 1915 Eliphalet Frazer Andrews Andrews Eliphalet Frazer 3205 Charles P. Appel was born in Brooklyn, New York in 1857. Appel is known for romantic landscapes and marine paintings in Tonalist and Impressionistic styles. Appel studied at the New York School of Art with Francis Luis Mora and William Merritt Chase and later with Frank Vincent DuMond at The Art Students League. The major influence on his career, however, was George Inness. Most of his life was spent in East Orange, New Jersey from where he was active in New York art circles and was elected a member of the Salmagundi Club in 1906. He studied at the New York School of Art, New York City, with Francis Luis Mora and William Merritt Chase, and at The Art Students League, New York City, with Frank Vincent DuMond. He became a member of the Salmagundi Club, New York City, 1906. Museums: L.A. County Museum of Art, California Montclair Art Museum, New Jersey. Publications: Who Was Who in American Art 1564-1975, Falk, Peter Hastings (Editor) 3 Vols Master Pieces The Art History of Jigsaw Puzzles, McCann, Chris Annual Exhibition Record, National Academy of Design 1901-1950, Falk, Peter Hastings Annual Exhibition Record, 1876-1913, Pennsylvania Academy of the Fine Arts, Falk, Peter Hastings Mantle Fielding's Dictionary American Painters, Sculptors, Engravers, Opitz, Glenn B (editor) Who Was Who in American Art Artists Active 1898-1947, Falk, Peter Hastings (Editor) The Society of Independent Artists Exhibition Record 1917-1944, Marlor, Clark S Tonalism: An American Experience, Gerdts, William H (others) The American Painting Collection of the Montclair Art Museum, Montclair Art Museum American Art in the Barbizon Mood, Bermingham, Peter Index of Artists International Biographical, Mallett, Daniel Trowbridge (2 Vols) 1857 - 1928 Charles P Appel Appel Charles P 1550 Edward Armfield was considered an English animal painter. He work is very similar and has been confused with the work of his relative George Armfield (Smith). Like George, he is best know for his dog paintings, especially Terriers of various breeds, depicted in playful activities. He exhibited at the Royal Academy, the British Institute and Suffolk Street. Edward , like George, also painted landscapes, dead game birds and other wild animals. His small dog paintings often reminded the galleries and collectors of Landsheer. It has been said by historians that his real name may have been Edward A. Smith. Unknown Edward Armfield Armfield Edward 1902 George Armfield Smith (for by this name he was known until the year 1840) was born in Wales. (Actually Bristol: according to Armfield family information) His father was a painter, who for some time had a studio at 54, Pall Mall, London, (His father was the portrait painter William Armfield Hobday (1771-1831)) and from his father, George Armfield obtained any artistic tuition he may have received. This probably was not very systematic, and, we may suppose, did not suffice to reveal the considerable artistic talent the boy possessed, for, so far from encouraging the taste for drawing which he displayed at an early age, his father apprenticed him to a maker of fishing tackle (Armfield was probably apprenticed to Maria Ustonson of 205 Fleet St., London, who later became William Armfield Hobday's 2nd wife, and who was the mother of Armfield's half-brother, Alfred Hobday). It may be that George's early promise was overshadowed by that of a brother, William, for William was given a regular art education, and was sent to Rome to prosecute his studies. George did not serve his full term of apprenticeship. Before he was sixteen years old he devoted himself to painting, and, as his works found ready sale, his career as an artist was assured. He seems to have been fortunate beyond the majority of youthful painters; he knew no years of struggle for recognition; he found patrons at once, and made a comfortable livelihood, being able to keep his horse almost from boyhood. He married when only seventeen or eighteen years of age, stronger proof, perhaps, of indiscretion than sufficiency of income! He first exhibited in the year 1839, at the British Institution, where he exhibited two pictures, the "Study of a Dog's Head" and "Terrier chasing a Rabbit." These works must have attracted notice, for in the SPORTING MAGAZINE of the following year, 1840, we find the first of a long series of his pictures which were engraved for that publication on. In 1840 he exhibited for the first time at the Royal Academy, showing two pictures, "Fox and Wild Rabbits" and "Terrier and Rabbit," and, as the lists show, he continued to exhibit with regularity at both the Academy and the British Institution for the ensuing twenty years. He also sent pictures frequently to the Suffolk Street exhibitions. The British Institution catalogue gives his address in 1839 as 15, Lamb's Conduit Passage; but if he resided there at this time, he could not have remained long, as he spent practically all his life at Camberwell, Clapham, and Brixton. His services were in much request to make portraits of horses and hounds, and he was a frequent guest at country houses; on one occasion he spent three months at Earl Fitzwilliam' 5, painting portraits in the stable and kennel. George Armfield's success as a painter of animals was largely due to the love of them, which was the salient point in his character; he always had a miniature "zoo" at his house, and possessed wonderful influence over all animals. Somewhat curiously, he was at the same time an ardent sportsman, and delighted in cock fighting and dog fighting, as well as in shooting, hunting and racing. Among his possessions were a chestnut mare, winner of numerous matches, and a famous bull terrier named "Billy." He was very fond of hunting, and was a remarkably fine horseman. Dr. R.W. Leftwich, to Temple Chambers, writes of him: "Armfield was not only a painter of animals, but he could make them do anything. One of the finest riders I ever knew, I remember seeing him make his horse jump over a large bonfire. On one occasion he rode up Regent Street on an apparently lame horse, amid the jeers of the 'bus drivers, right in front of the Horse Guards; but when the band struck up he made the horse dance to the music, and an officer rode up to him and offered any money he liked to ask for the horse. Dr. Leftwich, who knew Armfield during the last thirty years of his life, owns a silver cup won by the artist in a point-to-point race. A sporting match undertaken by him attracted a good deal of attention at the time. He backed himself to ride an old circus mare a mile over hurdles, dismounting and remounting at each hurdle, against two good runners, Pudney and Jackson, who were to run each half a mile. Armfield nearly lost his wager, owing to the fact that the mare became excited and he had difficulty in remounting after the last hurdle. He had a great love of the prize-ring, and was an intimate friend of the famous Tom Sayers, with whom he used to attend race meetings; his associates, indeed, were always sporting men, and he had few friends if any, among men of his own calling. Armfield made money easily, and for many years, says Dr. Leftwich, he, earned 1000 pounds a year; but he spent as easily as he earned. In his careless, openhandedness he seems to have resembled George Morland [Who wasa friend of his father's], for when in funds he would give away bank notes where any other man would have given silver. Unlike Morland, however, he could apply himself steadily to work. He used to bet very heavily, and once lost 500 pounds at a race meeting, whither he had gone with his friend Tom Sayers. On the day after the races he went to his studio and allowed himself neither rest nor amusement, until he had earned 500 pounds, to make up for his betting losses. He was a rapid worker, and, as the list of exhibits at the British Artists' tells, obtained fair prices for his pictures. Dogs, usually sporting dogs, figure largely in Armfield's works, and he painted them with remarkable skill and insight; his foxes, otters, deer and rabbits also display close study and his gift of portraying animal character. His best period extended from 1840 to about 1869, and during these years his output was large. About 1870 his sight began to fail, and in 1872 he submitted to an operation on one of his eyes at Guy's Hospital, when Dr. Bader removed the lens. The operation was only partially successful, and his powers rapidly declined, he became the victim of fits of acute depression, in one of which he attempted to take his own life. He recovered from the self-inflicted wound, and continued to paint, but latterly was able to work only with the aid of a powerful glass and on small canvases. So greatly had his powers of earning decreased, that in 1893 a pension of 20 pounds per annum was granted him by the Royal Academy; he died, however, before drawing the first installment of it. George Armfield was married three times. As already said, he was very young when he took his first wife; by her he had no children; by his second wife he had one daughter, and by the third, twelve children, one of whom, George, followed in his father's footsteps as a painter of animals, more especially dogs. The painter died at Clapham in August, 1893, and was buried at Norwood. The following works by George Armfield have been brought under my notice:-- In the possession of Mrs. Hooper, St. Margaret's-on-Thames, "Pheasant and Fox." In the possession of Mr. H.W.E. Dashwood, Southsea, "Fox watching Rabbits," 40 inches by 35 inches. This biography was received from Mrs. Berl Kerrigan: Thyme House, 3 GreysPark Close, Keston, Kent BR2 6BD, who is a great granddaughter of GeorgeArmfield. The author of the biography is unknown. 1818 - 1865 George Armfield Armfield George 2122 Caroline H. Armington was born in Brampton, Ontario, Canada on September 11, 1875 and died on October 25, 1939. She is considered an impressionist painter, watercolorist and engraver from the Canadian school. Armington began he formal training in Paris at the Académie Julian where she would meet and marry fellow student Frank Milton Armington (1876-1940). She is known for her painting, engravings and watercolors depicting the streets Paris and quaint canals of Bruges-La-Morte. She exhibited several times in London and was invited to the Paris Salon of 1911, 1912 and later at the 1935 Salon d’Automne. Armington was a member of American Federation of Arts, Société Nationale des Beaux-Arts and the Société de la Gravure Originale en Noir. Museums and Public Collections: New York Public Library	 Library of Congress, Washington, D.C.		 Musée de Luxembourg, Paris Petit Palais, Paris British Museum, London South Kensington Museum, London National Gallery, Ottawa Art Gallery, Toronto, Canada Cincinnati Museum of Art, Ohio Syracuse Museum, NY Dayton Art Institute, Ohio Bibliographie de Belgique, Brussels Bibliothèque National, Paris Musée Carnavalet, Paris Metropolitan Museum of Art, NY Boston Museum, Mass. Des Moines Art Association Listed Who was Who in American Art, Faulk, pg. 18 E. Benezit, vol 1, pg.265 1875 - 1939 Caroline Helena Armington Armington Caroline Helena 2901 Frank Armington was born in Fordich, Ontario in 1876 and died in New York in 1941. He studied art in Toronto, under J. W. L. Forster, and in Paris, first at the Académie Julian, under Benjamin Constant and Chaumiere, under Lucien Simon. Frank Armington first went to Paris in 1899, but returned to Canada with his wife, Caroline (1875-1939) to teach art in Winnipeg from 1901 through 1905. During this period, Robert Fulton Logan was among his students. Returning to Paris in 1906, the Armington's established themselves as fine landscape and figure artists in both etching and painting. They were both full members of the Société Nationale de la Gravure Originale en Noir, the Société des Gravures Francais and the American Federation of Arts. Their original etchings and paintings were frequently included in major French and American exhibitions. Some recent scholars have labeled Frank Armington's art as Canadian Impressionism. Others have seen his landscape art as akin to the work of Whistler. As usual, however, there comparisons tell us very little. Frank Armington was a master of many styles, and all of them were very individual. REFERENCE SOURCES: G. B. Opitz, Mantle Fieldings Dictionary of American Painters, Sculptors & Engravers, New York, Apollo Books, 1987. Art Gallery of Ontario: The Canadian Collection, McGraw-Hill, Toronto, 1970. CATALOGUE RAISONNE: Braide & Taylor, Caroline and Frank Armington, Canada, Art Gallery of Peel, 1990. PUBLIC COLLECTIONS: Agnes Etherington Art Centre, Kingston, ON Alte Pinotek, Munich, Germany Art Gallery of Greater Victoria, Victoria, BC Art Gallery of Hamilton, Hamilton, ON Art Gallery of Nova Scotia, Halifax, NS Art Gallery of Ontario, Toronto, ON Art Gallery of Peel, Brampton, ON Art Gallery of Windsor, Windsor, ON Bibliographie de Belgique, Brussels Bibliothèque National, Paris, France British Museum, London, England Cincinnati Museum of Art, Cincinnati, OH Cleveland Museum of Art, , Cleveland, OH Dayton Art Institute, Dayton, OH Des Moines Art Center, Des Moines, IA Everson Museum of Art, Syracuse, NY Glenbow Museum, Calgary, AB Library of Congress, Washington, DC Metropolitan Museum of Art, New York, NY Musée Carnavalet, Paris, France Musée de Luxembourg, Paris Musée du Louvre, Paris, France Musée National d’art moderne, Centre Georges Pompidou, Paris, France Musée Petit Palais, Paris, France Museum of Fine Art, Boston, MA National Archives of Canada, Ottawa, ON National Gallery of Art, Washington, DC National Gallery of Canada, Ottawa, ON Nelson-Atkins Museum of Art, Kansas City, KS New York Public Library, New York, NY South Kensington Museum, London Topeka Public Library, Topeka, KS Victoria and Albert Museum, London, England 1876 - 1941 Frank Armington Armington Frank 3075 Floris Arntzenius, who received his education at the Academy of Amsterdam, is best known for his lively street scenes, done in a loose, impressionist style. His fellow students at the Academy were, among others, George Hendrik Breitner and Isaac Israels, artists whose work influenced him in style and subject matter. Arntzenius, however, did not feel really at home in Amsterdam, a bustling city on the verge of becoming the most important center of contemporary art in Holland. In 1892 he moved to The Hague where he found a studio on the Spun, in the heart of the city. The Hague had always been the chic, quiet bastion of the Hague School, the movement known for its rather dark, atmospheric tonality and subdued land- and seascapes. It is clear that Arntzenius was influenced by these elements; but he combined them with freely applied brushstrokes and a very different subject matter of lively town views and street scenes. In fact, Arntzenius' work can be placed midway between The Hague School and the spontaneous Amsterdam Impressionism. He portrayed his "little streets" in an intimate way, with dark tones and subdued colors — he managed to make the town look friendly even on cloudy or rainy days. The current lot is a fine example of his mature style and has all the elements of a classic "Hague" composition. Depicted here is a view of the Renewed. Arntzenius loved the center of The Hague, the surroundings of the Lange Voorhees, with a preference for the Substrata. Here however, he has chosen for the wider, open space the crossing provided and a high viewpoint. The hustle and bustle of city-life around 1900 is lovingly depicted: the many figures in the street, the horse-drawn carriages, the packed mule and, of course, the white-roofed tram on the right. In the left foreground we see a man in a bolder hat, which very well might be the painter himself. For this is how he saw himself: not purely an observer but also very much a participant. Another important element in this painting is the atmosphere. A critic wrote in 1969: What fascinates him in the city is the rhythm of the windows, the facades, the signboards and the movements of the different street figures. But above all he aims to depict the atmospheric feeling, the sense of the city in the evening, in the fog, with sunny weather or just after the rain. This is exactly what we see in the current lot: a harmonious combination of city and nature, a fleeting impression which becomes a lasting one. Thus was created a unique and sensitive chronicle of its time. Literature: D. Welling, Floris Arntzenius, The Hague 1992, p. 15, illustrated in color 1864 - 1925 Floris Arntzenius 1 Arntzenius Floris 2014 Born in Cleveland, Ohio, George Ault spent most of his childhood in London, where his father was engaged in ink manufacture. He received art training at the Slade School of Art and St. John's Wood School of Art, London, returning to the United States in 1911. Ault's early works were urban vistas similar to those of Joseph Pennell, although quite early in his career he became interested in night effects, a major theme in many of his later works. In the early 1920s, as he gradually incorporated ideas from Cubism, Surrealism, and American folk art, Ault began to develop a modern style. His subject matter remained similar to that of his early work, but he deliberately employed flat shapes, strong geometric patterns, odd viewpoints and slightly skewed perspective effects. Ault also favored slightly unreal colors-teals, mauves, olive greens, oranges, and a cool sky blue-like those used in Art Deco decor. During this period, he established relationships with a number of progressive dealers and began to develop an artistic reputation. Although Ault is often grouped with Precisionists Ralston Crawford and Charles Sheeler, he did not idealize modern life as they generally did. Rather, his urban landscapes, filled with a sense of disquiet and psychic distress, echo both Giorgio de Chirico, the Italian Surrealist, and Albert Pinkham Ryder, the American romantic visionary. By the mid-1920s, personal problems began to interfere with Ault's artistic progress. The home in which he had grown up was emotionally troubled; his mother died in a mental institution and three of his brothers committed suicide. By the time of his father's death in 1929, the family fortune was largely dissipated. These unfortunate circumstances may explain the increasing turbulence and unhappiness of Ault's personal life. Whatever the exact cause, during the 1920s, Ault grew neurotic and reclusive. He developed a severe case of alcoholism, almost blinding himself drinking poisonous bathtub gin. His behavior became so strange that his artist and dealer friends began to avoid him. In 1937, hoping to create a new life and escape his alcoholism, Ault moved to Woodstock, New York. There he lived in a series of rented buildings, depending for income mainly on his wife, who worked for small town newspapers in the region. In this period Ault created his most haunting and powerful works. Though these were his finest works, he had difficulty selling his paintings and gradually slipped into ever greater emotional despair. On December 50, 1948, Ault committed suicide in Woodstock at the age of fifty-seven. Sculpture on a Roof, a striking example of the flat, precise geometric compositions for which Ault is celebrated, is a continuation of a series of rooftop paintings which Ault began in 1931.1 These images were all based on the roof of his building in New York City at 50 Commerce Street, where in 1935, Ault met his future wife, Louise Jonas, sunbathing. It seems likely that the fragments of classical sculpture-a headless female torso, the lower half of a male figure, and a disembodied head-serve to evoke this meeting, but in a manner which combines a hint of eroticism with a feeling of impotence. The female torso is based on a marble Aphrodite that Ault's father had purchased in London, and thus refers not only to his meeting with Louise but to his childhood. The earlier canvases of this series were painted in New York, but Sculpture on A Roof was executed from memory in Woodstock in 1945. The arched windows and the fragments of classical sculpture allude to the work of de Chirico, although the small scale of these elements, the large area taken up by the empty sky, and the general coolness of the colors, endow the painting with an ominous coldness which is more northern and less Mediterranean in spirit, than are de Chirico's canvases. In its curious mix of eroticism and inhibition, modernism and nostalgia, the painting exemplifies the most fascinating qualities of Ault's work. HENRY ADAMS 1891 - 1948 George C. Ault Ault George C. 1955 Education: California State University Long Beach Juried Exhibitions: 1998 "Boulder Art Association 7th Annual Open Juried Spring Show", Boulder, CO 1998 "Artist-of-the- Year Award," San Diego Oceans Foundation 1998 "Laguna Plein Air Painters Association Juried Show," Robson Gallery, San Diego, CA 1998 "Treasures of Sierras," California Art Club, Natural History Museum of Los Angeles County, Muckenthaler Center, Fullerton, CA 1997 "Third Annual California Art Club Outdoor Painting Festival" San Juan Capistrano, CA "Honorable Mention" 1997 "Classic Competition", Carnegie Museum, Oxnard, CA "Honorable Mention" 1997 "Sights of Santa Ana" Bowers Museum, Santa Ana, CA "First Place, Best of Show" 1997 "88th Annual Gold Medal Exhibition," California Art Club, Pasadena, CA "Honorable Mention" 1997 "Juried and Invitational Made in California", Brea Cultural Center, Brea, CA Solo Exhibitions: 1998 Thomas Reynolds Gallery, San Francisco, CA 1996 Gallery Aizen, Tokyo, JAPAN 1989 Marco Fine Arts Gallery, Beverly Hills, CA 1989 Ralston Galleries, Kauai, HI Exhibitions: 1998 "Channel Island Conservancy Exhibition", Guest Artist, Oak Group, Santa Barbara, CA 1998 "Back Bay Exhibition," Orange County Museum of Art, Newport Beach, CA 1998 "Lake Tahoe and High Sierras Invitational," Pogan Gallery, Tahoe City, CA 1998 "Great Expectations Group Show," Wilhelmi/Holland Gallery, Corpus Christi, TX 1997 "Plein Air Painters of America Catalina Exhibition," Guest Artist, Catalina Island, CA 1997 "Laguna Beach Museum of Art Gallery," Laguna Beach, CA 1996 "The Annual Art and Craft Show," Thomas R. Reynolds Gallery, San Francisco, CA 1996 Valerie Miller Gallery, Palm Desert, CA 1996 "Dealer's Choice," Daniel Arvizu Gallery, Santa Ana, CA 1996 "Local's Only," Stuart Katz, The Loft, Laguna Beach, CA 1981 "Laguna Blanca," Santa Barbara, CA 1980 University of Alaska, Kodiak, AK Public and Permanent Collections: Highlands Ranch Company, Denver, CO Mission Viejo Company, Mission Viejo, CA Aliso Viejo Library, Aliso Viejo, CA Festival of Arts, permanent collection, Laguna Beach, CA Chart House Enterprises, Inc., Solana Beach, CA County of Orange Centennial, Orange, CA Museum of Science and Industry, Los Angeles, CA American Bank, Corpus Christi, TX First Bank, Corpus Christi, TX Federal Reserve Bank, San Francisco, CA Oceanside Surfing Museum, Oceanside, CA Huntington Beach Surfing Museum, Huntington Beach, CA Publications: Southwest Art, Houston, TX "Best of the West' Southwest Art, Houston, TX "Milestones" Southwest Art, Houston, TX "Collecting Under $1000" Southwest Art, Houston, TX "Regional Laguna Beach" Kampion, Drew. (1997) Stoked-History of Surfing The Surfer's Journal, San Clemente, CA Fine, Tokyo, JAPAN Nalu, Tokyo, JAPAN Lightning, Tokyo, JAPAN The Los Angeles Times, Los Angeles, CA The Register, Santa Ana, CA Statement about the Artist and his work: Ken Auster believes that the true test, of a painter is the ability to paint on location-to create an image in a brief period of time dictated by weather and light. His plein-air paintings are tangible forms of his conviction. More than that, they are successful renditions of his conviction. Auster's art reminds one of the monumentality of California's landscapes. He perches you atop a hill and makes you gaze out into the ocean and feel the waves beating against the coastline. He balances his compositions out very carefully. As such, his art never jostles you rudely. Auster began his career pursuing art inside his California Beach studio and built his reputation as one of the top surf artists, creating prints and tee-shirts that became icons in the surf world. He had always harbored the ambition to be a first-rate landscape painter. He was greatly inspired by a profound love for the outdoors and a reverence for the early California landscape painters. His decision to begin painting on location was a breakthrough for it allowed him the understanding of letting loose. The result was a more relaxed and loose style, but with a solid foundation. He feels that a lot of artists' start by trying to be painters, then de-evolve into commercial work to make money. He, on the other hand, began with surf art on T-shirts and worked his way up. Auster chooses to paint on wood boards. His loose brush strokes add texture and drama to the immensity of the landscapes, which he romanticizes. He displays a splendid understanding of the characteristics of light. It is captured in its true essence and lends itself to radiate within the confines of his paintings. Auster does the exquisite glimmer of California's golden light much justice. Died 1949 Ken Auster Auster Ken 1946 Florence Julia Bach was an American painter and a native of Buffalo, New York. She was born June 24, 1887 to John Lewis Bach and Julia Spies Bach. At an early age Miss Bach displayed a marked aptitude for drawing. In her childhood, the paper dolls she painted were the envy of her playmates, and she used to wish that the school session was one interrupted drawing period. She was educated in the Buffalo public school and had private instruction at the Mme. Farine School of Speech. She studied art with Professor Carl Wachter at the University of Buffalo. Following her graduation from Lafayette High School she enrolled in the Buffalo Art Students League. Her talent won immediate recognition, and she was awarded a scholarship to continue her study at the Art Students League of New York City under William Merritt Chase, the best known American portrait painter at that time, and under Frank Vincent DuMond. Later, in 1925 she studied modeling at the École de Beaux Arts, Fontainebleau, France under Monsieur Le Jeune. In the early 1930's she went to Italy for further study. An artist of long experience, she had for years enjoyed recognition for her skill in floral portrayal. Miss Bach, working from nature, produced clear, accurate, realistic paintings. She spent many of her summers at the farm of her aunt, Mrs. Anna Phelps, near Bethel, Connecticut, and it was there that she painted many still life and flower studies. Bach was also a portrait artist in both painting and sculpture. Included among her subjects were: Commodore Harry E. Montague, Dr. Charles Cary, Dr. Kahler, Mrs. Charles Cary, Mrs. James Crate, Elsa Schmidt, George Cary's two children, Marialove and Charles Cary, Arletta Lothrop, Mary Francis Larkin, Dr. William Warren Quinton, Dorothy Douglas, Mrs. H. A. Kidder, Miss Rose Movius, Edward Dufner, David Ericson, Urquhart Wilcox, Elizabeth MacKinstry, Mary B. W. Coxe, Ernest Fosbury, and Eugene Monahan. She also did a decorative panel, five feet by nine feet, for the Farney Wurlitzer home in Tonawanda. Miss Bach once said that "Any intelligent person can learn to draw, but that does not mean that anyone can become an artist. For the artist must do more than reproduce what he sees - he must interpret - give something of himself to his painting." Miss Bach had a rare privilege of viewing art from every angle. As instructor in the School of Fine Arts in Buffalo for 29 years, she observed the early stages of its development in the work of her students. As President of the Buffalo Society of Fine Arts, she was afforded an exceptional opportunity to see the outstanding paintings produced there. As artist and sculptor, she knew the satisfaction of creative achievement. In 1943, taking a leave of absence, Miss Bach moved from New York to Bethel, Connecticut with Mrs. Evelyn C. Murnam. After recovering from a broken hip she returned to live in Manhattan in 1945. Years later she moved to Greenwich, Connecticut, and in 1970 she was teaching one day a week in Greenwich, Connecticut. For recreation, Miss Bach enjoyed her walks and reading about history and the lives of artists. Her favorite food was Italian, particularly spaghetti but she also loved chow - mein. She spent her last years enjoying her gardens and her love for cooking. She will be remembered by many with sincere respect and abiding affection. Honors - Diploma, First Degree Sculpture, École des Beaux Arts, Fontainebleau; winner of Buffalo Society of Artists' Fellowship Prize in 1917 and 1922; Member of the Council, Buffalo Society of Artists 1926; Member Jury of Award, Fellowship Prize, Buffalo Society of Artists Exhibition of 1926. Awarded a medal for distinguished service in art at the Buffalo Centennial in 1932. In the decade of the 20's and since she has received many awards and has been an exhibiting member Grand Central Galleries, Inc; New York. 1887 - 1978 Florence Julia Bach 1 Bach Florence Julia 1901 William Jacob Baer, was considered the foremost American miniature painter was born in Cincinnati, Ohio January 29,1860 and died in New York City in 1941. Baer began his formal training as a painter and illustrator at the Munich Royal Academy in 1880. While a student at the Academy, he was awarded for medals and one of his works was purchased by the Directors, for the Academy. Upon his return to the United State, Baer settled into the Montclair, New Jersey art colony to continue his career as a genre, portrait painter and teacher. He was attracted there by his friend, Alexander Drake (the art editor Scribners Monthly). Drake encouraged him to teach a class in engraving and black-and-white draftsmanship for illustrators; class members were dubbed the Carbonari. In 1888 Baer became the instructor at Round Lake, New York, for summer classes at a Chautauqua-like cultural enterprise to which he remained attached until 1891; in 1893 he took over the classes at Chautauqua itself for several years. In 1892 and 93, he turned from figure painting to miniatures (both portraits and other subjects), initially under the patronage of Alfred Corning Clark, and soon Baer not only became the most renowned miniaturist in the country but also spearheaded the miniature-painting revival that began at that time. Baer exhibited in Chicagos 1893 Worlds Colombian Exposition. In New York and at the Paris Exposition of 1897, Baer was awarded a 1st class medal. He also was a regular exhibitor at the National Academy of Design, N.Y., the Chicago Art Institute and the Pennsylvania Academy of Fine Art. Listed: Dictionary of American Painters, Sculptors and Engravers, Mantel Fielding Revisiting the White City, American Art at the 1893 Worlds Fair, National Museum, Washington, D.C. Art Across America, Two Centuries of Regional Art, William Gerts E. Benezit Exhibition Records Pennsylvania Academy of Fine Art Exhibition Records Chicago Art Institute Exhibition Records National academy of Design 1860 - 1941 William Jacob Baer Baer William Jacob 3276 James Walsham Baldock (182201898) James Walsham Baldock was born James Walsham Markham in 1822 in Tadcaster, Yorkshire. After being orphaned he was adopted by his maternal grandfather, Thomas Baldock who was a farmer in Worksop. His early life was spent working on the farm but as a gifted amateur painter, at the age of 25 James decided to become a professional artist. He soon became successful selling work locally and through national exhibitions with many sporting and equestrian groups for the gentry in both England and Ireland. In 1884 he moved from Worksop to Sherwood Rise in Nottingham where he lived until his death in 1898. Museum: Bassetlaw Museum, North Nottinghamshire, England 1822 - 1898 James Walsham Baldock Baldock James Walsham 3359 Henry Cornelius Balink (1882-1963) The following biography is based onA Portrait of Native America Indians and the Art of Henry C. Balink, 1882-1963, a biography-in-progress by curator Pieter Hovens. Henry C. (Hendricus Cornelis) Balink was born on June 10, 1882 in Amsterdam. His talent and fondness for the arts was discovered in primary school. However, his father refused to let his son pursue an artist career, upon which junior ran away from home at the age of sixteen. Set on becoming an artist, he earned and saved the needed tuition fees by participating in bike racing and skating competitions in the Netherlands, and by working as a stuntman for an American film company. From 1909-1914 he studied at the Royal Academy of Art in Amsterdam with Derkinderen, Dake, Van der Waay and Six, and belonged to the top of his class. After marrying Maria Wessing, he and his bride came to the United States. Balink worked in New York for a short while, then moved to Chicago where he painted portraits for private patrons and murals at the Lady of Sorrows Basilica. In 1917, the Balinks went west and settled in Taos, New Mexico on Ledoux Street. The sun and landscape of the Southwest lit up the painter's palette significantly. He showed his work at art exhibitions in Santa Fe, Colorado Springs, Tulsa, Kansas City, Chicago, Philadelphia and New York, and his paintings of Indians and Pueblo village scenes became popular and a commercial success. Members of the Taos Society of Artists unsuccessfully tried to have him deported from the U.S. They were motivated by professional jealousy and tried to have Balink deported by accusing him of espionage. In 1923, Balink settled permanently in Santa Fe where he built an adobe studio on the Old Santa Fe Trail. From here he made numerous trips to Indians reservations in the American West to draw and paint. He also became known for his etchings of Indian subjects, an art and craft he had expertly mastered at the Royal Academy and which he developed further artistically and technically in New Mexico. He invented a new type of crayon and worked on perfecting a duo tone etching technique. From 1926 to 1930 he did much work for patrons in Oklahoma. Oil tycoon E.W. Marland commissioned him to paint portraits of Indian chiefs, and a series of one-man shows were staged in Oklahoma City, Tulsa, Ponca City, and Chickasa. He painted on Indian reservations in Montana and Arizona and began experimenting with photography. In the 1930s Balink taught mural painting and applied wood sculpture at the Santa Fe Indian School. He painted on the Hopi reservation and on the Sioux reservations in the Dakotas. Fascinated by the art of pottery making, he painted canvasses of Pueblo potters and Pueblo pottery. Several times his works won prizes at the annual Western art exhibitions of Western State College in Gunnison, Colorado. After World War II Balink painted Indians in Arizona and Montana. He trained George Phippen and advised Dwight D. Eisenhower on his amateur painting, while his work remained a popular success. This popularity explains why so much of his work is still in private collections. Museums with holding of works by Balink include the Museum of Fine Arts in Santa Fe, the Albuquerque Museum of History and Art in Albuquerque, the Tucson Museum of Art, the Woolaroc in Bartlesville, the Thomas F. Gilcrease Museum and the Philbrook Museum of Art in Tulsa, and the National Cowboy Hall of Fame and Western Heritage Center in Oklahoma City. Balink died in 1963 and is commemorated in Santa Fe by a bronze plaque in front of the Museum of Fine Arts. 1882 - 1963 1 Henry Cornelius Balink Balink Henry Cornelius 2782 Jules Frederic Ballavoine was born in Paris in 1855 and died in 1901. He is considered a still-life, genre and landscape painter from the French school. He received his formal art training at the l’Ecole de Beaux-Arts under historical painter Isidore Alexandre Augustin Pils (1813-1875). Ballavoine found incredible success as a painter of small Paris street scenes, which have been compared to those of Jean Beraud (1849-1910) and his exquisite small light filled still-lifes equal those of the traditional realist Edgar Degas (1834-1917) and closely relate to the supple simplicity of impressionist Henri Jean Theodore Fantin-Latour. Jules-Frederic Ballavoine debuted at the Salon of 1877 with “le bouquet campagne.” At the Salon of 1882 with ”Surprise”, “Le Marche aux fleurs” and “La Petite Bohemienne” and at the Salons of 1883 and 1886 with “Parmi les rochers” and “Sur la terrasse.” At the 1886 Paris Salon, Ballavoine and was awarded a metal for “La séance interrompue.” He also exhibited at the Salon of 1890 and 1897. He continued exhibiting his delicate still-lifes, portraits, Paris street scenes and historical genre paintings. All of his exhibitions received critical acclaim, which helped him become a very successful painter. His works can be found in private and public collections in both the United States and Europe. Listed: Thieme-Becker Lexikon E. Benezit Index of Artists, Mallett Dictionnaire des Petits Maitres de la Peinture 1820-1920, Gerald Sohurr 1855 - 1901 Jules Frederick Ballavoine Ballavoine Jules Frederick 3187 Edward Herbert Barnard was born in Belmont, Massachusetts in 1855 and died in Westerly, Massachusetts in 1909. Barnard is considered a landscape painter in styles ranging from representational to impressionist. In 1877, Barnard began his formal studies in architecture at the Massachusetts Institute of Technology and at the Boston Museum School of Fine Arts, where he was in the first class. From 1885 to 1889, Barnard studied in Paris at the Académie Julian with Gustave Boulanger and Jules Lefebvre. Exhibition venues included the Art Institute of Chicago, the Boston Art Club and the National Academy of Design. In Boston from 1890 to 1899, he had a studio in the Harcourt Building. He was a member of the St. Botolph Club and the Boston Water Color Club. From 1890 to 1899, he was a teacher at Bradford College. Museum: Sheldon Memorial Art Gallery, Lincoln, NE Literature: “Picturing Chatham American Landscape Painting 1882-1971”, Chatham Historical Society, page 48 “American Paintings: 1860-1940”, Greer, Gina; Andrea Smith “Gallery Tranquil America: A Century of Painting, 1840-1940”, Editor, Spanierman No “Boston Art Club: 1855-1950”, Jarzombek, Nancy Allyn, page 88 “Who Was Who in American Art 1564-1975”, Falk, Peter Hastings (Editor), 3 Vols, page 3724 “Revisiting the White City American Art at the 1893 World's Fair”, Carr, Carolyn K., page 408 “Pfeil Collection Masterworks of American Impressionism”, Gerdts, William H., page 282 “American Impressionism from the Sheldon Memorial Art Gallery”, Sheldon Memorial Art Gallery, page 79 Source: Ask Art Peter Falk, "Who Was Who in American Art" 1855 - 1909 1 Edward Herbert Barnard Barnard Edward Herbert 1560 Henri-Alphonse Barnion (1882-1935) was born in Paris in 1882 and died in the same city in 1935. He was a student of Dameron, A. de Richmont and L.O. Merson at the Beaux-Arts Academy in Paris. He exhibited at the Salon des Artists Francais where he obtained honorable mention in 1909, a silver medal in 1921. In 1935, he became a full member and received a gold medal. Barnoin was classified as hors-concours in 1939. As a landscape painter, Barnoin was awarded Laureat of the Association of French painters. Listed: E. Benezit 1882 - 1935 Henri Alphonse Barnion Barnion Henri Alphonse 3358 Bill Barrick (1945-) Bill Barrick is a painter of the bygone rural Southwest, often depicting farms and farm implements. He believes that agriculture is deserving of a more prominent place in history, and that farmers have not been given due credit for their development of the West. He paints objects instead of ideas, using a lot of acrylic glazes. In addition, he rarely paints human figures because his desire is for the viewer to place them self into the scene.He studied art at three Universities and taught public school art a few years before resigning to devote full time to his painting career.He recentlyrelocated his home studio near the small town of Florence, at the edge of the Hill Country, about 17 miles west of Salado. Bill is an award-winning member of the prestigious Texas Association of Professional Artists, National Western Artists Association, Southwest Society of Air Force Artists and an honorary member of the Texas Ranger Hall of Fame. He has been featured in several books, television productions, and magazines such as Southwest Art, Southwest Airlines, Texas Homes, and others. His work hangs in many prominent collections including Coca-Cola Company, Dr. Pepper Company, Dresser Industries, State Farm Insurance, 3M, Texas Society of Certified Public Accountants, State Bar of Texas, and several universities. Museums that have exhibited or archived his work include the Panhandle-Plains Historical Museum, Canyon, The Lubbock Collection, Texas Tech University Museum of the American West, Houston, Bywater's Research Collection on American Art and Architecture, Southern Methodist University, Dallas. Museum Exhibitions and/or Archives - Bywater's Research Collection on American Art & Architecture, S. M. U. - Museum of the American West, Houston - National Ranching Heritage Center, Lubbock - Panhandle-Plains Historical Museum, Canyon - Texas Ranger Hall of Fame, Waco - The Lubbock Collection, - Texas Tech University Collections - 3M Corporation - Baylor University - Coca-Cola Company - Dr. Pepper Company - Dresser Industries - Oklahoma City Community College - State Bar of Texas - State Farm Insurance Company - Texas Society of Certified Public Accountants - Texas Tech University - United States Air Force - University of Texas Memberships - National Western Artists Association - Southwest Society of Air Force Artists - Texas Association of Professional Artists - Texas Wild Bunch 1 Bill Barrick Barrick Bill 3273 The Italian Afro Basaldella was born in Udine on March 4, 1912, the short form "Afro", with which he also signs his pictures, is his artist name. His brothers Dino and Mirko Basaldella were also painters. Afro Basaldella studies in Venice and Florence, completing his studies in Venice in 1931. He receives a scholarship for a working stay in Rome from the Fondazione Marangoni in 1929, where he meets the artists Scipione, Mario Mafai and Corrado Cagli. In 1932, the artist lives for some time in Milan, where he also shows works in the Galleria del Milione in 1933. Over the following years, he participates in the Quadriennale in Rome as well as in the Biennale in Venice several times. He is commissioned to paint the Udine opera house in 1936. The artist works on large murals for the World Exhibition along with Corrado Cagli in Paris in 1937. His first one-man show takes place in Tome in the Galleria del Cometa the same year. Afro also executes frescoes for the "Hotel des Roses" on the island of Rhodes. He accepts a lectureship for mosaic painting at the Venice Academy in 1941. He travels to New York for the first time in 1950, where he shows works in the gallery of Catherine Viviano. Afro aligns with Moreni, Corpora, Morlotti, Birolli, Santomaso, Turcato and Vedova, previous members of the "Fronte nuovo delle Arti", together they form the "Gruppo degli Otto" (Group of Eight). Afro Basaldella teaches at Mills College in Oakland, California in 1957/58. In 1958 he completes a mural for the UNESCO building in Paris. Ten years later he is appointed professor at the Accademia di Belle Arti in Florence, he has to leave the post in 1971 for health reasons. As of the early 1970s, he is intensively working on his graphic oeuvre. The style of his early works in the 1930s is close to the Venetian tradition, however, the artists discovers Cubism as of 1937. He intensively examines works of Pablo Picasso and Georges Braque. In addition, his works from the 1940s shows influences of the Roman School and also expressionist and post-cubist elements. After an artistic crisis in 1946/47, a time during which hardly any paintings were made, Afro attains an abstraction that is based on analytic and synthetic Cubism. He gets to his own mature style with a clear emphasis on light and color not before encountering the abstract Expressionist Arshile Gorky in New York. The late oeuvre is characterized by an increasing harmonization on the one hand, and on the other, by a consolidated use of forms and a subtle refinement of the media. Afro counts among the most important abstract Italian painters. He dies in Zurich on July 24, 1976. 1912 - 1976 Afro Basaldella 1 Basaldella Afro 3271 A popular wildlife artist, Reveau Bassett was born in Dallas, Texas. His early art training was at the Art Students League in New York where he was a pupil of Joseph Pennell, William Leigh, and Boardman Robinson. He also studied at the National Academy of Design where he would later exhibit. His painting often reflects an influence from the atmospheric works of Frank Reaugh with whom he worked and studied on many painting expeditions throughout Texas and New Mexico. Settling in North Texas, he became one of that state's foremost wildlife painters. His mural, hanging in the Dallas Petroleum Club, is also well known. During the late 1960's and early 1970's Reveau Bassett taught painting to the Garden and Arts group of Irving Texas. The Art Chairman of the group, a wonderful lady named Pete Fernandez, invited Mr. Bassett to teach. Mr. Bassett had a fondness for Irving and its small art community, and he came on Tuesday nights, often teaching in the Union Bower Church. In addition to Pete the other ladies in the art group were Sara Clear, Edna Ganser, Lil Cartwright, Liz Strickland, Delores Kleiner, Edith Stinnet, Mary White, Marie Petrasek, and Margaret Atterlee. Although they came to paint, they ended up learning about life and philosophy, and it was a thoroughly enjoyable experience. But these ladies were not just studio painters; they were a hearty bunch of women. Reveau would lead them out to fields carrying sack lunches and coffee. They climbed in and out of barbed wire pastures, and occasionally they were chased by bulls. Some of the ladies would join Reveau Bassett and Frank Reaugh in their travels out to West Texas in Frank's old touring bus named the "Cicada". Art supplies, cooking equipment, and camping equipment were all piled on top of the Cicada. Men and women artists would go on these trips, but no 'hanky panky' was allowed. On these trips each person was required to paint three painting per day, or else Mr. Reaugh would not speak to them. Source: Bronwyn Clear, former student of the artist 1897 - 1981 Reveau Mott Bassett Bassett Reveau Mott 1559 Charles Baum is considered an early German-American still life painter. His canvases over-flowing with fruits and flowers seem vulgar by modern standards, but they reflect Victorian opulence and the optimistic perspective of a New World filled with abundance. Little is known of Baum's life, except like Severin Roesen, he was born in the German Rhinland and immigrated to the United States in the wake of the European revolutions of 1848. He first settled in New York, then moved to Pennsylvania. Like several artists, including Paul Lacroix, Charles Baum was strongly influenced by the work of Roesen. He imitated his work; his production, which included porcelain and enamel painting. Charles Baum painted numerous canvases all very similar. Fruits from all seasons mixed with flowers, bird's nests, half-filled wineglass. 1822 - 1877 Charles (Carl) Baum Baum Charles (Carl) 3123 Walter Emerson Baum, well known as the critic for the "Philadelphia Bulletin" and for his landscape work, was born in Sellersville, Bucks County, Pennsylvania, in 1884. His entire life was spent in Sellersville, where he painted landscapes of the local countryside, and cityscapes depicting the antiquated architecture of his and other local towns. He received his initial training in 1904 from William Trego, a painter of military scenes. He entered the Pennsylvania Academy of the Fine Arts six years later, in 1910, and studied with Thomas Eakin's teacher, Thomas Anshutz. Daniel Garber, an influential member of the New Hope Landscape School, and member of the Academy's faculty, also influenced Baum's work and style. Baum often painted the area's seasonal changes working en plein air, occasionally painting snowstorms in the snowstorm itself. In the mid 1930's, he traveled to Europe, painting and visiting many museums. His trip was relatively short as he was eager to return home and resume painting the Delaware Valley's scenery. His works were completed in tempera, watercolor, oil, and pastels, numbering more than 2000. Although most of his paintings were landscapes, he completed many quaint cityscapes of nearby Allentown and Manayunk. In 1921, Baum began teaching art, and founded the Baum School in Allentown. For thirty years, ending in 1956, Baum worked as art editor and critic for the "Philadelphia Evening" and "Sunday Bulletin", writing more than 500 reviews. He died in 1956. Source: David Zellman, "300 Years of American Art" 1884 - 1956 Walter Emerson Baum 1 Baum Walter Emerson 2147 "…Washington’s finest master of still life, who created lovely, often quite simple flower and fruit paintings…” William Gerts, Art across America, Two Centuries of Regional Painting, Vol.1, pages 348-349. Peter Baumgras is considered an American portrait and still life painter. He was born January 24, 1827 in Bavaria and died October 18, 1923 in Chicago, Illinois. Baumgras received his formal art training at the Düsseldorf Academy with Friedrich Kaulbach (1822-1903) and the Royal Academy in Munich with Carl Schorn (1803-1850). In 1853, Peter Baumgras immigrated to the United States. In 1857, Baumgras traveled to Washington, DC of the decoration of the Capitol. He would remain in Washington for almost 15 years. During this period, he helped found the Washington Art Association became a prominent teacher taught, which led to a teaching position at Columbian (now George Washington) University for the instruction of the deaf, dumb and blind. In 1865, he painted a portrait of Abraham Lincoln. Although he was primarily a portraitist, Baumgras is to this day considered Washington’s master still life painter. During the Civil War, Baumgras was a surgical draftsman, and after the war, he taught at the Naval Academy at West Point. At the end of the War, Baumgras would be drawn by fellow artists to the West Coast. He would arrive in 1869 and remain in the west spending most of these years in California (1872-1874) painting mining scenes and Yosemite scenes. He would also travel to Oregon (1877) to paint a few portraits. By 1900, Baumgras had returned to Washington DC and spent the last few years of his life in Chicago. Exhibited: National Academy of Design, NY Source: Who Was Who in American Art, Peter Falk Artists in California, 1786-1940, Edan Hughes Art across America, Two Centuries of Regional Painting, William Gerts, Vol.1, pages 348-349. Plate 1.344, pg. 349 E. Benezit, Vol. I, pg. 18 Exhibition of the National Academy 1861-1900, Maria Naylo 1827 - 1903 Peter Baumgras Baumgras Peter 1558 Charles Baxter was best known as a painter of fancy portraits and charming, pretty girls, He exhibited regularly at the Suffolk Street Gallery and the Royal Academy, between 1839 and 1872. His subjects went from rustic to very poetic. Baxter started his career as a book binder and miniature painter. He was elected to the Society of British Artist in 1842. He also exhibited there from 1843 until his death in 1878. Listed: E. Benezit, vol. 1, pg., 53 The Dictionary of Victorian Painters, p. 4 Art Journal, 1864, pp.145-147, biograph Art Journal, 1879, p. 73, obituar Victoria and Albert Museum; Maas, p. 107, plate 106-11 The Royal Society of British Artists, 1824-1893, p. 30 Museums: Victoria and Alber Melborne Museu Sunderland Museum 1809 - 1879 Charles Baxter Baxter Charles 3132 Jean Frédéric Bazille was born in Montpelier, France in 1841, to a wealthy family of advanced art patrons. His family gave financial support to some of the early Impressionist artists who were revolutionizing French painting, and Bazille himself became a member of the Impressionists as a young man, when he entered the studio of Charles Gleyre in Paris. Gleyre was a Swiss painter who had taught Whistler and many other of the Impressionists. Gleyre encouraged open-air painting, which was an important aspect of the Impressionist approach. Bazille entered his studio in 1862, though shortly before it closed permanently. Like his friends and fellow students at the studio of Charles Gleyre, Bazille preferred strongly modeled forms and bright, clear colors. He shared a particularly close relationship with Claude Monet with whom he painted out-of-doors and took occasional vacations. Bazille, who had a comfortable allowance from his family, was able to help other young impressionist artists who were often in dire financial straits. Monet and Auguste Renoir shared his studio when they could not afford their own. Bazille also bought paintings from his friends. Bazille volunteered for service when the Franco-Prussian War broke out in July 1870. He was killed a few months later. During his short career he produced about sixty paintings that survive today. Bazille is less well known than many of his contemporaries, in part because his family retained most of his work for many years. In Gleyre's studio, Bazille met Claude Monet and Pierre-Auguste Renoir, who became his close friends; he was also acquainted with the English-born Impressionist Alfred Sisley. Though Bazille painted outdoors in Fontainebleau and in Normandy with Monet and Renoir, and was strongly influenced by his friendships with the impressionists, Bazille remained notably faithful to the more traditional styles and subjects of painting, favoring portraits and figure painting over landscapes. His themes are monumental and dramatic, and he applied that monumental approach to both modern and conventional themes. His brushstroke was free and powerful; under the influence of Manet he modeled his figures with great vigor and boldness. In the late 1860's, some of Bazille's paintings were accepted at the Paris Salon. His best-known painting, "Family Reunion", a group portrait in an outdoor setting, was shown at the Salon in 1868. In 1870 the Salon rejected "La Toilette", a more conventional figurative work. Bazille was killed in action during the Franco-Prussian War. 1841 - 1870 Frederic Bazille 1 Bazille Frederic 3310 Frederick William Becker was born in Vermillion, SD on March 24, 1888, Frederick Becker studied with Hugh Breckenridge and Daniel Garber at the Pennsylvania School of the Fine Arts, at the School of Art & Design and the Art Students League in Los Angeles, and at the Macky School in San Francisco. He lived in NYC, Oklahoma City, Taos, and southern California in Palm Springs and Cathedral City. An itinerant artist, Becker traveled widely and was active in California from the 1920s until his death in Cathedral City on April 12, 1974. Member: Laguna Beach AA; Society of Texas Artists; Oklahoma Art League; Southern States Art League; Desert Art Center. Exh: SFAA, 1914; Kansas City Art Inst., 1917 (bronze medal), 1932 (gold medal); Univ. of Oklahoma, 1918 (medal); Art Studio Shop (Hollywood), 1934; Tuesday Afternoon Club (Glendale), 1953; Desert Art Center (Palm Springs), 1965; Laguna Beach Museum, 1980 (solo). Collection: University of Oklahoma Source: Edan Hughes, "Artists in California, 1786-1940" City Directory; Artists of the American West (Doris Dawdy); Dictionary of American Painters, Sculptors & Engravers (Fielding, Mantle); Who's Who in American Art 1936-53. 1888 - 1974 Frederick William Becker Becker Frederick William 3294 Howard Behrens (1933-) For the past 25 years, Howard Behrens, the world's most renowned palette knife artist, has had a romance with the sun. From the idyllic lakes of Italy to the intimate gardens of New England, the artist has danced with her, chased her, seen her in her many different moods. Behrens' motivation comes from his strong passion to capture the "essence" of the places he visits around the world. Monet, Van Gogh and Nicola Simbari, the Italian palette knife artist, have influenced the artist. Behrens attempts to express his love for the radiance of the sun's gifts - shadow, light, color, and the subtle nuances of these elements. Many years ago, Behrens learned that the only way he can really achieve what he feels in his paintings is to create them using a palette knife for its boldness and control of color instead of a brush. Sketching light and shadow using the palette knife, Behrens captures not only the softness of clouds, but also the boldness of mountains, the vibrancy of flowers, and the strength of water. Behrens moves the palette knife furiously as he applies deep, rich color in many layers to achieve dimension and mood. Behrens' skill with this instrument has earned him recognition as America's leading palette knife artist. Behrens is also a classicist in his approach to composition so that there is plenty of room for the eye to rest and the imagination to wander, touring distant horizons around the world taking in crystal coves, wispy palms, pink villas, and stunning overlooks in the artist's paintings of these exotic places. Traveling is like an aphrodisiac in Behrens' romance with the sun. During his travels, he has seen the way the ever-changing kaleidoscope of light and shadow changes how a place looks and feels from hour to hour. Often, the artist sits and waits for these moods to present themselves to him. Behrens says the sun has taught him to be patient, to observe, and to play. The artist says his excitement continues to peak as he plans each new trip - whether it is a return to a place, he has painted repeatedly or whether it is a new adventure in a land unknown. Behrens has had over 150 one-man shows from coast-to-coast since becoming a professional artist in 1980. His works have been on the covers of many art publications and he has been the featured subject of numerous magazines and newspapers. After visiting Giverny, France, last year, the artist created a "Tribute to Monet" series that was exhibited at the Embassy of France in Washington, D. C. As an official artist for the 2002 Winter Olympics, Behrens' painting, "In Motion," was featured at the games. The artist's works are owned by numerous, well-known collectors and are in the permanent collections of many museums. The most recent Behrens' collectors are former President George Bush and Mrs. Barbara Bush. Behrens and his wife, Judi, travel the world - Italy, Bermuda, Mexico, across America - to many of their favorite places filled with gardens, inns, vistas, and villas. Celebrate romance with Behrens, a poet sculpting paint on canvases that are alive with color, and join him on a romance with the sun that will never end. Though born in Chicago, he is a longtime resident of the Washington, D. C. area. He holds a Bachelors and a Masters Degree in Fine Art from the University of Maryland. Howard Behrens 1 Behrens Howard 1557 Pierre de Belay was born in Quimper (France), December 11, 1890 and died in Paris in 1947. In 1919, upon his demobilization, Pierre de Belay took up residence in Paris, and stayed there for the rest of his life. His quarter was Montparnasse. In 1925, he found a studio on rue de L'Armorique. Then in 1937, he moved to rue Proidevaux where his studio over looked Montparnasse. Painters and writers had left Montmartre several years before for Montparnasse. The life of "Montparnassians" during this "wild age" has often been recounted through the destinies of Chagal, Soutine, Modigliani, Pasein or Kisling, and through life in numerous studios of the 14th district, particularly at the Ruche, nightclubs like Bal Negre and the Jockey at the Vavin intersection and cafes like Rotonde, the Coupole, the Dome on the boulevard Montparnasse, which was invaded by artists and socialites. Pierre frequented this motley milieu, which for him would be an extraordinary source of inspiration. From 1923-1926, he illustrated the magazine Harlequin, periodical of arts and spectacles, particularly the column Pairs sups and Dines. He was already making the most of his virtuosity in drawing. At the same time, through painting he was beginning to treat various subjects that would be his for years. In the same year, after exhibiting at the Rontonde in 1930, he would have a great success at a private exhibition at the Gulot Gallery. Belay exhibited 50 works depicting Scenes of Parisian Life. The State bought At the Cobbler's. It was this exhibition that established Pierre de Belay's reputation and insured him a successful career. Museums: Bordeaux Brest Orleans Ostende Paris Quimper Bibliography: Gerald Schuss: Pierre de Belay (Revue Modern, Paris, 1972). 1890 - 1947 Pierre de Belay Belay Pierre de 2013 Albert Fitch Bellows was a gifted landscape and genre painter, known for oils and watercolors that were gentle and peaceful in mood. He was born in Milford, Massachusetts, and began his career as an architect. He gave up this profession in 1850 to serve as the principal of the New England School of Design in Boston. Six years later, he decided to pursue a career as a painter full-time During a trip to Europe in 1857, he studied at Antwerp's Royal Academy of Art. Within the year, he returned to the United States and settled in New York City. There, working in the realist manner of the Hudson River School, he portrayed scenes of life in old-time New England and landscapes based on sketches made during his trips to such areas as the Green Mountains of Vermont, Maine, and Connecticut. He took up watercolors in 1865, and his works in this medium brought him considerable renown in the years that followed. He was one of few foreign artists elected to membership in the prestigious Royal Belgian Society of Water-Colorists, and he was the author of the influential book, Water Color Painting: Some Facts and Authorities in Relation to its Durability (1868). 1829 - 1883 Albert Fitch Bellows Bellows Albert Fitch 1962 George Bellows was born in Columbus, Ohio where he attended school before going on to Ohio State University. He was probably the first artist who ever gave up a possible career as a major league baseball player in order to paint. He went to New York in 1904 and studied with Robert Henri and H. G. Maratta before opening his own studio in 1906. A giant of a man with prodigious energy, Bellows turned out literally a flood of paintings until his death in 1925. In 1908, he won the National Academy's first prize for landscape painting for the first landscape he painted, and was elected associate, one year later, making him one of the youngest men ever elected to the Academy. Interested in physical strength and movement, Bellows began by painting in the manner of the "Ashcan School", working in a rather gray color tonality. As he progressed, a more sensuous palette replaced this grayness, while his compositions became grander and more formal, displaying a dazzling technique that he applied to both landscapes and portraits. His portraits are quite emotional, suffused with a sincerity that is quite moving. His landscapes range in mood from bright lyricism to mysterious sadness. Bellows began to produce lithographs in 1916, showing a mastery of the use of black and white through subtle gradations in tone. Regrettably, his promising career came to an abrupt and untimely end when he died of an attack of acute appendicitis. 1882 - 1925 George Bellows 1 Bellows George 1556 Scenes of daily life painted by Jean Beraud reveal interest in Naturalism. Such diverse themes as crowds observing the funeral of Victor Hugo (see Carnavalet, Paris) or studies of the interior of a Parisian Bank Apartment reflect aspects of French society during the Third Republic. Beraud was born of wealthy French parents in Saint Petersburg, Russia, where his father's career as a sculptor introduced him to the arts at early age. After his father's death the family moved to Paris (1853). Beraud thus received his by education at the Lycée Bonaparte. Studious and talented, he finished his degree in law before the Franco-Prussian War. During the siege of Paris he served in the army's Garde mobile de la Seine. It as not until after the war that Beraud decided to become a portrait artist. He entered the studio of Leon Bonnat (one of the leading painters of the Third Republic) and received training as a portraitist for the next two years. The six entries he exhibited at the 1873 Salon document his preference for portraits during the early part of his career. He entered the official Salons regularly until 1889, receiving a Third-class medal in 1882 and a second-class medal 1883. The Late 1870s, however, show a change in Beraud's focus, for he began recording scenes from Les Halles (1879 Salon) or the streets Montmartre (1880 Salon). During the mid-1880s he completed two paintings that reveal social consciousness a quality inherent in some aspects of Naturalist movement. Les Fous (1885 Salon) and La Salle des filles au depot (1886 Salon) are compositions that graphically convey the personality of his figures as well as his adeptness at capturing anecdotal gestures. His depiction of a young prostitute yawning or another tying her shoe demonstrates his indebtedness to similar works by Degas. Tiring of the academic Salon, Beraud became an enthusiastic founding member of the Salon of the Societe Nationale des Beaux-Arts, serving as vice-president, and exhibiting at their annual Salons from 1890 until 1929. During the 1890s Beraud modified his Naturalist style to create religious compositions in a contemporary mode.(1) The symbolic implications of these canvases, which he exhibited in 1892 and 1894, evoked considerable discussion among critics: although his context was historic, he depicted his subjects in contemporary dress. These compositions were not his most successful, but they nonetheless document his continued participation in the Naturalist circle. His frequent choice of worldly events and public personalities reflects a similar "modernity" because of his ability to capture the personality of his models and to record their active participation. In addition, Beraud was highly successful at creating an image of the fashionable Parisian woman of the 1890s. These compositions convey a stereotype of femininity, but the French and Russian aristocracies who were his clients were more than satisfied with his superficial representations of reality. Although he received the Legion d'honneur in 1887 and a gold medal at the Paris Fair in 1889, Beraud's later work was less serious than the Naturalist themes that he completed during his middle years. After his death, the Societe' Nationale des Beaux-Arts honored his work with a retrospective exhibition at the 1936 Salon; a second exhibition was also held that year at the Musee Carnavalet, Paris. 1. Like James Tissot whose later works were religious in theme, Beraud may have reflected the end-of-the-century attitude of disinterest and doubt toward religion. These paintings created a stir because Beraud used realistic portraits of contemporary figures dressed in clothing typical of the nineteenth century. 2. See Jean Beraud peintre de la vie parisienne, Musee Carnavalet, November 1936-January 1937. The same museum held a similar exhibition in 1978/79; see Un Témoin de la Belle Époque Jean Beraud (1849-1935), Collections du Musee Carnavalet, 5 Jun-29 July 1979. Information on Beraud's life and career remains sparse, since no descendants have been located. 1849 - 1935 Jean Beraud 1 Beraud Jean 2902 Tony-Francois de Bergue was born June 20, 1820 in Paris and died in 1890. He is considered a landscape, portrait and historical genre painter from the French school. Berge received his formal art training at l’Ecole de Beaux-arts with historical painter Léon Cogniet (1794-1880) and with Nicolas Louis Francois Gosse (1787-1878). Bergue debuted at the Paris Salon of 1847. He didn’t participate in the exhibitions at the Paris Salons until the Salon of 1861 where he exhibited Rembrandt poignant ta leçon d’anatomie. In 1874, Berge would travel Portugal, Italy and Spain to paint and study. Museum: Musée de Reims: Portrait of Adolphe Dauphinot Listed: E. Benezit, volume I, pg. 660 1820 - 1890 Tony-Francois de Bergue Bergue Tony-Francois de 3222 A founder in 1898 of the Taos Society of Artists, Oscar Berninghaus excelled at drawing animals and figures in contemporary garb in Southwestern landscapes. Many of his early paintings were Impressionistic, "suffused with color and light". (Gerdts 254) He was born in St. Louis, Missouri and developed an interest in art through his family's lithography business. He attended night classes at the St. Louis School of Fine Art. In 1898, he was on an illustration assignment for "McClure's" magazine, which took him for the first of many times into New Mexico and Arizona. He had heard of the special beauty of Taos and there met Bert Geer Phillips, who was already a resident, and Phillips invited him to return. This visit began a tradition of spending the winter months in St. Louis and the summers in Taos. He remained active in both communities, and for many years designed the costumes and floats for the Veiled Prophet parade, a famous annual event in St. Louis. He also did a series of western scenes commissioned by the Anheuser-Busch Brewing Association to promote a manly, ruggedness theme in their products and to enhance their image as good Americans, an image that was being attacked by suffragettes. In this capacity and without visiting the area, Berninghaus did a painting titled "Old Faithful, Yellowstone" in 1914, which was used as a calendar illustration in the series. Berninghaus was a sketch artist for the Denver and Rio Grande Railroad to depict landscape of Colorado and New Mexico. In 1912, he joined the founding members of the Taos Society of Artists, whose goal was to promote sales of their work in Taos and other markets. In 1919, he bought an old adobe house near Taos overlooking the town and in 1925 settled there permanently. He did some painting in surrounding states including Phoenix, Arizona in 1931, where he painted a five lunette mural at the Post Office building of the opening of the west. His style was one of short, quick brush strokes, which gave his work a unique texture. Early in his career, he painted on site, but later from memory, which was described as being extremely accurate. One of the reasons he was committed to the Taos Art Colony was that he believed it was a distinctly American art, something definitive of subject matter unique to this country. He depicted Indians in a realistic, unromaticized way, going about their lives as they actually did in twentieth-century New Mexico. Source: Michael David Zellman, "300 Years of American Art" Peggy and Harold Samuels, "Encyclopedia of Artists of the American West" Peter Hassrick, "Drawn to Yellowstone" William Gerdts, "American Impressionism" 1872 - 1952 1 Oscar E Berninghaus 1 Berninghaus Oscar E 3171 Detroit-area painter Henry Bernstein studied with John Carroll at the Detroit Society of Arts and Crafts in the early 1930s. He began showing in the Annual Exhibitions for Michigan Artists at the Detroit Institute of Arts in 1931 and continued to be represented throughout the 1940s. Bernstein was extremely active in the New Deal art programs, receiving commissions through TRAP, the Section as well as the Michigan WPA/FAP. For the latter he produced several murals including three for the Michigan School for the Blind in Lansing (now missing). Besides the mural for the East Lansing post office, now in the MSU Libraries, Bernstein painted two others, On Board the Car Ferry ‘Ann Arbor No. 4 (1941) in Frankfort and Chemistry (1942) in Midland. At the end of the Depression, Bernstein obtained a position in the automobile industry but continued to exhibit his paintings. 1912 - 1962 Henry Bernstein Bernstein Henry 1555 Johann Berthelsen painted exquisitely rendered landscapes of New York City, judged ‘’poetic’’ by contemporary critics. Ironically, it was music not art, to which Berthelsen originally aspired. A native of Copenhagen, Denmark, Berthelsen was six when his family immigrated to the United States in 1889. At the age of 18, He entered the Chicago Musical College as a four-year free scholarship student in the art of singing and general music. Following his graduation, Berthelsen toured the United Slates and Canada as lead baritone for the Grand Opera Company in English. After five years of his operatic work, he returned to his alma mater as a member of the vocal faculty for three years, after which he accepted the position as head of the Voice department at the Indianapolis Conservatory of Music where he remained for six years. In 1920, Berthelsen opened a private studio in New York City where he gave voice lessons In the years that Berthelsen devoted his time to singing and music, he also found time to paint for his own pleasure. In 1932, he would leave his music career to focus on his passion to paint on a full-time basis. Johann Berthelsen initially established his artistic reputation with his work in pastels. Having achieved success as a pastelist, Johann Berthelsen turned his attention to oils. Working with small canvases, he found inspiration in New York’s Central Park, the East River and the city&#146;s streets. New York City&#146;s views were an inexhaustible subject for his wonderful poetic paintings and pastels. His most popular subject became the New York City’s buildings as seen through the veil of a light snow-storm. “Little Church Around the Corner” and “Old Trinity, Wall Street” are among his most successful snow scenes. Johann Berthelsen also painted nocturnes where the city’s imposing structures rise out of the midnight mist or an early morning rain. Berthelsen was a member of the American Watercolor Society, Allied Artists of America, and the Salmagundi Club. From 1940 to 1942, he was a member of the Lecture Bureau of the Columbia Broadcasting System. Johann Berthelsen died in New York city in 1972. Public Collections: Terre Haute Museum, Indiana Wake Forest College, North Carolina Listed: Allied Artists of America American Watercolor Society Salmagundi Club 1883 - 1972 Johann Berthelsen 1 Berthelsen Johann 3293 Pierre Philippe Bertrand 1889-1975) Pierre Philippe was born in Lorient (Morbihan), France May 4, 1884 and died in Noirmoutier-en-l'Ile in 1975. His family was originally from Luzon. Pierre Philippe Bertrand (Pierre-Bertrand) was a painter of light and color in the impressionist style. His favorite subjects were still lifes, small villages and the sea. He captured light and succeeded in taming its nuances. Bertrand debuted in 1907 at the Paris Salons. His first one-man exhibition was in 1914 at a gallery in London. In that same year, painter, friend and gallery owner Pégot-Ogier would also honor Bertrand with an exhibition for in Paris. Both exhibitions were very successful. Unfortunately, the First World War erupted and interrupted Bertrand's artistic career. He joined the resistance. In December 1915, Bertrand was captured behind enemy lines and imprisoned Mannheim Camp. While a prisoner, he painted portraits of his comrades. After the war, he was awarded the War Cross for his bravery. After returning to France, he discovered the beauty of Noirmoutier-en-l'Ile, which is situated to the north of the island of Noirmoutier, in the Atlantic Ocean. It was here that Bertrand would open his first studio. To Bertrand the island represented paradise because it helped him fill his canvases with the magical light of the Mediterranean. He also loved the island of Yeu, where he painted each summer for over 30 years. Museums: Musee de la Guerre D'Art Moderne, Paris Musee de Province Listed: E. Benezit, vol I, pg.705 Retrospective Exhibition: 14 Septembre 2007 Au 2 Décembre 2007 - La Barre de Monts Rétrospective de l’oeuvre de Pierre Bertrand Exposition à l’écomusée du marais Breton 1884 - 1975 Pierre Philippe Bertrand 1 Bertrand Pierre Philippe 2068 Gaston Bethune is a landscape painter from the French school. He was born in 1857 in Paris and died in Auteuril (a suburb of Paris) in 1897. Bethune began his formal studies with landscape painter Jules Achille Noel (1815-1881). He would continue is studies with historical painter Leon Bonnat (1833-1922) and watercolorist Pierre-Francois- Eugene Giraud (1806-1881) at the Beaux-Art Academie. Bethune debuted at the Paris Salon of 1876 and soon became an important figure and regular contributor to the salons. He was recognized for his Luminist landscapes in both oil and watercolor. Although his career was shortened by illness and death, Bethune had an incredibility successful life and career. In 1881, he was knighted Chevalier of the Legion of Honor, one of France’s most coveted honors. Museums: Lille: "Le Repose" Nantes: "Le vieux port á Menton" "Eventail sur soie" "Beaulieu" "Presquile Saint-Lean á beaulieu, 1885" La Campagne de Rome (series) "London" "Arcachon" "Naples" " 1886, du Château Saint Elme" (watercolor) Reims: "Fleur d’ete" Saintes: "Route de Villefranche" (watercolor) Listed: E. Benezit, vol. I, pg. 716 Dictionnaire des Maîtres de La peinture 18201-1920, vol. 1, A-H, page 126. Gerald Schurr and Pierre Cabanne Dictionnaire des peintres paysagistes Francais au XIX siecle 1857 - 1897 Gaston Bethune Bethune Gaston 1554 Murray Percival Bewley (1884-), generally considered the leading Texas portraitist of the twentieth century. He was born to a prominent Fort Worth family on June 19, 1894 in Fort Worth Texas. Bewley received his first art training in Forth Worth and then in Chicago at the Art Institute, the National Academy of Design in New York and the Pennsylvania Fine Art Academy in Philadelphia. Bewley studied with William Meritt Chase, Robert Henri and Celia Beaux. He was a member of the Mystic Art Club, Mystic Conn.; Salmagundi Club, New York and Allied Artist of America, Paris. Bewley exhibited at the Salmagundi Club in 1921 and was awarded a prize. He was awarded a prize at the 1943 Sacramento, California Exhibition. He also exhibited at the National Academy of Design, the Pennsylvania Fine Art Academy, and the Art Institute of Chicago. Bewley finally settled in Paris as a professional portrait and figure painter. He became a regular exhibitor at the Paris Salons and was awarded prizes in 1908, 1909 and 1910. He continued exhibiting at Salons through 1914. Sometime in the early 191O's, Bewely returned to Fort Worth to paint portraits and sympathetic genre subjects. He then returned permanently to New York to paint and teach. Public Collections: Fort Worth Art Museum, Ft. Worth, TX Pennsylvania Academy of Fine Art, Philadelphia Chicago Art Institute, Chicago Art Institute, Dayton Museum of Fine Art, Houston Listed: American Art Annual, edition, no. XX Dictionnaire des Peintres, Sculpteurs, Dessinateurs, Graveurs, E. Benezit, Paris, 1924 Dictionary of American Painters, Sculptors, and Engravers, Mantle Fielding, Philadelphia, 1926 Who,s Who in American Art Art Across America, Two Centuries of Regional Painting, vol. II 1884 - 84 - Murray Percival Bewley Bewley Murray Percival 3120 Frank Bicknell remains mysterious. He is frequently described as tall, handsome, and outgoing, but no photograph of him has been located. He lived in Old Lyme for nearly forty years, yet little can be said about his life there, nor, indeed, about his life before that. Bicknell was born in Augusta, Maine, in 1866, and later moved to Malden, Massachusetts, where he studied art with Albion H. Bicknell, presumably a relative. In 1887 he exhibited at the National Academy of Design. The following year he moved from Malden to New York City, and by 1893 he was in Paris studying at the Academie Julian under Bouguereau and Robert Fleury. His entry in New York's National Academy exhibition that year depicted an old washhouse along the River Eure-Chartres, suggesting a Barbizon approach not unlike that of his first teacher and namesake. In 1894 his address was the Salmagundi Club in New York, possibly indicating his recent return to this country, and his entry in the National Academy annual that year was An Old Apple-Orchard, France (which he priced at $500, an amount roughly four times that he had put on his earlier paintings). Curiously, Bicknell's address for the next few years was "The Tower," Madison Square Garden, one of the newest, most celebrated buildings in the city. The Spanish tower that architect Stanford White designed to crown what was essentially an amusement center that included a theater, restaurant, concert hall and roof garden (where White would be killed in 1906, victim of a jealous husband) was the second tallest structure in the city, lit up at night, and topped by a controversial nude Diana sculpted by Augustus Saint-Gaudens. Stanford White had a sumptuous apartment in "The Tower." Rents there must have been steep. Was Bicknell a wealthy man? He had money enough to travel to Japan during this period, for paintings he exhibited at the National Academy in the late 1890s are of Japanese subjects, and some artists' dictionaries of the early 1900s note his trip to Japan. Bicknell came to Old Lyme early, about 1902, and after that seemed to limit his travels to the eastern United States, often Maine or Cape Cod. A bachelor, Bicknell often referred to the other colonists as "the family." Arthur Heming, whose reminiscences of Old Lyme were published posthumously in 1971, described a typical evening in the Griswold House living room after a hard day's work. The group around the fireplace: Metcalf, Woodrow Wilson, Hassam, "Uncle" Howe, DuMond, Robinson, and Rook. "Mrs. Wilson, Mrs. DuMond, Miss Pope and Bicknell were having a rubber of bridge, and Miss Florence was playing the piano while Hoffman was accompanying her upon his flute." Mrs. Wilson bought some of Bicknell's paintings. Inexplicably, in about 1919, Bicknell began to teach. He became Associate Professor at the College of Fine Arts, Carnegie Institute of Technology, for six years, and apparently he taught no more after that. Bicknell was a member of many organizations, among them the Lotos Club, the Salmagundi Club, the Mac Dowell Club, the National Arts Club, the Academy of National Art, the American Art Association of Paris, the Pittsburgh Art Association, and the Chicago Water Color Society. He was elected to associate membership in the National Academy of Design in 1913. After 1916, Bicknell's home in Old Lyme was one that had belonged to fellow artist Lewis Cohen, a Barbizon painter who bequeathed the place to him. Until failing health forced Bicknell to give it up, he was a prominent member of the Old Lyme group, who specialized in painting the local landscape at different times of day and in different seasons of the year. He died in 1943 in a nursing home in Essex. If there had been relatives, certainly his history would be better remembered. Neither his personality nor his accomplishments as an artist are yet well enough known. 1866 - 1943 Frank Alfred Bicknell Bicknell Frank Alfred 1553 Albert Bierstadt was like most painters of the Rocky Mountains in the nineteenth century, he was foreign born. He was born in 1830 in Soligen, near Dusseldorf, Germany and died in New York in 1902. He and his family emigrated to the United States when he was two years old. He grew up in Bedford, Mass. In 1853, Bierstadt returned to Dusseldorf to study under the landscape painters Andreas Aschenbach and Karl F. Lessing. Under the influence of the Dusseldorf school, and in the company of his fellow painters Emmanuel Leutze and Thomas Worthington Whittridge, Bierstadt learned attention to detail, the respect for drawing and the numerous tricks and effects of technique which he utilized for the rest of his life. He traveled though Germany, Switzerland and Italy during his four years of European study, and produced some competent and pleasing picturesque old world scenes. After his return to the United States in 1857, did he travel and paint in the White Mountains of New Hampshire. He also began to employ a camera, not used by artist of the time. It was not until 1858 that he discovered the subject matter which he would make his own. In that year, Bierstadt joined a survey expedition to the American West led by Col. F. W. Lander. He made numerous studies, working swiftly, of the spectacular Western scenery, Indians and wildlife. He patiently set to work in his studio to produce paintings of the West which filled a seemly insatiable hunger of the American and European public. Public Collections: Brooklyn Museums, New York Capital Building, Washington, D.C. The Hermitage, St. Petersburg, Russia High Museum, Atlanta, GA Metropolitan Museum of Art, New York Museum of Fine Art, Boston St. Johnsbury Athenaeum, VT Dallas Museum of Art, Dallas, TX Amon Carter, Fort Worth, Texas Gilcrease, Tulsa 1830 - 1902 Albert Bierstadt 1 Bierstadt Albert 1900 Landscape and still life painter. Born at Peru, Clinton County (N.Y.), July 22, 1823, Bigelow is said to have received his first instruction in art from a cousin of Hiram Powers. He moved to Chicago in 1858, there winning considerable reputation as a landscape painter and becoming one of the associates of G. P. A. Healy and the group of artists who founded the Chicago Academy of Design, later to be called the Chicago Art Institute. Many of his landscape subjects were taken from trips to New York and New England and were painted for Chicago patrons who themselves had eastern roots. He also gained considerable renown for his still lifes. Bigelow died in Chicago in July 1910. Listed: New York Historical Societyís, Dictionary of Artists In America Who Was Who In American Art Art Across America Mantle Fieldingís, Dictionary of American Painters 1823 - 1910 Daniel Folger Bigelow 1 Bigelow Daniel Folger 1963 Born in Warwickshire England, Thomas Birch and his father immigrated to the United States in 1794, settling in Philadelphia. His father was noted enamellist and miniaturist, William Russell Birch, and young Thomas would assist his father in this intricate work, no doubt contributing to his technical abilities. The two worked together from 1799 to 1800 as William Birch & Son, designing, engraving, and publishing topographical views of Philadelphia. Around 1806 he began painting portraits and marine subjects, and soon moved to landscapes and seascapes. At one of his exhibitions in Philadelphia at the Pennsylvania Academy of Fine Art in 1825, Thomas Cole and other notable artists expressed great admiration for Birch's paintings and became quite interested in his artistic style. Birch used a technique similar to those used by English painters- such as the use of glazes and impasto made for a dramatic effect in his skies and water. Birch's concern for accuracy involved an initial detailed sketch, brush strokes of color, and then final details would sometimes be inscribed lines done with the pointed end of the brush. He would add highlights of pure color for the final touches. Birch lived and worked in Philadelphia, but also painted in New Jersey, and Pointe Breeze, the Delaware River estate of Joseph Bonaparte, the exiled king of Naples and Spain. In addition, Birch painted New York Harbor, Cape Henalopen, as well as the Massachusetts and Maine coastlines. Birch's work can be found in many prestigious private and museum collections throughout the United States including: The Metropolitan Museum of Art, New York; The Historical Society of Pennsylvania, Philadelphia; The Peabody Museum, Salem, MA; New York Historical Society; Detroit Institute of Arts, Detroit; Atwater Kent Museum, Philadelphia; and the Franklin D. Roosevelt Library and Museum, Hyde Park, NY. References: Brewington, Dorothy E.R., Dictionary of Marine Artists, Mystic Seaport Museum, Inc., 1982. Wilmerding, John, American Marine Painting, Harry N. Abrams, Inc., Publisher, New York, 1968. 1775 - 1834 Thomas Birch Birch Thomas 2012 A leader in the development of modern art in America, Emil Bisttram pioneered its introduction in the Southwest, moving from New York to Taos, New Mexico, in 1931. Before this date, the Hungarian-born artist was exposed to advanced painting and art theory through several sources. These included a close association with the Russian emigrant Nicholas Roerich, whose exploration of the relationship between art and the occult contributed to the evolution of abstraction in this country. Roerich's ideas paralleled those of his famous compatriot Wassily Kandinsky, whose art and writing also influenced Bisttram. Bisttram opened his Taos School of Art (also called the Bisttram School of Fine Arts) in 1938. In 1938, along with Raymond Jonson, he founded the Transcendentalist Painting Group, whose members sought to convey the "cosmic" and "universal" by means of a nonobjective aesthetic. Yet despite his commitment to non-objective painting, Bisttram continued to employ a range of styles throughout his career. In addition to his hard-edged, geometric abstractions, he explored Cubism, Expressionism, and representational realism. 1895 - 1976 Emil Bisttram Bisttram Emil 1899 Born in Paris on January 21, 1848 and died in 1928. Biva was a student of Leon Louis Antoini Janzi and Alexandre Nozal at the French Academy. At that time William Adolphe Bouguereau, Benjamin Constant and Jules Lefebvre were his instructors. It was this influence that explains the controlled style of Henri Biva. The Academy had very strict attitudes toward paintings. It was this rigid attitude that divided the Academic painters and the Impressionists. He first exhibited at the l'Exposition de Blanc et Nair in 1886 with paintings "Une rue de Ville d'Avray'11 " La Nuit" and Roses de Nice et giroffies". He also exhibited at the Salon des Artistes Francais where he won honorable mention in 1892, third class in 1895, second class and honorable mention in 1896. He won a bronze metal in 1900. Biva was nominated to the Salon des artists Francois in l903, l904 and l905. He was elected to Chevalier in the Legion of Honor in 1900. The honor was the one thing that Pierre Auguste Renoir wanted during his life but was never elected to until after his death. Listed: E.Benezit, Volume II, pg. 57. Le Salon 1928 Societe des Artists Frances. 141st Exposition Officielle (the year of his death) des Beaux Arts. Grand Palais des Champs. Elysies. Ave Alexandre III, plate 5, pg. 11 and listed under paintings pg. 11, #211 & 212. Dictionnaire biographigue de artists. 1848 - 1928 Henri Biva Biva Henri 3247 Eugene de Blaas was born July 24, 1843 at Albano, near Rome to Austrian parents. His father, Karl (1815 1894), teacher to him and his brother Julius (b.1845) became Professor at the Academy in Vienna and Venice, then part of the Austro Hungarian Empire. It was in Venice that Eugene de Blaas established himself as the leading painter of Venetian genre. Venice had been an essential stop on the Grand Tour since the early eighteenth century, past visitors had returned home with views and portraits, the late nineteenth century visitor wanted more. The affluent Venetian visitor wanted human interest, a sense of life by the canals and campos of the city, as a result of which a school of artists developed to supply this market. Native Italian artists like Antonio Paoletti and Antonio Rotta, Luke Fildes and William Logsdail from England, but above all Eugene de Blaas, depicted the life of Venetian fisher folk, gondoliers and Venetian beauties. The titles of his paintings; "The Love Letter", "Stolen Kiss", "The Suitor", with his highly polished technique, the depiction of embroidered lace, auburn hair and a coquettish glance, ensured that his paintings were of universal appeal. Between 1875 and 1891 de Blaas exhibited twelve works at the Royal Academy, London. By 1885 the art dealer Arthur Tooth & Son in London represented him before moving to his rival T. Maclean from 1886, also in London, an indication of the artist's popularity in Britain. His works can be found in museums in Leicester; Melbourne; Nottingham; Sheffield; Sydney, Art Gallery of New South Wales and Vienna. 1843 - 1932 Eugen de Blaas 1 Blaas Eugen de 1876 Eugene de Blaas was born July 24,1843 at Albano, near Rome to Austrian parents. His father, Karl (1815-1894), teacher to him and his brother Julius (b.1845) became Professor at the Academy in Vienna and Venice, then part of the Austro-Hungarian Empire. It was in Venice that Eugene de Blaas established himself as the leading painter of Venetian genre. Venice had been an essential stop on the Grand Tour since the early eighteenth century, past visitors had returned home with views and portraits, the late nineteenth century visitor wanted more. The affluent Venetian visitor wanted human interest, a sense of life by the canals and campos of the city, as a result of which a school of artists developed to supply this market. Native Italian artists like Antonio Paoletti and Antonio Rotta, Luke Fildes and William Logsdail from England, but above all Eugene de Blaas, depicted the life of Venetian fisherfolk, gondoliers and Venetian beauties. The titles of his paintings; "The Love Letter", "Stolen Kiss", "The Suitor", with his highly polished technique, the depiction of embroidered lace, auburn hair and a coquettish glance, ensured that his paintings were of universal appeal. Between 1875 and 1891 de Blaas exhibited twelve works at the Royal Academy, London. By 1885 the art dealer Arthur Tooth & Son in London represented him before moving to his rival T. Maclean from 1886, also in London, an indication of the artist's popularity in Britain. His works can be found in museums in Leicester; Melbourne; Nottingham; Sheffield; Sydney, Art Gallery of New South Wales and Vienna. 1843 - 1932 Eugene de Blaas Blaas Eugene de 1898 The son of an innkeeper, Black was raised in rural Viola, Wisconsin in the Kickapoo Valley, where many of his childhood friends lived on a nearby Indian reservation. Largely selftaught as an artist, he began to draw and paint using vegetable juices, earths and red keel, which the Indians used for ceremonial decoration. However, when his family moved to Chicago, he studied art at the Academy of Fine Arts between 1906 and 1908. Black worked as an illustrator and newspaper artist in Chicago, Minneapolis and New York, spending his summers touring and sketching in the West, researching for illustration and commercial art work. Health problems forced him to move to Taos in 1925, where he executed some of his best work, painting the Pueblo architecture, Indians and the snowcovered peaks of the Sangre de Cristo Mountains. His style was characterized by broad brushstrokes, often achieved with a palette knife, blocks of bold color, with little detail, simply portraying the essence of the Southwest, which he painted from life whenever possible. 1887 - 1938 Laverne Nelson Black Black Laverne Nelson 1567 Olive Parker Black is considered an American landscape painter. She was born in Cambridge, Mass. in 1868 and died in 1949. Her first formal art education was as a student of Hugh Bolton Jones and William Merritt Chase at the National Academy and at the Art students League. Black also studied with E. Blashfield and was considered one of Chase's foremost students. Olive became well known for painting landscapes of the Eastern United States from Maryland to West Virginia and North to the Berkshire Mountains of Western Mass. Her landscapes reflect the dominant influence found in the romantic but pure Hudson River School combined with the looseness of impressionism. The work shows the characteristics of the Barbizon School which she absorbed through the teaching and art of Hugh Bolton Jones. Black painted American landscapes in a manner emphasizing the effects of the seasonal light and time of the day on her rural subjects. Exhibited: National Academy 1897 / 1898 Society of American Artist Boston Art Clu Art Club of Philadelphi Carnegie Institute Member: Women Artist in Americ Copley Societ National Academy of Design Listed: Who's Who in American Ar E. Benezi Mantle Fielding's Dictionary of American Painters 1868 - 1949 Olive Parker Black Black Olive Parker 1566 Walter Blackman was born in New York in 1847 and died December 13, l928 in Chicago, Illinois. He received his formal training under the hand of Jean-Leon Gerome. Walter Blackman was drawn to Paris's three ateliers that were established at the Ecole des Beaux-Arts in 1863, under the direction, respectively, of Gerome Cabanel and Isidore Pils (1813-1875). It was Gerome who was most popular among American painters. His consistency of rigorous academic style and durability as a teacher made him a significant resource for dozens of American students; Thomas Eakins, Fredric Arthur Bridgeman, Edwin Lord Weeks, Kenyon Cox, Julius L. Stewart, Mary Cassat and Walter Blackman. Although Gerome heavily influenced Walter Blackman's style, Alexander Cabanel also influenced him. Walter Blackman's friend, Thomas Hovenden, was studying at the Beaux-Arts studio under Cabanel in 1874-75. It was through this friendship that Blackman became acquainted with Cabanel's techniques. It was the combination of Gerome's journalistic, humanizing approach and Cabanel's more melodramatic style that molded Blackman's final approach to his own painting. Walter Blackman became a member of the Association of American Artists in Paris. Beginning in the 1860's independent studios began to become appealing. Groups of students, like Blackman, began seeking alternatives to continued emphasis on draftsmanship and on classical tradition. They organized two studios, in which Bonnat and Carolus-Duran were visiting critics. These artists also exhibited together and it is recorded that Walter Blackman exhibited "Caught in the Act" in the 1878 exhibit. Before these French exhibitions, Walter Blackman had returned to New York to embark on a career as a painter and poet. Blackman worked extremely hard exhibiting at the National Academy between 1868-1878. Like many other artists during this period, Blackman found it difficult to establish himself in New York. He left New York for London after exhibiting two paintings at the National Academy "Game of Quibbles" Lot #286 and "Signal" Lot #449. Upon his arrival in London, he received an invitation to exhibit at the Royal Academy. Exhibition records in London note that he was actively exhibiting between 1878 and 1895. Records at the Royal Academy give these two titles "Crossing the Brook" (1880) and "Venetian Market Girl" (1895). Listed: The Royal Society of British Artists 1824-1893, the New English arts' Club 1888-1917. Pg. 42 Dictionary of Artists, Graves. Pg. 27 Index of Artists, Mallett, Pg. 39 The Dictionary of American Artists Sculptures and Engravers, Pg. 48 Mantle Fielding, Pg. 76 Who's Who in American Art. Pg. 58 E. Benezit, Volume II page 61 Exhibition of the National Academy 1861-1900, Vol. 1 The Dictionary of Victorian Painters by Christopher Wood, Pg. 51 1847 - 1928 Walter Blackman Blackman Walter 3327 William Henry Blackman (Bill) was born February 2, 1930 in San Diego, California. In 1948 he joined the Navy and was stationed in Hawaii. After his short tour of active duty (1 year in those days) he returned to California and attended Woodbury College to study advertising and graphic Arts. While there, he met his wife Shirley, who coincidentally came from the Big Island of Hawaii. They were married in 1955 in her hometown of Honokaa. When they returned to California he began his career in advertising as a print media production manager. In 1965 he turned his hobby of oil painting into another career by contracting with a national art gallery to paint seascapes and landscapes. In 1980 Bill began teaching his method of painting to students in private classes around the country. 1 William Henry Blackman Blackman William Henry 3354 Ralph Albert Blakelock (1847-1919) Born in New York City, Ralph Blakelock earned a reputation for nocturnal, misty scenes, especially moonlit landscapes, large oak trees, and Indian encampments. He also did a small number of floral still lifes. His work has a mysterious quality, which some associated with the type of music he habitually played on the piano during interludes from his painting. Towards the end of his career, his paintings became increasingly haunting, a reflection of his insanity brought on by horrible poverty and his inability to support his family of nine children. He was both a late exponent of the Hudson River School of painting and also of the American West. He also foreshadowed the romantic, visionary, and modern tendencies that marked the turn of the 19th to 20th centuries. This romanticism, especially of escapism, was increasingly pronounced towards the end of his career. Blakelock was the son of a prominent English-born, New York physician, and first took medical studies, but his love of music and art led him away from medicine. He graduated from the College of the City of New York, studied briefly at Cooper Union, and at the Free Academy of the City of New York. In 1867, he first exhibited at the National Academy of Design to which he was ultimately elected, after he was incarcerated for insanity. During this time, he painted a series of New York City scenes, primarily of un-glamorous areas such as his work, Shanties, New York City. He also painted in Hudson River Style and was in locations that included the Adirondacks and the White Mountain. It is thought he learned this style during his brief and only art education at Cooper Union. Primarily self-taught, he declined his father's offer to pay for more extensive art schooling, and instead, at age 22, embarked on a three-year (1869-1972) horseback tour of the West. He lived with plains Indians, painting pictures of their villages, and traveled and painted through the Rockies and the Sierra Nevadas. In San Francisco and Oakland, he painted city scenes, the tree landscapes, and coastal views, and then he headed south to Mexico. These western paintings were also in the Hudson River style, although they were rough and more painterly. Returning to New York, he developed what became his signature expression quiet, moody, nocturnal scenes accented with bright colors depicting light, and trees silhouetted against the sky. He had a labor-intensive technique, which was building up of multi layers of thick paint, scraping some away, and "adding more to build a complex tonality". (Zellman 420) It is said that his real travels were introspective from which he created these moody, dark landscapes, and they did not satisfy the current public taste for uplifting Hudson River style painting. Ahead of popular taste, his work was overlooked, and crooked dealers took advantage of him. With the desperation of trying to support his huge family, he sold his work cheaply. Ironically, many years after his death, his work became so valuable that forgers, including a dealer who changed the signature on canvases of Blakelock's artist daughter, Marian, to that of her father, sold paintings at very high prices by using his signature. Norman Geske, Director Emeritus of the Sheldon Memorial Art Gallery in Lincoln, Nebraska, became the authenticator of Blakelock's work, and has seen many, many illegitimate so-called Blakelocks. Under Geske's direction, a catalogue raisonn has been published that classifies paintings with Blakelock's signature into three categories per their degree of perceived authenticity. In 1899, the artist had a mental breakdown and spent the last twenty years of his life in an asylum in Middleton, New York. He died on August 9, 1919. However, his work had already begun increasing in value, and by 1916 was bringing as high as $20,000. Of Blakelock's career, Norman Geske wrote "Considered in the context of American landscape painting in the second half of the nineteenth century, Ralph Albert Blakelock can be seen first as a late exponent of the Hudson River School, second as a highly personal contributor to the painting of the American West, and third and most important, as part of the romantic, visionary, and modern tendencies that marked the turn of the century."(16) Sources Edan Hughes, Artists in California, 1786-1940 Michael David Zellman, 300 Years of American Art Norman Geske and Karen Janovy, The American Painting Collection of the Sheldon Memorial Art Gallery Matthew Baigell, Dictionary of American Art Peter Falk, Who Was Who in American Art 1847 - 1919 Ralph Albert Blakelock 1 Blakelock Ralph Albert 2904 Antoine Blanchard was born in 1910, in a small village near Blois. Blanchard was encouraged by his parents to enter the arts at a young age. They sent him as a boy to an art school in Blois. The family then moved to Rennes so Blanchard could study at the Beaux Arts Academy. In 1932, after three years in study, Blanchard moved to Paris to attend the Beaux Arts Academy of Paris to further his education. Upon completion of his studies, Blanchard was awarded the Prix de Rome. In the following years, Blanchard favored the styles of Eugene Galien- Laloue and Edouard Cortes. It was this subject; the wet streets of Paris, that Blanchard would develop his very individual style around. Although he painted the same subject as Cortes and Laloue, Blanchard introduced a much lighter palette and a completely different brush stroke. He has shared a great deal of criticism and acclaim from collectors and critics but that is the nature of his profession. The greatest of painters received both acclaim and criticism. Suffering a leg injury late in life, Antoine Blanchard was unable to paint for the last few years of his life and died in Paris in 1989 1910 - 1989 Antoine Blanchard 1 Blanchard Antoine 3307 Eveline Blanchard (French, b. 1947) Eveline Blanchard, the youngest of two daughters of renowned Parisian artist Antoine Blanchard (1919 – 1988), was born in 1947 in Paris, France. After receiving a formal education in interior design at the Ecole de Dessin in Paris, she moved to the south of France where she remained for many years, enjoying a successful career in the field of interior design. Inspired by the luminosity of the Mediterranean coast and Provence, Blanchard turned to painting. The very atmosphere of the Mediterranean region permeated her being, and art was the natural outlet for this immense joie de vivre. Blanchard later decided to return to and live once again in bustling Paris. She formed a partnership with her father and found that, although working side-by-side with him at their atelier, she was able to maintain her artistic individuality while developing her technique and knowledge of art under his tutelage. This common dedication to fine art prompted both father and daughter to begin the immense task of researching and documenting one subject which they both loved best to paint – Paris. Finding particularly fascinating the boom in painting Parisian street scenes experienced at the turn-of-the-century, the Blanchard's built over a period of many years an incredibly comprehensive archive on works and artists of La Belle Époque. Eveline Blanchard continues today to give us her signature scenes of Paris inspired by not only her father, but in turn those who inspired him – Galien-Laloue, Edouard Cortes and Luigi Loir – the great masters of La Belle Époque. Eveline Blanchard Blanchard Eveline 1565 Carle J. Blenner's enduring success, first as an international society portraitist and later as a painter of floral still lifes, rested firmly on a precocious talent and impeccable training. Born in 1864 in Richmond, Virginia, Blenner was educated at Marburg, Germany and was graduated from the Yale University Art School. He studied for six years at the Academie Julien in Paris, under Bouguereau, Robert-Fleury and Aman-Jean. He first exhibited at the Paris Salon in 1887, at age 23, and for the next three years. From the 1890's, he maintained a working studio for more than 50 years on 57th Street in New York City. Blenner was in demand as a portraitist of the wealthy, titled and famous-particularly women. His subjects included Lady Hamilton, granddaughter of the Duke of Cambridge; Mrs. Raymond White; Lady Chetwynde; and Mme. Nordica, Isabel Irving and Evellun Nesbitt of the Theater. His male portraits were of such personages as the Duke of Cambridge, the Earl of Yarmouth, Richard Henning and Henry Clay Pierce. Blenner turned to still-life studies of flowers, probably about 1915, and continued to reap awards for these and other works-the last in 1932, when he was 70. His florals reflect his superb training. However, his own sense of textures and his superior use of pigment in the service of light create not only unlabored representations, but revelations of the flowers' essence. Blenner died In New Haven, Connecticut in 1952, at age 90. Museums: American Federation of Arts Connecticut Academy of Fine Arts Greenwich Art Association New Haven Paint and Clay Club Newport Art Association Salmagundi Club, New York Washington Arts Club, Wash. D.C. Public Collections: Fort Worth Art Museum Houston Museum of Fine Arts Rutgers University, New Brunswick, NJ University of Vermont, Burlington 1864 - 1952 Carle J. Blenner Blenner Carle J. 3217 Thomas Blinks was a London painter specializing in sporting and animal pictures. Despite paternal opposition to his early interest in art, and a fruitless apprenticeship with a tailor, Blinks finally followed his artistic leanings. Although Blinks received no formal training, his understanding of horse anatomy and action were learned from observation at Tattersalls. Thomas Blinks first exhibited at the Dudley Gallery in 1881, the Royal Society of British Artists in 1882, and regularly at the Royal Academy from 1883 to 1910. His paintings are much admired for his ability to combine accuracy of observation with freedom of brushwork and a polished finish. He was particularly good at conveying the pose and psychology of sporting dogs at work, and was considered one of the best Victorian painters of foxhounds. Public Collections: Her Majesty the Queen, the Leicester Museum and Art Gallery Preston Manor, Brighton Jane Voorhees Zimmerli Art Museum, State University of New Jersey, Rutgers New Brunswick, NJ 1860 - 1912 Thomas Blinks Blinks Thomas 1564 Robert Frederick Blum was an active and successful artist, versatile in a number of media and highly regarded as a pastelist. His vibrant and atmospheric work, which incorporated many of impressionism's techniques, helped pave the way in America for acceptance of impressionism. The Cincinnati in which Blum was born in 1857 was an artistic center, but he received his major inspiration when, like many other American artists of the time, he visited the Centennial Exhibition in 1876 in Philadelphia. There he was very impressed with works by artists of the Romano-Spanish School. He became such an important disciple of the well respected Giovanni Boldini and Mariano Fortuny that he became known as "Blumtuny." In 1880, he encountered another profound influence when he joined fellow Cincinnatian Frank Duveneck in Venice. Duveneck's group was then associated with James McNeill Whistler. Whistler's pictorial technique, if not his rejection of narrative interest in painting, can be seen reflected in much of Blum's work, and Whistler was a strong influence on Blum's interest in etching and pastel. Indeed, in New York City in the 1880s, Blum became president of the Society of Painters in Pastel. Through this society, and with his colleague and friend William Merritt Chase, Blum exerted a perceptible sway over the development of American taste. Blum's paintings combine energetic and fluid brushwork with great attention to atmosphere and light. His subject matter was often drawn from his travels, first in Europe and later in Japan, where he was one of the first American artists to paint and travel. He was successful not only as a painter but also as an illustrator and muralist. A series of his illustrations, created during his trip to Japan, was published in Scribner's Magazine, and he demonstrated his skill as a muralist in the wall panels he created for the old Mendelssohn Glee Club Hall in New York City, which were preserved in the Brooklyn Museum. Memberships: Associate, National Academy of Design, 1892 National Academy of Design, 1893 Society of American Artist American Water Color Society Society of Mural Painters Society of Painters in Pastel Exhibited: Paris Exposition, 1889 (medals), 1900 (medal) Pan American Exposition, Buffalo, 1901 (gold medal) Public Collections: Brooklyn Museum Cincinnati Art Museum Metropolitan Museum of Art, New York City 1857 - 1903 Robert Frederick Blum Blum Robert Frederick 1563 Henry Boese is known for his early Hudson River landscapes, and portrait work in New York City, 1844 - 1863. Mr. Boese exhibited at the National Academy of Design in 1847, 1857, 1859, and in 1863, he showed the painting"Scene on the Mohawk", NAD, v 1, no.69, p. 72. Listed: National Academy of Design The New York Historical Society's Dictionary of Artists in America, 1564 - 1860 Literature: American Professional, p.244, reproduction #145 Sherman, "Unrecorded Early American Painters" 1943, p.208, as H. Beese 1824 - 1863 Henry Boese Boese Henry 1896 Frank Meyers Boggs (1855-1926), whose style has been compared to the Tonalism of James McNeill Whistler, was known and appreciated for his delicate and subtle harmonies of blue, gray and green. His works show more of a strong attraction toward the soft light of misty mornings and rainy afternoons than the brilliant sunlight of his Impressionist peers. American critics of the time tended to view Boggs as an Impressionist, especially when he exhibited in New York early in his career. Although Bogg's brush became loose and free and his palette lightened as he matured, the artist never completely adopted At an early age, Frank Myers Boggs moved from Springfield, Ohio to live in New York City. His father worked in the publishing industry, and through this connection he got his first job at Harper's magazine as a wood engraver when he was just seventeen. His ambitions grew beyond the world of illustrating, and four years later he went to Paris to pursue a career in stage design. However, finding no suitable apprenticeships, he enrolled in the Ecole des Beaux-Arts, and began studying painting under the famous Jean-Lon Grme. When Boggs returned to America after two years abroad, he encountered a somewhat hostile atmosphere older members of the National Academy of Design were unwilling to accept the advanced styles embraced by many young American artists returning from studies in Europe. Subsequently Boggs returned to Paris in 1880 and began to exhibit his paintings at the Paris Salon. They were well received and soon attracted the positive attention of critics. He became a French citizen in 1923, and although he lived and worked primarily in France, he continued to promote himself in the United States, submitting work to exhibitions and winning prizes in Boston, Philadelphia, New York, and Chicago. Boggs' deep love of France is evident in each of his distinctive paintings of its streets, ports, and monuments. A habitual painter of the subtle grays of Parisian street life, Boggs used this canvas as an opportunity to indulge in vibrant colors, and strong, clear light truly capturing the mood of a Mediterranean port. His works can be found in numerous private collections and in the following institutions Springfield Museum of Art, Springfield, OH Butler Institute of American Art, Youngstown, OH Chrysler Museum of Art, Norfolk, VA El Paso Museum of Art, El Paso, TX Georgia Museum of Art, Athens, GA Hunter Museum of American Art, Chattanooga, TN The Metropolitan Museum of Art, New York, NY Montgomery Museum of Fine Arts, Montgomery, AL Muse Nationaux Paris, France Museum of Fine Arts, Boston, MA Patrick & Beatrice Haggerty Museum, Marquette University, Milwaukee, WI Sheldon Memorial Art Gallery, Lincoln, NE The Brooklyn Museum of Art, Brooklyn, NY The Washington County Museum of Fine Arts, Hagerstown, MD Luxembourg Museum, Paris, France and the Montreal Museum of Fine Arts, Montreal, Quebec. References Barbara H. Weinberg, The Lure of Paris Nineteenth-Century American Painters and Their French Teachers (New York, NY Abbeville Press, 1991) Peter Hastings Falk, Who Was Who in American Art (Madison, CT Soundview Press, 1999) 1855 - 1926 1 Frank-Myers Boggs 1 Boggs Frank-Myers 1562 Pal Bohm was born in Nagyvard on December 28, 1828 and died in Munich, March 29, 1905. Bohm studied in Vienna and Budapest, later he established his studio in Munich. Pal is primarily known for his genre depictions of the colorful and picturesque world of the gypsies of his native Hungary. Museums: National Gallery, Budapest Cologne Museum Manchester Museum Listed: Benezit, v. II, p. 120 A Magyar Muveszet Tortenetebol 1800-1900 1828 - 1905 Pal Bohm Bohm Pal 3076 Along with John Singer Sargent and James McNeill Whistler, Boldini was the artist of choice for members of high society who wanted their portrait painted by one of the most modern artists in Europe. His flamboyant style was admired by an increasingly fashion-conscious society and his portraits of Giuseppe Verdi (Galleria d'Arte Moderna, Rome), Count Robert de Montesquiou (Musee d'Orsay), the Duchess of Marlborough and her son Lord Ivor Spencer-Churchill (The Metropolitan Museum of Art), and the Marchesa Luisa Casati (Private collection) confirm his position as the supreme portraitist of the Belle Epoque; his bravura technique perfectly captured the nervous energy and high fashion of the period. Drawing from his knowledge of the more traditional British portrait genre extolled by Sir Anthony van Dyck and later Sir Thomas Gainsborough, Boldini's portraits from the earlier part of his career were modelled in a similar way yet treated with the entirely contemporary artistic spirit of the time. 'La femme de Boldini', characterized by a combination of the 'swagger portrait' and the revolutionary progressive styles, is beautifully captured in this seductive portrait of the infamously beautiful Comtesse Speranza. Although there is little known about the sitter, there can be no doubt that she was revered for her elegant beauty. Her bold open stance as she throws her fur coat over her slender shoulders suggests her confident sexuality, which contrasts to her innocently white decolletee. With masterful rendering of the medium, Boldini outlines the creases in the folds of the dress, capturing the textures of the fur and textiles. Glancing flirtatiously to one side, she invites us into her glamorous world of youth and beauty. The combination of the finished detailed features of her face with the light brushstrokes of her attire results in a sublime work, less formal than British portraiture yet more dignified than pure impressionism. 1842 - 1931 Giovanni Boldini 1 Boldini Giovanni 3263 Rosa (Marie Rosalie) Bonheur was born March 16th 1822 in Bordeaux, France. She is widely acclaimed as an animal painter and was influenced by the work of the English artist, Landseer. Rosa Bonheur was one of the most renowned animal painters in history. Her earliest training was received from her father, a minor landscape painter, who encouraged her interest in art in general and in animals as her exclusive subject. He allowed her to keep a veritable menagerie in their home, including a sheep that is reported to have lived on the balcony of their sixth-floor Parisian apartment. Bonheur's unconventional lifestyle contributed to the myth that surrounded her during her lifetime. She smoked cigarettes in public, rode astride, and wore her hair short. To study the anatomy of animals, Bonheur visited the slaughterhouse; for this work, she favored men's attire and was required to obtain an official authorization from the police to dress in trousers and a smock. While radical in her personal life, Bonheur was artistically conservative. Henri Cain would later recall that she "was not only an exceedingly intelligent artist, but a very conscientious and hardworking one..She believed in honesty in art and ever desired to keep very close to nature." Bonheur's reputation grew steadily in the 1840's; she exhibited her animal paintings and sculptures at the Paris Salon regularly from 1841 to 1853. The Salons tended to support traditional styles, and most artists still sought to exhibit at the annual shows, as it was the primary way for their work to be seen by the public. In 1845 Bonheur won a third prize and in 1848 a gold medal. Because of this recognition from official sources, she was then awarded a commission from the French government to produce a painting on the subject of plowing. Plowing in Nivernais, exhibited at the Salon of 1849, firmly established her career in France. Bonheur later won international acclaim with her life size painting The Horse Fair exhibited at the 1853 Salon. Bonheur's popularity in England was assured after two versions of The Horse Fair were exhibited there, and Queen Victoria ordered a private viewing of the original at Windsor Castle. The artist's chief source of revenue in the 1860s and 1870s came from sales in England rather than from her native France. In 1894 she was the first woman to receive the Grand Cross of the French Legion of Honor. Sheep by the Sea illustrates Bonheur's lifelong interest in portraying farm animals in a straightforward manner, reinforcing her commitment to direct observation from nature. She has captured the essence of a flock of domestic sheep--calm, undisturbed, and complacent--settled in a meadow on the edge of a body of water. The Horse Fair (1835-55) and Weaning the Calves (1887) are both in the Metropolitan Museum of Art, New York City. 1822 - 1899 Rosa Bonheur 1 Bonheur Rosa 3226 Pierre Bonnard was born Oct. 3, 1867 and died Jan. 23, 1947. He began his long painting career in Paris in the early 1890s. He was one of the first artists to use pure color in flat patterns enlivened by decorative linear arabesques in paintings, posters, and designs for stained-glass windows and books. Together with his friend Edouard Vuillard and the other members of the group known as the Nabis (Hebrew for "prophets"), he helped establish a new, modern style of decoration that was important for the emergence of Art Nouveau in the late 1890s. The paintings of Paul Gauguin and Claude Monet done in the late 1880s were the principal source for the new style of the Nabis. Bonnard, "the very Japanese Nabi," also drew on Japanese prints for his striking simplifications of form and his bold use of bright colors. In 1894, however, he turned to more somber colors and restricted his subject matter to intimate views of domestic life. When, around 1900, he again began to use bright hues, he adopted the impressionist broken brushstroke and abandoned the linear configurations of his earlier work. Throughout the remainder of his career, Bonnard continued and expanded the impressionists' concern for depicting the personal environment of the artist. His naturalism, however, was merely a starting point for striking innovations in color and the construction of perspective. After 1920 intense colors dissolve forms yet celebrate the painter's sensuous delight in the lush southern French landscape and, above all, the beauty of the female nude. Bonnard's entire stylistic evolution offers a transition from impressionism to a coloristic, abstract art. Critics now recognize the importance of Bonnard's contribution to the development of abstraction. During his lifetime, however, they often found his work old-fashioned, because of his commitment to figuration and the narrow scope of his themes. Dining Room on the Garden (1934-35; Guggenheim Museum, New York) is an excellent example of Bonnard's late style. 1867 - 1947 Pierre Bonnard 1 Bonnard Pierre 1895 Francois Saint Bonvin was born in Vaugirard, Paris, in 1817. Although largely self-taught, he received some training first as a printer and later at the Gobelins and the Academie Suisse. He also had some contact with Francoise Marius Granet, whom Bonvin considered his master. His earliest painting was of a still life, a subject for which he would be recognized by contemporary critics and collectors as a leader in reviving and developing the genre. Because of his acquaintance with Gustave Courbet and the novelist and art critic Champfleury, Bonvin became committed to the Realist movement early on in his career. He often took part in lengthy discussions with Courbet and others at the Brasserie Andler where Courbet set forth his theories on the development of Realism. Bonvin continued his participation in the group until the 1860s when he terminated his friendship with Courbet. Because he avoided Courbet's violent stylistic modifications, Bonvin received official support throughout the Second Empire for the continued production of genre scenes, still lifes, portraits and occasionally a landscape. Commissions and purchases established him as an important figure in the Realist movement. In fact, in 1859 he held a studio exhibition of the works of young artists who had been rejected by the Salon, including Alphonse Legros, Henri Fantin-Latour, James McNeill Whistler and Theodule Ribot. Bonvin was greatly influenced by the Dutch masters of the seventeenth century, and made several trips to the Low Countries and London before returning to France where he settled in Saint Germainen Laye. In his depiction of light and local color he was a precursor to the Impressionists. From 1844-1846 Bonvin exhibited his drawings and watercolors at the Institute de France and in 1847 he was accepted at his first Paris Salon. He won a third-class medal in 1849 and a secondclass medal in 1851. Bonvin continued to exhibit there until 1880. In 1870, he was awarded the Legion of Honor but by the 1880s there was little interest in his work, except from the most ardent supporters of the traditional Realist aesthetic. In 1887, with his financial and physical condition greatly deteriorated, his friends organized a charity exhibition and sale to ease his financial burdens. Several months later, Bonvin died in Saint-Germain-en Laye. 1817 - 1887 Francois Saint Bonvin Bonvin Francois Saint 3213 Carl Oscar Borg, protégé of Phoebe Hearst, friend of personalities like Edward Borein, Thomas Moran and Charles M. Russell, could create any subject in any medium, and do it well. He was most successful and highly regarded during his lifetime, receiving numerous awards and medals. In the annals of American art history, Carl Oscar Borg belongs to the group of artists including Joseph Sharp, E. Martin Hennings, Walter Ufer, Victor Higgins, and Oscar Berninghaus. Borg belongs also to the group of American artists who came to California at the turn of the century to record the California landscape---artists like Marion and Elmer Wachtel, Hanson Puthuff, and William Wendt who taught him painting techniques. Borg’s works are included in many major museum, university, and private collection throughout the United States. Borg succeeded in preserving America’s cultural heritage by documenting the customs and religious ceremonies of the Native Americans that had been shared with him. He felt a kinship with the West and the people who introduced him to it. He used paint, canvas and brushes to express the unique qualities he found in New Mexico, Arizona and California. He captured the grandeur of this unusual scenery, which is emphasized by atmosphere, light, color and expanse. Carl Oscar Borg was born into a poor family in Dals-Grinstad, Sweden on March 3, 1879. As soon as he could hold a pencil he started copying pictures from books. He had neither the vocabulary nor the concepts to articulate a philosophy, but he yearned to be a great artist. Borg apprenticed to a house painter at age 15, then moved to London and became the assistant to portrait and marine painter George Johansen. He began painting during that time. In 1901, he sailed for the U.S. and worked as a house and furniture painter in the East. It was not the life he had dreamt about, and at the urging of his friends he headed for California. Carl Oscar Borg discovered Santa Barbara in 1903 as he made his way from San Francisco to Los Angeles. California provided the opportunity, support, and the spiritual environments, which permitted his talents to unfold, and his genius to develop. He enjoyed sailing out to the Channel Islands and often camped out weeks at the time to paint. Under the patronage of Phoebe Hearst, who recognized Borg’s talent, he was able to return to Europe to study art. It was also Mrs. Hearst who made arrangements with the Department of the Interior for Borg to live with the Native Americans. Borg wrote: "The inhabitants of these great solitudes, these limitless horizons, this wilderness of color and form, are marked by an Arcadian simplicity, by a dignity and reserve that I am sure would be hard to find among any other living peoples…" And every summer, while residing in California, Borg would return to the desert to spend time with his many intimate friends among the Indians. He taught art at the California Art Institute in Los Angeles, and at the Santa Barbara School of the Arts. He was the first art director for major Hollywood studios and worked with Sam Goldwyn, Douglas Fairbanks and Cecil B. DeMille. For twenty years Borg made his way as an artist in the West, but the West began to resemble the rest of America. Carl Oscar Borg did not like the changes. But the automobile, railroad and the movies did support him as an artist. The Santa Fe Railroad hung his paintings along with other prominent artist’s work in their offices to attract the interest and attention of the tourists. Touring Topics, the AAA’s publication, featured one of Borg’s Grand Canyon paintings on the cover. Borg had a special place in his heart for the Grand Canyon. He wished to have his ashes be given to the wind of the Canyon. But times were changing. Many of his friends in California had died. Borg saw the growing popularity of modern art. It was clear that these artists were fighting a losing battle. Borg returned to Sweden in 1934 and again in 1938. He painted people and scenes of Sweden, and successfully exhibited his paintings of the American Southwest. Although he was an American citizen, he could not return to the United States until after the war. Borg was very homesick for California, and could not wait to get back. He wrote to his friend Edwin Gledhill that he could not spend another winter in Sweden. He returned to Santa Barbara in September of 1945. Many of his friends had died, and he was estranged from the world that had evolved there. But he was at peace with himself. On May 8, 1947, Borg was painting in his studio, as he did every day. That evening, he walked to his favorite restaurant to enjoy his favorite food. He was stricken with a massive heart attack and died in the ambulance on the way to the hospital. As he requested, his ashes were given to the wind of the Grand Canyon. 1879 - 1947 Carl Oscar Borg Borg Carl Oscar 2079 Martin Borgord was born Feb. 8, 1869 in Guasdal, Norway and died March 25, 1935 in Riverside, California. At the young age of 16, Borgord was a resident of San Francisco and enrolled to study with Virgil Macey Williams (1830- 1886) at the San Francisco Art Association’s School of Design. With an interest in both painting and sculpture, Borgord would travel to Paris. He was accepted to study at the Julian Académie under Jean-Paul Laurens and at the École des Beaux-Arts Academie with sculptor Charles Raoul Verlet. In 1896, Martin Borgord would return to New York City and enroll at the newly opened Chase School of Art (later renamed the New York School of Art) with William Merritt Chase. Although virtually unknown today, he was recognized in both the United State and Europe as a prominent painter and sculptor. By 1899 the influential art dealer William Macbeth, who was devoted to the cause of promoting American art, was representing Borgord in New York. In 1900, Martin Borgord would travel to Pittsburgh to attend a painting exhibition for friend and fellow artist William Henry Singer (the son of steel magnate William Singer), who he had met in Paris at the Julian Académie. Andrew Carnegie, who had taken a liking to his work, sponsored the exhibition. In the late 19th century, it was not unusual for the city dwellers with means in Amsterdam, Utrecht and The Hague, to seek refuge during the dry summer months in the countryside of the Netherlands. The yearning for the open air also affected artist who were under the influence of the impressionists in Paris and those similarly minded artists of the Haagse School of The Hague. With a legacy from his father, Singer, his young wife and Borgord would set out for Laren from Pittsburgh via Monhegan Island off the coast of Maine. Borgord and Steel would share a studio in Laren. They were host during this period to a great number of American artist, including, among other, Henry Ward Ranger, William Henry Howe, Amy Cross, Charles Gruppe, Walter Castle Keith and Joseph Raphael. Borgord would return to the United States to assume the directorships both of the Art School of the Carnegie Institute and the Allegheny (Pennsylvania) School of Painting but would continue to maintain a part-time studio in Holland. At the 1905 Paris Salon, Borgord is honored with a gold medal and, years later in 1924, with a one-man exhibition of his paintings and sculptures at the Galerie de Marsan. He exhibited at New York's National Academy of Design in 1913 and again in 1919. His membership affiliations also reflect the international stamp of the man, for he belonged not only to New York's exclusive Salmagundi Club but also to the St. Lucas Society in Amsterdam, the Allied Art Association, and the American Art Association of Paris. As painter of landscapes, portraits, still lifes, and marines, Borgord was represented by two Dutch scenes in the Lyme group exhibition of 1916. He also exhibited with the group 1918. Fellow artists, Emil Carlsen and Henry Ward Ranger would influence him to spend several weeks in Old Lyme during the height of the laurel season in the summer of 1916. He would begin working in a studio behind Florence Griswold's house. A writer for the Hartford Courant interviewed him then and described one of the canvases he saw as "a brilliant colorful impression of a lady standing amidst the laurel bed." The artist explained his most recent painting interests to the reporter: "I formerly worked for effects of dark and light; now I paint entirely for unusual effects and harmonies of color." (Had the Impressionism of Old Lyme influenced him or had he come to Old Lyme for support of his new ideas?) The reviewer admired Borgord's work for what he termed its "consummate draughtsmanship, and great reserve, that rare ability to show absolute truth o£ relations within a restricted scale of values." Museums: Luxembourg Museum, Paris Carnegie Institute, Pittsburgh National Academy of Design, NY Washington County Museum Fine Arts, Hagerstown, MD. Sweat Memorial Art Museum, Portland, Maine 1869 - 1935 Martin Borgord Borgord Martin 3351 Johannes Bosboom, who is known for Hague School tonalist painting, church structures and interiors. was active/lived in Netherlands, France.Johannes Bosboom is Johannes Bosboom was a Dutch painter and watercolorist of The Hague School*, known especially for his paintings of church interiors. At the age of 14 he became a student of Bartholomeus van Hove and painted in his studio along with Van Hove's son Hubertus van Hove. Together they worked on the pieces of scenery that Van Hove created for the Royal Theatre in The Hague. In addition, Bosboom took lessons from 1831 to 1835 and again from 1839 to 1840 in The Hague Academy of Art. Here he also made the acquaintance of Anthonie Waldorp and Wijnand Nuyen. The young Bosboom traveled to Germany in 1835 to Dsseldorf, Cologne and Koblenz and painted the watercolor View of the Mosel Bridge at Koblenz. This painting was purchased by Andreas Schelfhout, who became his confidante and friend. In 1839 he traveled to Paris and Rouen and received a silver medal for View of the Paris Quay and the Cathedral at Rouen. He also painted several church interiors, a relatively traditional genre in which the seventeenth-century artists Pieter Saenredam and Emanuel de Witte served as important examples. Bosboom had a great deal of success with these pieces, and for the rest of his career he would repeatedly return to this theme, which was the one in which he would achieve his greatest fame. Bosboom's choice of subject matter may seem to isolate him from the rest of The Hague School, but his search for ways to reproduce the spatial atmosphere through light, shadow, and nuances of color places him in the very mainstream of this group. In 1873, during a stay in Scheveningen, he painted many watercolors of town views, the dunes, the beach and the sea. It is possible that these watercolors encouraged Hendrik Willem Mesdag and Jacob Maris to concentrate further on the sea and beach as subjects. Source http//en.wikipedia.org/wiki/JohannesBosboom 1817 - 1891 Johannes Bosboom 1 Bosboom Johannes 2115 Bernard Bosschaert was born in Wervik, Belgium on November 8, 1933. At the early age of 15, Bosschaert began his formal art training at the l’Ecole de Beaux-Arts in Leiden (Les Pays-Bas). After finishing his studies at the academy, he moved to Bruges to open his studio. He began his career as a landscape painter exhibiting a strong influence from both the French impressionists and the Barbizon school. Bosschaert was not afraid of color. His first works were met with critical acclaim and enormous success. Using his palette and the magic of his brush, he captured light and its relationship to shadows mixed with the gentle nuances of the changing seasons. He would then transform these blank canvases into richly colorful landscapes capturing the ever-changing earthy atmosphere of Belgium and France. Bosschaert would continue to study and travel. His paintings began to include small Dutch villages, beach scenes near Knokke-Heist (on the North Sea). He would even include the streets of Paris, as one of his subjects. However, it was Bruges that had won to his heart. He discovered that all he had to do was walk out of his studio door to find an endless source subject matter. In the past, Bruges was referred to it, as the “Venice of the North.” The old city was filled the colorful lively flower market, lazy canals, shadowy windmills and romantic Dutch architecture. Bernard Bosschaert would begin to translate his feelings for this wonderful old forgotten city from his heart to his canvas. It was these translations on canvas that gained this young artist his success and would bring the world to his door and Bruges. Bosschaert soon was invited to join numerous artist groups (Artists of Oostende, Horizon in Knokke-Heist, De Zeven Torentjes in Assebroek and Ten Putte in Lede). As a member of these artistic organizations, Bosschaert began participating in exhibitions throughout Belgium. He exhibited in Gistel, Bruges, Lissewege, Knokke, Oostende, Lede, Knokke-Heist, Ieper, Roeselare, Kortrijk, Gent, Antwerpen, Lille, Einhoven, and Aix-la Chapelle in Germany. He would also have individual exhibitions in Gistel, Lissewege, Bruges Knokke, Oostende, Lede, Roeselare and Maarkedal. From 1960 to 1989, La galerie Horizon in Heist (Knokke-Heist) would host an annual grand one-man exhibition for Bernard Bosschaert. The popularity of these exhibitions became more than Mr. Bosschaert could sustain. After 140 one-man and group exhibitions, he decided to limit his exhibitions and only at one gallery in Knokke-Heist on the coast of Belgium. Bernard Bosschaert’s paintings can be found in numerous private and public collections in Lille, Bruges, Paris, Cologne, Ontario, Milan, Amsterdam, Minnesota, and Dallas. 1923 - ? 1 Benard Bosschaert Bosschaert Benard 1912 Eugene Boudin was born in Honfleur, the son of a seaman. At the age of twelve he worked as a clerk to a publisher and soon after to a stationer. In 1844 he set up, with a partner, his own stationers' but after a dispute with his partner turned to painting in 1846. Boudin associated with a number of artists including Theodule Ribot, Thomas Couture, Constant Troyon and Eugene Isabey, and was encouraged to move to Paris to study. Success eluded him, however in 1859 Boudin was awarded a grant by the City of Le Havre to study in Paris for three years. Boudin traveled extensively and would do so all his life, in his early years painting in Normandy and Brittany. In 1858 Boudin met and encouraged Claude Monet, although Boudin had yet to find a consistent market for his works, 1861 saw him reduced to painting skies for Thomas Constant and Couture Troyon. Boudin married in 1863, settling in Paris but continuing to travel to Normandy and Brittany and in the 1870's to Belgium and the Netherlands. In 1874 at the landmark exhibition of the Impressionists, Boudin showed three works, he did not however exhibit at their later shows. Financial success came in 1881 with the art dealer Paul Durand Ruel, who bought his work. In 1884 Boudin was able to build a house in Deauville, source of so much of his subject matter. He visited and painted on the Mediterranean coast in 1894 and, 1895 painted in Venice. Boudin, although best known for his harbor and beach scenes, was a prolific painter of landscapes, cattle and village life in addition. He was highly regarded by his peers, Corot, Jongkind, Monet, Troyon, Couture and Charles Beaudelaire, and in the influence he exerted on Monet, had a significant bearing on the birth of Impressionism. His works can be found in museums in Le Havre, Nantes, Paris, Rotterdam, London, Stockholm and New York. 1824 - 1898 Eugene Boudin Boudin Eugene 1894 Recognized as a leading landscape and genre painter in the United States and abroad, George Henry Boughton had the ability to express sentiment and pathos on canvas. He illustrated editions of Washington Irving's Rip Van Winkle and History of New York and Nathaniel Hawthorne's Scarlet Letter. In his landscapes, he painted scenes of England, Brittany and The Netherlands. Though he was home near Nourish, England in 1833 and lived in London for the second half of his life, Houghtons formative years as a self-taught artist began in Albany, New York, where his family settled in 1839. At age 19 he was a landscape painter, whose paintings were being praised. The American Art-Union purchased his third or fourth picture. Through the encouragement of that institution, where he exhibited in 1852, he was able to study in England for six months. If ever there were a painter who could tell a story with genuine sentiment, using soft tones and colors, it was Boughton. A London critic once declared that he "has learnt the secret of putting natural feeling into rustic figures, which has been almost entirely wanting to English painters." Many of his works were of small size; notable among them is one entitled "Passing into the Shade (date and location unknown), a woodland scene with two aged peasant women. Other paintings such as "Hop-Pickers Returning" (date and location unknown), Through the Fields (date and location unknown), and Coming through the Rye (date and location unknown), reflect his narrative approach. Pilgrims Going to Church (1867, New-York Historical Society) recalls a past era with historical accuracy. In 1857, Boughton exhibited at the Washington Art Association, and from 1859 to 1860 he worked in New York City. In 1861, he went to Paris to study on his own; the French influence was subsequently reflected in his style. Boughton established a studio in London in 1861, and continued his career in England until his death in 1905. 1833 - 1905 George Henry Boughton Boughton George Henry 2797 One of the first American women artists who dared to invade the all male establishment of the French art academies. According to her obituary in the New York Times, she "literally opened Paris ateliers to the women of the world." She also became the first American woman to exhibit, and later to win a medal, at the Paris Salon. Born in Exeter, New Hampshire, Gardner graduated in 1856 from Lasell Seminary in Auburndale, Mass. There she received the proper young lady's training drawing from outline cards and dabbling in watercolors. At Lasell she became friends with her teacher Imogene Robinson, a bold spirit who went off to study in Dusseldorf and seems to have had a strong influence on her pupil. While coping old masters in Boston, trying to supplement her "polite" art education, Gardner became convinced that her drawing was inadequate and that she, too, needed thorough European training. In 1864 she sailed for Paris with Robinson. Gardner became an accomplished painter, the first American woman to exhibit in the Paris Salon, in 1866, and the first to win a gold medal (from her painting, Impudence in 1877). Her studio on the Rue Notre Dame des Champs became a Mecca for visiting Americans traveling abroad. She clearly adopted the style and technique of her mentor and husband, William Adolphe Bouguereau. In an oft-quoted remark, she frankly revealed, "I would rather be known as the best imitator of Bouguereau than be nobody." Certainly, her technical skill and draftsmanship are notable. Elizabeth Gardner Bouguereau was a woman who knew she wanted success in the main arena of the male art establishment of her day, and went after it with unwavering force of character. After her husband’s death in 1905, she once again produced four major paintings a year until she was hampered by rheumatism. Exhibited: Paris Salon, from 1872 (first woman to win gold medal) Exposition Universelle, Paris 1889 (bronze medal) Philadelphia Centennial, 1876 (awards) Columbian Exposition, Chicago, 1893 Listed: E. Benezit Thieme/Becker Clement, 138 Mantle/Fielding 1837 - 1922 1 Elizabeth Jane Gardner Bouguereau Bouguereau Elizabeth Jane Gardner 1561 William Adolphe Bouguereau was born on November 30, 1825 in La Rochelle and died August 19,1905 in the same village. Unpretentious and modest, he became one the most decorated artists of the nineteenth century. Bouguereau received medals from the Salons and the Universal Expositions, and successive ranks in the Legion of Honor. He was the leading member of the Institute of France and president of the Society of Painters, Sculptors and Engravers. Bouguereau's reputation as a painter of mythologies does injustice to the painter of tender mothers and children, and to the genre painter of young girls. Most of the genre paintings were executed at his at his birthplace, La Rochelle, garden adjoining his studio In 1896, at the age of 71, he married American student, Elizabeth Gardner. Her painting's showed the strong influence of her master. They continued to maintain a workshop and residence at Rue Notre-Dame-des Champs, #75. Bouguereau's paintings were attuned to the sensibilities of his public and he never deviated from the basic tenets of his Academic training. He was one of the artists who dominated the Salons of the Third Republic and the Academies. He became the last champion of a dying tradition. Bouguereau became immensely popular in the United States, which is witnessed by the representation on numerous examples of his work in important public and private collections. Museums: Amsterdam Bordeaux, France Montreal, Canada Mulhouse, London Louvre, Paris Boston Museum Metropolitan, N.Y. National Gallery, Wash., D.C. 1825 - 1905 William Adolphe Bouguereau 1 Bouguereau William Adolphe 2123 Jacque Bouyssou was born in La Rivere St-Sauveur, a small village near Honfleur and died there in 1997. As a child, he would be introduced to and be influenced regional artists such as Jean Dufy (1888-1967), Marcel Francois Leprin (1892-1931, Celso Lagar (1891-1966) by his father who was a very successful art dealer and gallery owner. Bouyssou began his formal art studies as in architecture at the Beaux Arts de Troyes and drawing with Janin. He would then travel to Paris to study with Othon Friez (1879-1949) at la Grande Chaumière. While at La Grande Chaumière, he would meet Moise Kisling (1891-1953), Ferdinand Léger (1881-1955), Ossip Zadkine (1890-1967). These modern painters had an enormous influence on this young painter. However, it was the impressionist who would win his heart. He would also refer a philosophical poetic line used by the impressionist painters of the last century: “aujourd'hui, je sais qu'il y a des choses qui ne s'apprennent pas: le geste qui traduit une émotion par le trait, les volumes et les couleurs. Plus le choc émotionnel est fort, moins le contrôle arrête le geste... Je peins ce que je vois et ce que je suis.” In 1950 Bouyssou married and although life was difficult for the young couple, his desire to succeed was not diminished. After exhibiting a few painting in many different galleries, he finally arranged a one-man show in Paris. That successful show led to one-man exhibitions in London and New York. In 1968, Bouyssou began exhibiting with the galleries of Felix Vercel in Paris and New York. Although Jacque Bouyssou is considered a post-impressionist, he also became known as a painter of reality. He would remain faithful to his Honfleur throughout his career. Bouyssou was fascinated with the water that surrounded Honfleur, as a young boy. He would later incorporate this love on to canvas. Bouyssou would build a successful career painting the surrounding beaches, harbors and the sea. His pure emotional attachment to the water would be translated into discreet poetry on each canvas. In 1961at the Salon de la Marine, Jacque Bouyssou was awarded France’s highest honors as a Chevalier de la Légion d'Honneur. In 1987, the French Government would further honor Bouyssou. He, like Honfleur painter Eugène Louis Boudin (1824-1898), would be appointed the official Marine painter of France. Awards: Peintre Agree’ au Department de la Marine, 1973 1er prix du Salon des Bas Normands, 1955 1er prix de Deauville en 1965 1er prix de Maisons Lafitte, 1978 2em de Barbizon, 1978 Medialle du Salon des Bas Normand en 1979 Medialle “Honoris Causa” Academie Europeene des Beaux Arts Membre du Comite du Salon des Artistes Honfleurais President du Jury du Salon Mansonnien Paintings acquired by the French Government & the City of Paris. Museums: Honfleur Rouen Beymouth Montreal Philadelphia Art Moderne Paris Antibis Menton Muse de la marine, Paris Muse Troville National Maritime Museum, Greenwich, G.B. 1926 - 1997 Jacque Bouyssou Bouyssou Jacque 1576 Harriette Bowdoin was born in South Hadley Falls, Massachusetts, and Date unknown. She had a varied and very artistic career. Known as a painter, illustrator, and worker in crafts and as a teacher she spent most of her adult life in and around New York City. H. Bowdoin studied painting with Sir Frank Brangwyn in France and with Henry Snell and Elliott Daingerfield in New York. Her wonderful and sensitive impressionist renderings of interior motifs endear her to that movement at the turn of the century. She exhibited an illustration and a painting in the 1917 exhibit of the Society of Independent Artists, listing her address at the time as studio 417, 1947 Broadway, New York. Memberships: American Watercolor Society New York Society of Painters National Association of Women Painters and Sculptors Listings: American Art Annual, v. 10-20 Mantle Fielding Who was Who in American Art Dictionary of Women Artist, by Chris Petteys Illustrated: Centennial Exhibition 1889-1989, by Members Past and Present of the National Association of Women Artists, p.54 Died 1947 Harriette Bowdoin 1 Bowdoin Harriette 3332 Louise Crow was born on September 14, 1891 in Seattle, Washington. In 1914 she attended William Chases summer school in Carmel, California. She later studied at the San Francisco Institute of Art and the Cincinnati Art Academy under Frank Duveneck. She studied at the National Academy of Design in New York and traveled and studied in Santa Fe, New Mexico from 1918-1921. From 1921-1925 she studied in France, Italy and Spain. She then lived in Washington, D.C, before returning to Seattle. Crow later spent time in San Francisco and Santa Fe. Louise Crow worked in oils and watercolors with a wide variety of subjects including landscapes abroad and portraits, mountains and seascapes. Much of her work had California and Southwest themes. Crow exhibitions include the Oakland Museum, CA Corcoran Gallery of Art, Washington Salon dAutomne, Paris Salons of America, New York the Museum of New Mexico, Santa Fe and the Ainslee Galleries, New York. Crow briefly married Roy Keech in 1938. After her divorce she used the name Boyac, though not professionally. Louise Crow died on July 26, 1968 in San Mateo, California. Credits "An Encyclopedia of Women Artists of the American West" by Phil Kovinick and Marian Yoshiki-Kovinick 1891 - 1968 Louise Crow Boyac Boyac Louise Crow 1575 William Bradford, a marine painter of the nineteenth century, was celebrated on both sides of the Atlantic for his arctic scenes. In several trips to Labrador, including exploratory polar expeditions, Bradford photographed and made original studies of this frozen world. He saw remarkable colors in icebergs-blue, green, purple and gray, shot through with saffron. He painted sailing vessels fishing in the icy waters. He is also known for his remarkably accurate representations of coastal scenes in New England, Nova Scotia and Labrador. On at least one occasion, Bradford was stranded for two weeks on an ice-locked ship, surrounded by a field of frozen water for 500 miles in all directions. Wearing a sealskin coat, he spent the time drawing and photographing icebergs. Born a Quaker in Fairhaven, Massachusetts in 1823, Bradford liked art from an early age, but was educated more practically in business. Fight years after his start in commerce, he was bankrupt-a fortunate circumstance for the young artist-to-be, because he permanently turned his back on business and took up painting as a career. Since he lived in a seaport town, ships were available subjects. Bradford painted many of them, selling the portraits for a good income. Bradford was primarily self-taught, but he also trained with Albert Van Beest; they shared a studio and collaborated on some paintings. Van Beest, however, had a more passionate style than Bradford, who could spend days painting a single group of rocks, making sure that they were faithfully drawn and colored. After two years, the duo separated. Bradford extended his studies of ships to views of shore and sea, visiting picturesque regions along the North Atlantic coastline. So accurate are his representations that anyone familiar with it can immediately identify the scene of a Bradford painting. PUBLIC COLLECTIONS Art Institute of Chicago Metropolitan Museum of Art, New York City 1823 - 1892 William Bradford Bradford William 1574 Charles Brooke Branwhite (1851-1929) was born in Bristol on October 4,1851 and died in London in 1929. Branwhite was the son of Charles Branwhite (q.v.). He received his formal art training under his father at the South Kensington School of Art. He exhibited at the Suffolk Street Gallery, National Water Society and at the Royal Academy. In 1913, Branwhite was elected a member of the Royal West of England Academy. Listed: E. Benezit, vol. 2, p.277 The Dictionary of Victorian Painters 2nd Edition, Christopher Wood, p.60 1851 - 1929 Charles Brooke Branwhite Branwhite Charles Brooke 3203 André Brasilier was born October, 29 1929 in Saumur France to a family of artists. He is considered a painter, watercolorist, engraver, lithographer from the School of Paris His subjects were figurative, nudes, portraits, genre scenes, sporting subjects, landscapes, still-lifes, flowers, animals and he was a designer of tapestries. Andre Brasilier was the son of the painter Jacques Brasilier. After studying in Saumur and St-Germain-en-Lave, he joined Brianchon's studio in 1949 at the Ecole des Beaux-Arts in Paris. He was awarded the Prix Florence-Blumenthal in 1952 and the Grand Prix de Rome in 1953. He lived at the Villa de' Medicis from 1954 to 1957. He also received the Prix Charles-Morellet at the Salon de la Jeune Peinture in 1961 and the Prix de Villeneuve-sur-Lot in 1962. Brasilier's paintings are populated by beautiful, elegant women, respectable nudes and high-class gentlemen and are set in pleasant Val-de-Loire backgrounds, resplendent with landscapes and charming towns. Revealing the distant inspiration of Gauguin and the well-assimilated influence of certain other artists, Brasilier depicts a peaceful, comfortable world, free from care, in a very simple, stylish manner, with delicate harmonies bathed in accommodating sunlight. Brasilier took part in group exhibitions from 1956, including many in Paris: at the Salon de la Jeune Peinture; regularly at the Salon d'Automne, at the Ecole de Paris exhibition at the Galerie Charpentier (1954-1957); at the Paris Biennale (1961 and 1963); and at the Salon Comparaisons (1961-1964). Mainly, however, he showed his work in solo exhibitions, including: at the Galerie Drouet in Paris (1959); at the Galerie Weil in Paris (1960 and 1964); at the David B. Finlay Gallery in New York (1962, 1971 and 1974); at the Atelier Mourlot in Paris (1964); at the Galerie Guiot in Paris (1967); at the Galeria de Paris (1969,1972 and 1976); at the Yoshii Gallery in Toyko (1969, 1974 and 1977); at the Galerie Matignon. In Paris (1979); a first retrospective at the Chateau de Chenonceau in Paris (1980), at the Nichido Gallery in Tokyo (1983); retrospective at the Musee Picasso in Antibes (1988): at The Galerie Hopkins-Thomas and the Galerie Etienne Sassi in Paris (1988); at the Hammer Gallery in New York (1989); Andre Brasilier a Bagatelle at the Hotel de Ville in Paris (1992); at the Galerie Elysee-Matignon in Paris (1993); and at the Gallery Bac St-Germain in Paris (2002). Bibliography: Valensi, Raphael, Andre Brasilier, La Bibliotheque des Arts, Paris, Ides et Calendes, Neuchatel, 1978. Le Pichon, Yann, Andre Brasilier, ses transfigurations, Seguier, Paris, 1989. Harambourg, Lydia, L'Ecole de Paris, 1945-1965 Dictionnaire des Peintres, Ides et Calendes, Neuchatel, 1993. Brasilier, Andre/Harambourg, Lydia, Andre Brasilier: visites, Acatos, Lausanne, 2003 (text in English and French). Harambourg, Lydia/Bouillot, R., 'Andre Brasilier' in 2 vol, monograph, catalogue raisonne, Acatos, Lausanne, 2003 1929 - 2004 Andre Marie Pierre Brasilier 1 Brasilier Andre Marie Pierre 3305 In June of 1911, Braun presented his first one-man exhibition with 75 paintings and drawings of San Diego city and countryside, a few portraits, and New England landscapes. (4) The exhibition took place in Braun's studio on B Street where he had also opened the San Diego Art Academy. Shortly after this exhibition, he learned that one of his paintings had been accepted for a November exhibition at the Pennsylvania Academy of Fine Arts in Philadelphia. (5) Braun continued to exhibit paintings in the East throughout his life. There were galleries across the country that carried his paintings as well. When Braun was awarded top honors, a gold medal, for a painting at the San Francisco Panama Pacific International Exposition held in 1915, he became more widely known on both West and East coasts. It is noteworthy that paintings showing at this exposition included some of the outstanding group of Eastern artists, known as The Ten. (6) Braun's landscape paintings of scenes in and around San Diego are especially well known. Although he remained strongly associated with Southern California, he intermittently painted, sketched, and exhibited in many sections of the country. He returned annually to paint in New England and upper New York State during the 1920s, as he especially enjoyed painting the color and textures of the seasonal landscapes of the East Coast. During the 1920s he also started his studies of the New England harbor scenes. In the 1930s he painted a series of still-life paintings. Throughout his life one can see Braun's independent spirit. An early indication of this can be seen in his consistent interest with painting, following a childhood and early youth in which he spent much time in the Metropolitan Museum of Art. He eventually won all the available scholarships to the National Academy of Design in New York City despite parental disapproval. Following his formal art education and several years as a portrait painter in that city he was convinced that he would prefer landscape painting and that it was essential to find his own way of doing so and in an area distanced from the major art centers of the time. A move far from the East appealed to his independent spirit. He welcomed an opportunity to meet the challenge of an entirely new environment in which he could respond in his own way. Also, in the city Braun was tiring of conflicting views among leaders in the art communities of the East Coast. (7) After arriving in San Diego, Braun started to sketch and paint and he enjoyed the challenge of new surroundings. He then felt that he was developing in his own way. Braun loved Nature. His aesthetic orientation in San Diego was two fold: first, he wanted to get acquainted with the San Diego countryside and understand how to portray it in form and color, then play with it. He used elements of it in the process of creating the composition of a painting. Braun's strategy for getting a strong understanding of the content of the landscape he wanted to paint was the careful sketching of important details of the landscape-grasses, rocks, trees, the nature of washes in hillsides, and the form and color of receding hills and mountains.(8) With this understanding of the countryside, Braun then felt free to carry out his concerns with the composition of a painting, with creation of space and color relations, with balance of composition, and ultimately with communication of the fundamental essence of nature's structures. It was through the study of these elements of the landscape that Braun was able to capture the qualities that communicated their essential beauty. William H. Gerdts, in his catalogue for the 1991 exhibition Masterworks of American Impressionism presented at the Villa Favorita in Lugano, Switzerland quotes Braun as remarking, "Landscape should not be taken too literally. It is what we visualize and the interpretation we give the fantasy of our mind that counts." (9) A training in the National Academy of Design in New York City could lead some to assume that Braun was in all respects an academician. That view could be emphasized by his having started the San Diego Art Academy when he first arrived in San Diego. Academic art traditionally refers to literal renditions of a subject, nature as well as the human figure. Braun pointed out that the landscape should not be taken literally. Did he or could he transcend the literalism? His inherent aesthetic sensitivities proved to be the more driving force. Braun's independent spirit in pursuing his own inclinations remained characteristic throughout his career. He was nevertheless an apparently responsive student of William Merritt Chase, with whom he undoubtedly studied both portrait and landscape painting, and quite possibly certain techniques that Chase could have learned during his studies in France. It was characteristic of Braun that the range of his interest and enthusiasm for many art forms did not lead to adopting their style of work himself. He felt that there were always challenges in his own work. He never considered adopting stylistic trends of others. However, in the early days of his career in California he explored painting by moonlight on several occasions. This venture can be compared to some paintings of the Tonalist movement among Impressionists. Our father's aesthetic perceptions seem to have grown from an inherent sensitivity and enthusiastic response to color and nature. Since there has been much speculation about the source of Braun's interest in painting landscape we find it interesting that his parents and extended family described his enthusiasms at a very young age. We remember that he recounted his great excitement when he first saw the typical fields of red poppies in the European countryside. He described similar excitement when he first became aware of stars in the night skies. The art historian John F. Kienitz recognized Braun's sensitivity and respect for nature. Writing in the 1954 exhibition catalogue of Braun's work at the M. H. de Young Memorial Museum in San Francisco, Keintz said: "Maurice Braun's serenity before the vexations of life and the complexities of nature impressed all who knew him. He was an artist of deep philosophical conviction for whom all expressions of life were divine. So it is natural that in the look and feel of his work you should find pastoral peace. This peace is born of his sense of wholeness. Through an interplay of religious respect and esthetic resolve he found equilibrium and this was for him, as it can be for us, the secret of life itself. In his own yet distinctive way Maurice Braun was able, out of a comparable largeness of vision, to create space and color relations not unrelated to the superb formal clarity reached by Cezanne. Through all his years our artist was partial to the desert. He wove his heart and mind through the tangled fabric of appearance with such zeal as to make a touching entrance to its core. In his San Diego back-country scenes you may find that he rivals the dry lands themselves in the perfection with which he unites a wonderfully golden light with the stateliness of elemental forms, every part of which is major. Braun paints the desert's natural force. In such desert, light has its most lasting brilliance and forms rest secure in ageless strength. His love lets him see its devastatingly precise geometry of alkali flat and sage, of mountain and sky, as harmonies of color in untroubled light. And so his pictures of it have as little falsehood and as much to cherish as a Nevada morning." (10) It would have surprised our Father if he had known that his paintings would eventually be perceived as that of an Impressionist. He never associated himself with that art movement, although he enjoyed the painting of many great Impressionists. He was enthusiastic about the Impressionist's great achievements with light and color. He welcomed Claude Monet's studies of color in relation to changing light. In 1886 the famed art dealer, Paul Durand-Ruel, organized the historic presentation of close to 300 French Impressionist paintings in New York City. Repercussions from that exhibition reverberated in the American art community and controversies revolved around Impressionism for many years. Artists differed in their acceptance or rejection of Impressionism and in the degree of that acceptance. Although Maurice Braun was only nine years of age at the time of the exhibition, he would have observed later the strong contradictory positions taken within the art community as an impressionable young art student. Meanwhile, the Impressionist art movement in Europe was developing in diverse ways. Many art students as well as mature artists studied in Europe. New perspectives were being introduced to the American art centers by artists returning from these studies. There were visits from some leading European artists. James McNeill Whistler brought his own variations of Impressionism that sometimes showed a strong influence of Chinese painting and Japanese prints. Some of Whistler's paintings contributed to the important trend of Tonalism within the Impressionist movement. Braun felt that there were important differences in aesthetic objectives between the Impressionists and himself. In part this was due to the Impressionist's intense focus on method. He would shake his head over Whistler's often repeated saying, "Art for Art's sake." While Braun was at once concerned with creation of space, color relations, and with balance of composition, ultimately he was concerned with communicating the fundamental essence of nature's structures. He felt that it is in the harmony and peace of a painting that the fineness of nature communicates. Hence, a painting may serve to enrich the lives of those who live with the paintings. There is currently interest among students and collectors of Braun's paintings to know more about how he went about painting and what elements in his work can be regarded as Impressionistic. Responding to this interest, there is an especially useful analysis of the Impressionist's methods of obtaining brilliant light and color in a book by Floyd Ratliff. (11) In his book, Paul Signac and Color in Neo-Impressionism, Ratliff, a scientist, provides students with an account of theory and research relative to the Neo-Impressionists uses of color and light and brings to this analysis his understanding of the visual effects of contrasting colors and color interactions. Ratliff found a progression in the understanding of these effects among Impressionists. Their understanding appeared to have guided their selection of paint and how they could optimally use it to obtain their goal of achieving intense brightness of color and light. The work of the artist Georges Seurat was further progress in what Ratliff called "the cause of color." Maurice Braun may have been unaware of how the Impressionist's understanding of light and color influenced their selection and use of oil paint. Possibly he had learned about some aspects of this endeavor from Chase, or possibly he had figured some of it out himself. We recall his selection of pure colors and large amounts of white paint on his palette, similar to Ratliff's description of the preferred palettes of the Impressionists. The mixing of different colored paint was carried out judiciously to avoid muddy grays. Braun and the French Impressionists sometimes found the use of bright pure yellow "touches" against deep blue tones useful. We can see in Kientz' comments of how remarkably Braun captured the radiant light and subtle colors of Southern California and the desert. His work is low key by comparison to much of the Impressionist's work. Ratliff recognized that the modifications in broad size and spacing of brush strokes relative to color that some Impressionists employed were demonstrating scientific laws of color/light interactions. How much of this sophisticated insight had reached our father we do not know. However, for interested students we suggest careful examination of his paintings. We have observed these techniques in some of his paintings. Detailed examination of Braun's painting of grasses in foregrounds and leaves of trees reveals rich brushwork that deeply enriches texture. Braun used broad brush strokes which varied in form. He sometimes used the standard Impressionist wide horizontal brush stroke for water in a river or a bay. An especially interesting historical insight is provided by Ratliff in his accounts of the methods used not only by some of the Impressionists, but among some artists of the earlier 19th century. These included use of outdoor sketching recommended by the French Romantic artist Eugene Delacroix (1798-1861). Claude Monet kept colorful plants in his garden for students to paint outdoors when the light was bright. His famous lily pond was created for use in outdoor painting. Hence, we can think of some simple yet sophisticated methods of painting as having roots in earlier times. Braun is described as a Plein-Air artist, a trend that suggests that he painted exclusively outdoor. As with these early artists, the outdoor sketch was a study. From these studies there may or may not have ultimately come a painting. Both painting and sketching outdoors was enjoyable for him, but certainly not routine. When sketching he used color pencils on paper and sometimes oil paint on canvas or board. We remember one time, when he was recovering from an illness, the family stayed for a week or two in a cottage at Mesa Grande. Here we recall seeing him walking off to a site he had located earlier carrying a canvas, easel and a box containing a palette and tubes of paint. Sometime there was a folding camping chair as well, although often he stood before the canvas for hours. His inclination to come to San Diego was not only motivated by his interest in exploring his own artistic talents far from the concerns of the East Coast but also by his interest in the philosophical orientation of Theosophy which he encountered in New York. During his years as an art student and for a number of years thereafter, the interests of Theosophy in humanitarian causes such as child poverty received considerable attention in New York. Theosophists also had a major interest in the world peace movement and the group sponsored the periodic International Peace Congresses in Europe. An international center for the organization, promoting concepts of international peace, had recently been established in San Diego at Point Loma. (12) All of this was of great interest to Braun as it was also to many artists and other professional people in Europe and elsewhere. Braun was responsive to the International Peace Movement of the Theosophical organization as well as their recognition of art and philosophy of ancient civilizations and multiple ethnic cultures. During this period there was minimal awareness or understanding of these concerns, though it is now taken for granted that the cultures of many ancient and current ethnic civilizations are of great significance. While Braun had thought of living in the Theosophical Community, he was persuaded to give his full time to his art. Space was provided for a studio in downtown San Diego in a building that was owned by the Theosophical Society. Eventually Braun built a studio home on Point Loma that overlooked the bay and city of San Diego with ranges of mountains in the distance. His home was located near the Theosophical Community and artists and writers living in the Community sometimes gathered there socially. Among these friends who had been attracted to and visited the Point Loma Community were some major figures from Europe. The Swedish art historian, Oswald Siren, working at that time with the King of Sweden to create a great museum and leading center for the study of Chinese and Japanese Art, was a periodic visitor. Reginald Machell, an important artist, moved to the Point Loma center from England where he had been active in the Pre-Raphaelite movement. Machell brought this distinguished style to the buildings of this Point Loma community. He painted remarkable decorative murals on walls of the buildings, and carved furniture and doors for several major buildings. The cultural climate was enriched by weekly concerts open to the public given by the Conservatory of Music. The plays of Shakespeare and the Greek dramatists were presented in the outdoor Greek Theater. These are only some of the cultural elements of this center that had a great appeal to Braun. Having grown up in New York City, cultural institutions such as the Metropolitan Opera and the Metropolitan Museum of Art had been important to him. The achievements of this group who participated in the Point Loma center are significant. The talent assembled at this center was prodigious and made exceptional contributions to art, literature, sociology, and San Diego history. While Braun's paintings become increasingly admired and more critics look for a different perspective on his work, it is perhaps understandable that the art world would believe that there is a connection between his painting and Theosophy. At no earlier time had his art been equated with his personal interests. Essentially Braun sought out the Theosophical Society because of the compatibility between their concerns and his own, but what he expressed in his painting was his own sensitivity to the fineness of nature. Braun was not hesitant to credit Theosophy with sharpening his insight into nature. (13) Some writers have attributed Braun's achievements, not to his disciplined ability as an artist, but rather to assumed mysticism or to mistaken assumptions of religious convictions or influences. We, the family, find these hypotheses erroneous and unjust to our father's work and are confident that these notions would have been quickly rejected by Braun himself. (14) In the last years of his life Braun made a number of automobile trips through many states. He did the driving, yet the next morning before starting out again he made sketches of some aspect of the country through which they drove. There remain a large number of sketches of California and some forty-five sketches made in eleven states that include Oklahoma, Texas, Kansas, Colorado, Arizona, and Washington State. These sketches are often studies of arid and remote areas. (15) For Maurice Braun there was always a quiet enjoyment of painting. He was a man of few words, yet despite his manner there was deep feeling and strong enthusiasms. As art historian John Kienitz observed: It is impossible for [Braun] to look at what was small or large in nature, or among man's things, without translating what he saw into lucid harmonious arrangement. Here, as elsewhere in his art, delicate relations of line, form, and color are simply signs of an even more exquisite fineness which he knew to be basic in nature. In the art of this man you may well find an oriental, even peculiarly Chinese bent. You may agree that he paints as an apostle of resignation whose spirit is like those men of Sung who could see the tragic in the turn of an autumn leaf and still, somehow, never be defeated by it. (16) Source: The following, with permission from the authors, is from "The Journal of San Diego History" , Summer 2001, Volume 47, Number 3. Charlotte Brown White and Ernest Boyer White are son and daughter of the artist. Notes 1. For details on Maurice Braun's life, awards, and exhibitions see: Martin Petersen, Second Nature: Four San Diego Artists (San Diego: San Diego Museum of Art, 1991). 2. Nagy-Bittse was in Hungary at the time of Braun's birth, however, after World War I when maps were redrawn the town became part of Czechoslovakia. 3. San Diego Union, June 8, 1911. 4. San Diego Evening Tribune, June 12, 1911. 5. San Diego Union, November 11, 1911. 6. William H. Gerdts, Ten American Painters (Spanierman Gallery, 1991). 7. Ibid. 8. For discussion on Braun's strategy see: Joachim Smith, "The Splendid, Silent Sun: Reflections on the Light and Color of Southern California" in California Light, 1900-1930, exh. cat., Patricia Trenton and William H. Gerdts, eds. (Laguna Beach, Calif.: Laguna Art Museum, 1990). 9. William H. Gerdts, Masterworks of American Impressionism, exh. cat., (Einsiedeln, Switzerland: Thyssen-Bornemisza Foundation with Eidolon AG, 1991), 136. Braun was among the 25 outstanding American artists whose work was included in this exhibition. 10. John Fabian Kienitz, Maurice Braun, exh. cat. (San Francisco: M. H. de Young Memorial Museum, 1954). 11. Floyd Ratliff, Paul Signac and Color in Neo-Impressionism, including the first English edition of Paul Signac, From Eugène Delacroix to Neo-Impressionism, trans. Willa Silverman (New York: Rockefeller University Press, 1992). 12. For detailed information on the Theosophical Society in San Diego see: Emmett A. Greenwalt, The Point Loma Community in California 1897-1942: A Theosophical Experiment (Los Angeles and Berkeley: University of California Press, 1992). 13. Ibid., 124. 14. We have found particularly troubling and inaccurate the conclusions put forward by two different authors: Ilene Susan Fort in her essay "Altered State(s): California Art and the Inner World," in Reading California: Art, Image, and Identity, 1900-2000 (Los Angeles: Los Angeles County Museum of Art, 2000), 31-49 and portions of Joachim Smith's essay "The Splendid, Silent Sun: Reflections on the Light and Color of Southern California" in California Light, 1900-1930, exh. cat., Patricia Trenton and William H. Gerdts, eds. (Laguna Beach, Calif.: Laguna Art Museum, 1990), 88-89. 15. Three of these sketches are reproduced in this volume with the color plates. 16. Kienitz, Maurice Braun. Charlotte Braun White and Ernest Boyer Braun are the two children of Maurice Braun and Hazel Boyer Braun. Dr. White's graduate studies in art history at the Institute of Art History at New York University were interrupted by World War II. She later received her Ph.D. in Psychology. Ernest Braun is a noted photographer who has published several books of nature photography. Dr. White resides in San Diego, Mr. Braun lives in the San Francisco area. 1877 - 1941 Maurice Braun Braun Maurice 1573 Alfred (Fontville) de Breanski, Jr. (1877-1945) was the son of British landscape painter Alfred de Breanski, Sr. He like his father and the rest of the de Breanski family painted landscapes and Scottish scenes. Both father and son painted very much in the same style and are quite often mistaken for each other. However upon close examination, Alfred, Jr. is more painterly and uses a coarser technique in the development of his landscape subjects. Alfred, Jr. usually signed his works as A. F. de Breanski. Listed: The Dictionary of Victorian Painters, 2nd edition, C. Wood E. Bénézit Thieme Becker Index of Artists, Mallett Dictionary of Artists, Graves 1877 - 1945 Alfred (Fontville) de Breanski Breanski Alfred (Fontville) de 2152 Alfred De Breanski was born in Greenwich, England around 1845. He was a member of the noble family of British landscape painters and was the father of Alfred, Jr. and the brother of A. Fontville Breanski. His most famous paintings are of the Scottish Countryside. He was represented for most of his very successful career by The Frost and Reed, Ltd. of London. Exhibitions: Royal academy Suffolk street New Water Color Society 1852 - 1928 Alfred de Breanski Breanski Alfred de 1571 Hugh Henry Breckenridge was long associated with Philadelphia as a modernist painter and teacher. From 1887 to 1892 he was a student at the Pennsylvania Academy of the Fine Arts, where he then taught for more than forty years. In 1892 he was awarded a scholarship enabling him to study in Paris at the Academie Julian with William Adolphe Bouguereau (1825-1905) and to travel through Europe, going with the Pennsylvania impressionist Walter E. Schofield (1869-1944). His subsequent landscapes, portraits, and figure paintings reveal the influence of impressionism and an overwhelming fascination with color. His first solo exhibition in 1904 included both paintings and pastels. Breckenridge also produced many commissioned portraits, which provided him with a source of income; these exhibit the dazzling brushwork typical of society portraiture of the period. A second trip to Europe with Schofield in 1909 made Breckenridge aware of more avant-garde trends. During the 1910s he worked alternately in a vigorous neoimpressionist technique, which he referred to as "tapestry painting,' and in a somewhat academic style enriched by an expressionist palette. These paintings gained for him national recognition as a foremost modernist whose art was easily accessible to the public. In 1922 Breckenridge began exhibiting abstract paintings, some of which recall the Improvisations of Wassily Kandinsky (1866-1944). These abstractions of irregularly shaped, colored planes most commonly suggest the nature or the velocity of modern life. Above all they demonstrate his fascination with the theoretical basis of color. Breckenridge began teaching at the Pennsylvania Academy of the Fine Arts in 1894. During the summer of 1900 he and Thomas Anschutz (18S1-1912) established the Darby School of Painting in Darby, Pennsylvania; Breckenridge later established his own school in East Gloucester, Massachusetts. In 1919 he became director of fine arts at the Maryland Institute in Baltimore. In his last years Breckenridge sometimes returned to impressionism, painting landscapes of Gloucester and still life paintings. Member Associate National Academy of Design, New York City, 1913 New York Watercolor Club Philadelphia Watercolor Club Connecticut Academy of Fine Art Society of Washington Artists Southern States Art League North Shore Artists Association, Gloucester, Mass. American Federation of Arts Public Collections: Los Angeles County Museum San Francisco Museum of Art Delgado Museum of Art, New Orleans Pennsylvania Academy of Fine Art Awards: Atlanta Expo, 1895 (medal) Paris Expo, 1900 (prize) Pan American Expo, Buffalo, 1901 (medal) Society of Washington Etchers, 1903 (prize) Philadelphia Art Club, 1907 (Medal) Washington Watercolor Club, 1908 (prize) Buenos Aires Expo, 1910 (medal) Pan Pacific Expo, San Francisco, 1915 (gold) 1870 - 1937 Hugh Henry Breckenridge 1 Breckenridge Hugh Henry 3124 Rae Sloan Bredin was born in Butler County, Pennsylvania, on September 9, 1880, to Catherine Sloan and Stephen Lowrie Collins Bredin, a physician. Having received his primary school education in Franklin, Pennsylvania, he attended the Pratt Institute High School in Brooklyn, New York, graduating in 1899. He enrolled at the New York School of Fine Arts in 1900 and studied with William Merritt Chase and Frank Vincent DuMond for two and one half years. With fellow students Charles Rosen and Robert Spencer, Bredin eventually moved to Bucks County. Bredin furthered his studies in drawing and painting at the Pennsylvania Academy of the Fine Arts, Philadelphia. In his early twenties he exhibited in a group show at the National Academy of Design in New York. His initial foray into the working world was as an illustrator, primarily for Harper's magazine. He first visited the Delaware Valley around 1910 at the home of the painter Charles Rosen.' On May 14, 1914, Bredin married Alice Rachel Price,' a member of the well-known Price family of Bucks County; her sister was the painter M. Elizabeth Price (see p. 194), and her brother was gallery owner and author F. Newlin Price. The ceremony took place "under the boughs of a flowering apple tree on the Price farm in Solebury Township, Bucks County, attended by flower girls Ellen Lathrop and Katherine Rosen,' daughters of the painters William L. Lathrop and Charles Rosen, respectively. Rosen was best man at the wedding. Following their marriage, the couple spent the summer in France and Italy, where Bredin studied and painted. When they returned to New Hope, they made their home just north of the Rabbit Run Bridge in the house where the artist Morgan Colt had lived. In 1918 Bredin joined the Foyer du Soldat, a social service of the French Army, where he was a regional director and interpreter until the end of World War I. Later he would return to France on a portrait commission from Swarthmore College. Although he received many portrait commissions, Bredin preferred to make landscapes and murals. His landscapes often incorporated figures, which was unusual among Bucks County painters but fairly common among French and American impressionists. Bredin often used his family members as subjects for his figure paintings. He preferred to paint the lush scenes of Bucks County's spring and summer, unlike many other artists of the New Hope colony who were famous for their snow scenes. In 1928 Bredin was commissioned by the Trenton State Museum (now the New Jersey State Museum) for a series of large murals, four of which are six by twelve feet, and the fifth, six by twenty-five feet. These arc landscapes depicting the representative plant and animal life of New Jersey's eastern shore, southern plains, northern mountains, and the Delaware Valley on the western border. Presently the murals arc exhibited in the New Jersey State House Annex in Trenton. Bredin taught at the New York School of Fine Arts, the Trenton School of Industrial Arts, the Philadelphia School of Design for Women (now Moore College of Art and Design), the Pennsylvania Academy, the University of Virginia, the Holmquist School for Girls in New Hope, and with 'William Merritt Chase at his school in Shinnecock, Long Island. He regularly exhibited his work at the National Academy of Design, New York; the Carnegie Institute, Pittsburgh; the Pennsylvania Academy; the Corcoran Gallery of Art, Washington, D.C.; and many smaller venues across the country. He was elected an associate member of the National Academy of Design in 1921. Bredin received the Second Hallgarten Prize, National Academy of Design, 1914; a bronze medal, Panama-Pacific International Exposition, San Francisco, 1915; the Maynard Portrait Prize, National Academy, 1921; a bronze medal, Sesquicentennial International Exposition in Philadelphia, 1926; the Vezin Prize, Salmagundi Club, New York, 1923; honorable mention, Philadelphia Arts Club, 1921, and the Art Institute of Chicago, 1922; and the Talcott Prize, National Arts Club, 1928. Bredin died on July 17, 1933, at the Joseph Price Memorial Hospital in Philadelphia, following an operation for cancer.' He was fifty-two. 1880 - 1933 Rae Sloan Bredin 1 Bredin Rae Sloan 3077 The city of Amsterdam was an inexhaustible source of inspiration to George Hendrik Breitner. HE moved to Amsterdam in 1886, where he immediately became fascinated by the vitality of the Dutch capital. The busy streets full of carriages, trams and passersby suited his lifelong goal to become a painter of every day life. This interest in day to day reality was also rooted in the naturalism of Zola and the brothers De Goncourt, writers he admired. Breitner's depiction of reality crosses the boundaries of pure registration. He captures his subjects in a crude, dynamic style. rendering the essential features of the human figure in just a few strokes. This disregard for detail shook the Dutch art world, although the sketchiness strongly appealed to progressive writers like Frederik van Eeden, Willem Kloos and Lodewijk van Deyssel. 1857 - 1923 George Hendrik Breitner 1 Breitner George Hendrik 1570 Auguste de La Brelay was born in Fuissé (Saône-et-Loire) in 1838 and died in Lyon, April 20, 1906. He received his formal training in Paris at the Beaux-Arts Academie under Marc-Gabriel-Charles Gleyre (1808-1874). Brelay debuted at the Paris Salon of 1863. Museum: Museé de Tournus "Jeune femme écrivant" Listed: E. Benezit, vol.6, pg.355 1838 - 1906 Auguste de La Brely Brely Auguste de La 3360 Thomas Walker Bretland (1802-1874) Thomas Walker Bretland was a British painter, born in 1802. Born in Nottingham, he was recognized as an animal and sporting painter. He traveled around the country working for his patrons, who included the Dukes of Buccleuch and Montrose. As a painter of horses, he was competent, if uninspired. The artist died in 1874. Listed in - The Dictionary of Victorian Painters, 2nd Edition, by Christopher Wood, pg. 62 - Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs, Nouvelle Edition, Libtairie Grund, pg. 302 1802 - 1874 1 Thomas Walker Bretland Bretland Thomas Walker 1893 Jules Adolphe Breton was born on May 1, 1827 to a prominent family in the small village of Courrieres in the Artois region of northern France. Although his mother died when Jules was only four, he grew up in a care free and happy environment, with much of his time spent playing in the gardens and fields with the children of the village peasants, even though they were of inferior social position. At the age of ten, Breton was sent to school at a Catholic seminary and three years later to the college of Douai, where he received a classical education. It was also his first opportunity to study drawing and acquire a love of poetry. In the summer of 1843, he so impressed the Belgian artist, Felix de Vigne, with his portraits and sketches after nature that the artist invited Breton to study with him in his studio as well as at the Royal Academy in Ghent. It was during this time that Breton honed his skill as a draughtsman. These studies continued for three years and gave him a chance to become familiar with the Flemish Old Masters. It was their simplicity and pure, unsullied sentiment that he tried to emulate in his first mature paintings. In 1847 he went to Paris to complete his training under the eye of Michel Martin Drolling at the Ecole des Beaux Arts. A few months later Breton's father became ill and died at Courrieres. Breton left Paris to return home where family business interests were in bad enough shape to force the sale of the family furniture. At this time Breton began to feel a kinship with the peasantry he had always loved, but with whom he had never really shared a social position. He began to paint subjects, which called attention to the plight of the poor and oppressed. It was with one of these paintings, Want and Despair (Misere et Desespoir), that he made his debut at the Salon of 1849. By 1852, he focussed his attention on landscape painting in the environs of Paris. However, an unimpressive showing at the Salon left him disheartened. The combination of discouragement and poor health caused Breton to return to Courrieres. This move was a turning point in the evolution of the artist's work. Leading a rustic life again awakened memories of a childhood spent playing in the fields and watching the peasants of the Artois going about their labors. These memories of an idyllic rural life with their impressions of light and air became the foundation of his work, the well upon which he would draw for the rest of his artistic career. Breton's first picture along this new path was greatly admired at an exhibition in Brussels. At about this same time, he became engaged to Elodie de Vigne, the daughter of his former tutor. She posed frequently for him and was the model for the principal figure in The Gleaners, his first major composition of peasant life in Courrieres. It was impressive enough, along with two other pictures, for the jury of the International Salon of 1855 to award him a third class medal. Each year at the Salon, his images of gleaners, harvesters and peasant women helped to establish Breton's reputation as the foremost painter of rural life. Along with several first class medals and, in 1872, the Medal of Honor, he was also named, in 1861, a Chevalier of the Legion d'honneur, and in 1867 and officer of that same order. Crowning his achievements was his election to the Institute de France in 1886. This was the same year in which his painting, The Communicants, sold at auction in New York for $45,000, the highest price paid for the work of a living artist except for paintings by Meissonier. In his later years, he became a prominent writer of poetry, several autobiographies and critical works. Throughout his career, which spanned nearly sixty years, Breton painted with an idealistic vision of the beauty and harmony of the peasant laborer working the land. In tune with these thoughts, he lived a life of sober regularity sure and balanced without serious conflict or great difficulty. He was respected by his peers for his intelligence as well as artistic and literary ability and achievements. His later years were spent balancing time between the busy energetic life of Paris and the tranquility and serenity of Courrieres, where he worked in a garden studio at the family brewery. Breton died in Paris on July 4, 1906. 1827 - 1906 Jules Adolphe Breton 1 Breton Jules Adolphe 1569 Even as a child, James Renwick Brevoort was sketching scenes in the rural Yonkers, New York countryside, foretelling a time when he would use numerous drawings in correlation with his works in oil and watercolor. Born in 1832, he began at age 18 to study architecture under the aegis of his cousin, James Renwick, a prominent architect. In 1854, Brevoort was awarded a certificate in architecture from New York University. He remained in New York City, and his interests returned to painting. Before long, Brevoort was exhibiting at the National Academy of Design, and studying there with Thomas S. Cummings. Brevoort's subject matter was often the traditional landscape view typical of the later years of the Hudson River School. Like other artists of the period, he left the city during the summers to find appropriate subject matter in rural Connecticut and upper New York State. By the late 1850s, the titles of his paintings reflected his absorption in seasons, weather and the time of day; these continued to be variants in his landscapes. In the 1860s, he was influenced by Samuel Colman's work in watercolor, an appropriate medium for the shimmering quality of "native impressionism," which developed during the 1870s in works created by the Hudson River School. Harvest Scene with Storm Coming Up (ca. 1862, Hudson River Museum) is perhaps his best-known work, and is certainly among the largest at 32 by 48 inches. It shows distant hills and clouds, with a creek and trees in the foreground; in the middle distance are farm workers and a wagon. The vista dwarfs the human figures. In 1861, Brevoort was named an associate member of the National Academy of Design; two years later he was made a full member. In 1872, he was named professor of perspective at the National Academy. Brevoort lost his first wife, and in 1873 married Marie Louise Bascom, an artist and first medallist of the National Academy School. In February of that year, he auctioned off the contents of his studio, including works by other artists, selling more than 150 landscapes. By the end of the year, he and his second wife were in Europe. Until 1880, he lived in Florence, where there was a colony of American artists. English moors and European scenes were among his subjects. After his return to the United States, he continued to make visits abroad. From 1856 to 1890, Brevoort's works were exhibited at the National Academy. He also exhibited at the Boston Athenaeum, the Brooklyn Art Association, and the Pennsylvania Academy of the Fine Arts. For three years, from 1916 to 1918, his work was displayed at the Yonkers Art Association, which he helped establish. Brevoort died in Yonkers in 1918. Public Collections: Corcoran Gallery of Art, Washington, D.C. Hudson River Museum, Yonkers, New York National Academy of Design, New York City George Walter Vincent Smith Art Museum, Springfield, Massachusetts 1832 - 1918 James Renwick Brevoort Brevoort James Renwick 1568 The rugged cliffs of Grand Manan Island, New Brunswick, with the dramatic tides of the Bay of Fundy and the quiet coastal inlets at low tide were favorite subjects of A.T. Bricher. His works appeared in the major exhibitions of the late nineteenth century and were known through illustrations for Harper's New Monthly Magazine and the popular chromolithographs of Louis Prang. Throughout his career, Bricher remained a conservative painter. He was particularly influenced by such artists as John F. Kensett, a Hudson River school painter who inspired his interest in capturing effects of light and atmoshere. The looser handling of paint in his later works shows the influence of the Barbizon painters. F. Kensett, a Hudson River Bricher was born in Portsmouth, New Hampshire, in 1837 and spent his childhood in Newburyport, Massachusetts, where he attended school. Later, he worked as a clerk in a Boston drygoods store and painted in his spare time. He may have studied art at Lowell Institute in Boston during the mid-fifties; although an 1875 article in the Art Journal states that during his early years in Boston, Bricher had little contact with other artists and was "entirely self-taught" (p. 340). The same article says that William Stanley Haseltine and Charles temple Dix (1840-1873), whom Bricher met in 1858 while sketching on Mount Desert Island, Maine had a decisive influence on his style. Haseltine's paintings of sunstruck, fissured rocks on the New England coast may have prompted Bricher to turn from landscapes to marine paintings in which large rocks dominate the foreground. He probably also knew the marine and still-life painter Martin Johnson Heade, who worked in Newburyport during the early 1860's. In addition to painting on the New England coast, Bricher went on sketching trips to the White Mountains and the Catskills and in 1866 to the upper Mississippi River and Minnesota. Bricher moved to New York in 1868. During the 1870's, he occupied a studio in the YMCA Building. He was a member of the American Society of Painters in Water Colors and an associate of the National Academy of Design. In 1882, while maintaining a studio in New York, he built a summer home in Southampton, Long Island, to be closer to the sea. From 1890 until his death in 1908, he lived in New Dorp, Staten Island. Public Collections: Indianapolis Museum of Art Metropolitan Museum of Art, New York City 1837 - 1908 Alfred Thompson Bricher 1 Bricher Alfred Thompson 1581 Briganti was born in a small mountain village of Padula in southern Italy on June 29, 1895. He arrived in Los Angeles in 1897 and early in life worked as a sign painter. He first studied landscape painting under Hanson Puthuff and later with Rex Slinkard and Val Costello. After serving in the in WW1, he returned to Los Angles where he met Stanton MacDonald-Wright with whom he shared an interest in Oriental art. His first exhibition was at the LA County Museum of Art in 1921. He studied in New York during 1923 and 1924 where his work was shown at the Brooklyn Museum. Upon his return to Los Angeles, Briganti began a series of watercolors of the mountains of southern California until a foot injury in the 1930s confined his works to his studio. During the mid thirties he executed a series of watercolors of the life cycle of prehistoric man; in the late 1940s and 1950s he began experiments with automatic drawing; by the 1960s he had perfected his new technique in black India ink wash on heavy paper. These works were followed by his Burnt Mountain series, the Tide Pool series and the Space series. After 1975 Briganti worked on a series of acrylic primed panels. An intuitive painter, his subconscious conditioned the context of his work. Exhibitions: LA County Museum, 1921 Independent Artist of LA, 1923 Art Institute of Chicago, 1924 San Francisco Art Museum Inaugural, 1935 Golden Gate International Exposition, 1939 Stendahl Gallery, 1938 Santa Barbara Museum, 1938 LA Art Association, 1950 Long Beach Museum, 1964 1895 - 1976 Nicholas P. Briganti Briganti Nicholas P. 3298 William Brigl (1903-1990) The following is submitted by A. Rex Rivolo, Ph.D., who is handling the estate of the artist: Of Brigl, Dr. Rivolo writes: "There is very little known about Bill Brigl outside of Texas. He was an aristocrat and had a money which made him all too comfortable to sell himself. As a result, there is very little written about him---no books, only a few periodical articles. I do believe that every bank in Texas has one of his paintings. The Rockport Art Association is working on a retrospective show for early 2005 and possibly a monograph may come of it. William Brigle was born in Munich, Bavaria in 1903. The family claims direct descent from the Flemish painters Peter and Jan Breughel of 16th and 17th century fame. His father was the court artist for the king of Bavaria. Brigl studied under the marine painter Eric Mercker, and at the Academy of Fine Arts of Munich under Joseph Sailer. He also studied privately in Rome and in Paris and traveled extensively as part of his artistic education. In 1924-26, while studying in Paris, he met and befriended Claude Monet. By the time he was 23, Brigl had three paintings accepted at the Grand Salon at Paris. In 1930, William Brigl emigrated to the U.S. and settled in Wisconsin and in 1953 moved on to Chicago. During these years he maintained studios in Santa Fe, NM and Chicago, IL. Upon arriving in the U.S., he began traveling immediately and quickly discovered Texas, a place that in 1959 would become his home for the rest of his life. He settled in Highland Park, then a suburb of Dallas, and in 1980 moved to Midland, where he maintained a studio until his death in 1990. Despite his love for Texas he retained close ties with Wisconsin and spent many summers on the peninsula of Door County to paint the local scenery. He was a frequent visitor to the Chihuahuan desert near Lajitas, TX and the coastal town of Rockport, TX where he painted the motifs of the areas. He also taught painting at the Rockport Art Association in Rockport, Massachusetts. His work is quite varied ranging from landscapes, seascapes, animals, religious paintings and portraiture. His style ranges from impressionistic to realisistic. He is best known for the landscape paintings of his beloved Big Bend Mountain country of Texas. Permanent Collections: Thomas Gilcrease Museum of Western Art Tulsa OK; Philbrook Museum of Tulsa Tulsa, OK; Neville Public Museum Green Bay, WI; Diamond Foundation Museum Snyder, TX; Gerrer Art Museum of Shawnee Shawnee, OK; Permian Basin Petroleum Museum Midland, TX; Diamond Foundation Museum Snyder, TX; The Lajitas Foundation Terlingua, TX; New Orleans Museum of Art New Orleans, LA; The Marfa National Bank - Marfa, TX; Lakewood Bank & Trust Co. Dallas, TX; American Bank of Commerce Odessa, TX; First National Republic Bank Midland, TX; San Angelo National Bank San Angelo, TX; Kellogg-Citizens Bank Green bay, WI; Charmin Paper Mills - Green Bay, WI. 1903 - 1990 William Brigl 1 Brigl William 3121 Brinley is unique among the artists of Cos Cob in that he was a resident of the area. He grew up in Riverside, just across the Mianus River from Cos Cob. His wife, Kathrine Gordon Sanger (an author of travel books and a "dramatic recitalist" whose professional name was Gordon Brinley), had spent summers with her family near the Holley House, where artists gathered. Brinley studied at the Art Students League 1900-02 under John Twachtman, Bryson Burroughs, Kenyon Cox, H. Siddons, Mowbray, and others. His interest was in landscape painting, and he probably attended the Art Students League summer school in Cos Cob in 1902. He traveled to Europe in 1904 to complete his training, but except for one life class at the Academia di Belle Arti in Florence, he explored the galleries, museums, and churches independently. In Paris between 1905-08, he became involved with the New Society of American Artists, along with Edward Steichen, John Marin, Max Weber, and others. Although his own art was never avant-garde, Brinley helped to establish several progressive art associations in Paris and worked especially hard to find alternatives to the conservative and exclusive academic exhibition system. When he and his wife returned to New York in July 1908, Brinley spent the rest of that summer painting in Woodstock, New York, where Birge Harrison was conducting the Art Students League summer school. In 1909 Brinley and his wife "were sighing for summer in a green world" and remembered that Charles Caffin, the art critic, had told them in Paris about the beauties of Silvermine. They rented a house "little and white, facing the sheds of a disused mill - Blanchards." Thereafter they generally spent spring, summer, and fall in Silvermine, winters in New York. The sculptor Solon Borglum was a neighbor, and Brinley joined the group called "The Knockers," which met every Sunday morning in Borglum's barn studio for frank discussions of the artists' work. The group evolved into the Silvermine Guild of Artists, which Brinley served as president in 1923. In 1913 the Brinleys built, on the Silvermine River, a Tudor-style house that they named Datchet House, after the name of the English village where a Brinley ancestor lived in 1640. The house was featured in House Beautiful, International Studio, and Arts and Decoration. During his first summer in Silvermine, even as he became friends with Borglum, a conservative artist, Brinley became a member of Alfred Stieglitz's progressive Little Galleries of the Photo-Secession at 291 Fifth Avenue; he was included in a group exhibition at 291 in March 1910. That same month, the Madison Art Gallery, under the direction of former Cos Cob artist Henry Fitch Taylor, hung Brinley's first one-man exhibition. Brinley was a charter member of the Association of American Painters and Sculptors and active in the preparations for the Armory Show. Though he was sympathetic to modernist trends, his own art remained Impressionist until after the Armory Show. His The Emerald Pool (cat. 97) is reminiscent of Twatchman’s Hemlock Pool (cat. 145, illus. p. 23). His A Colonial Church (cat. 3, illus. p. 64) is so like any of Hassam's Church at Old Lyme paintings that even the Brinley family thought for a long time that the subject was the Congregational Church at Old Lyme. The modernist European art in the Armory show had a decided effect on Brinley's work. He intensified color, flattened forms, and tightened his compositions, although he continued the emphasis on decorative pattern, which was a major element in his later murals. Brinley was also a founding member of the Grand Central Art Galleries, a member of the Mac Dowell Club, the National Arts Club, and the National Academy of Design. Critics generally praised Brinley's work, finding it both poetic and "thoroughly and gratefully American" because of "the beauty he finds everywhere he looks in our Further reading: Daniel Putnam Brinley: The Impressionist Years. Exh. Cat. Bowdoin College Museum of Art, 1978. Loder, Elizabeth M. D. Putnam Brinley: Impressionist and Mural Painter. Published for the New Canaan Historical Society and the Silvermine Guild of Artists by University Microfilms International, 1979. 1879 - 1963 Daniel Putnam Brinley 1 Brinley Daniel Putnam 3253 Karl Harald Alfred Broge Danish, (1870-1955) Born 6 May 1870, in Copenhagen; Painter. Genre scenes, landscapes. Pupil of H. Gronwold; attended the Kunstakademi in Copenhagen from 1889 to 1891 and began exhibiting immediately afterwards. He was subsequently appointed prinicipal of a school of drawing and composition for 'ladies of means' 1870 - 1955 Karl Harald Alfred Broge Broge Karl Harald Alfred 1842 Pierre was considered a landscape painter and etcher (engraver). He was born in Bayonne, France in the last part of the 19th century. Neither his birth nor death dates are recorded. Pierre La Brouche exhibited in the 1905, 1914 and 1921 Salon de Societe National des Beaux-Arts. The paintings he exhibited were of buildings and landscapes. Most of his subjects were located in the South of France, Flanders, Italy, Spain and Algeria. He also exhibited a number of his very well executed engravings of the same subjects. Most of these engravings were from illustrations of Navarre et Vieille Castille for d'Abel Bonnard in 1937. He signed most of his paintings with an abbreviation but signed his illustrations with his full name. Listed: E. Benezit, vol. VI, pg. 355 19th - tury Pierre La Brouche Brouche Pierre La 1956 Harrison Bird Brown began his career as a modest beginning as a sign painter. He later turned to painting and established himself as one of the most celebrated landscape painters in Maine during the second half of the nineteenth century. Brown spent the greatest portion of his life in Maine, and his works often depicted the wholesome outdoor environment of his home state. Brown was born in Portland, Maine in 1831 and died in London in 1915. He was fortunate to have been born during a period when landscape painting enjoyed immense popularity, due mainly to the earlier influence of Charles Codman (1800-1842). Codman’ s paintings were widely collected for their keenly romantic sentiments. It is likely that Brown, as an apprentice sign and banner painter, saw examples of Codman ‘s poetic landscape paintings. By the time he was 21, Brown had completed an apprenticeship with Forbes and Wilson, a firm of house and ship painters located on Fore Street near Portland's harbor. He immediately opened his own sign and banner establishment. By 1858, having become a skilled commercial painter. Brown discarded his business to concentrate solely on fine art. His decision proved fruitful; between 1858 and 1860, the National Academy of Design in New York City exhibited six of his landscapes (five of which were borrowed from owners for the exhibition). Oakland (1860, Portland Museum of Art) and Autumn in the White Mountains (1870, Portland Museum of Art are two of Brown’s popular works depicting the scenic beauty of Maine. His best-known paintings were of the Casco Bay, Maine area. Brown's sensitive handling of thin color produces effects of light and atmosphere reminiscent of John Frederick Kensett's technique. Brown's election to the presidency of the Portland Society of Art in 1892 indicated his stature among his contemporaries in the New England art world. He moved to London in 1892, when he continued to paint, living there until his death in 1915. MEMBERSHIPS Portland Society of Art PUBLIC COLLECTIONS Portland Museum of Art, Maine 1831 - 1915 Harrison Bird Brown 1 Brown Harrison Bird 1892 John George Brown's sentimentalized portrayals of street urchins, reproduced by the thousands, made him the richest and most celebrated genre painter in turn of the century America. Born in Durham, England in 1831, Brown studied art in England and Scotland before coming to America in 1853. He was a glassblower in Brooklyn, and a student at the National Academy of Design in New York City. He opened a studio there in 1860, when his painting, His First Cigar, launched his national reputation. Brown exploited his considerable talent to supply the Victorian taste for his specialty adept (copyrighted) pictures of young white shoeshiners, vendors and servants. From the 1860s on, his reputation as "the bootblack Raphael" never flagged. Toward the end of his life, his yearly income averaged $40,000. Originals sold for $500 to $700. Royalties from just one lithograph, distributed with packaged tea, totaled $25,000. Though he claimed the successful formula of "contemporary truth" for his pictures, none gave doting collectors or wealthy patrons cause for social alarm. He falsified his subjects, who were in reality minority immigrants whose lives were often wretched struggles for survival. Brown's street juveniles are invariably cheerful, spunky tykes never sick, sad, emaciated, hungry or noticeably foreign. Their ragged clothing is picturesque, their grime cosmetic. They are undeniably appealing. Even the most uneven of Brown's popularized works show painterly skill and sound training. Brown died in 1913 in New York City. MEMBERSHIPS: National Academy of Design American Water Color Society PUBLIC COLLECTIONS: Corcoran Art Gallery, Washington, D.C Metropolitan Museum of Art, New York City Museum of Fine Arts, Boston Peabody Institute of the City of Baltimore G.W.V. Smith Art Gallery, Springfield, Massachusetts 1831 - 1913 John George Brown 1 Brown John George 1964 J. Appleton Brown studied in France with landscapist Emile Lambinet but was most influenced by Corot and Daubigny. He was a native of Newburyport, Massachusetts and from 1875, spent his life in New England, painting landscapes and seascapes. His preference for soft, pastoral scenes of springtime earned him the name "Appleblossom Brown." By the late 1870s, Brown began to experiment with media other than oil: he illustrated Lucy Larcom's Landscape in American Poetry in 1879 and often worked in pastel in the mid-1880s. 1844 - 1902 John Appleton Brown Brown John Appleton 2011 Born in Boston, Mather Brown was the son of a well-known clock maker and a descendent of Cotton and Increase Mather. He studied art with Gilbert Stuart at the age of twelve. During 1777 he traveled throughout New York and Massachusetts, selling wine and painting miniatures to acquire funds to support further study abroad. In 1780 he left for Europe, stopping in Paris before settling in London in 1781. He subsequently received instruction from the American-born portrait and history painter Benjamin West and went on to make a name for himself as a portraitist, working in London and in such regional centers as Manchester and Liverpool. Brown depicted such notables as King George III, Thomas Jefferson, and Abigail and John Adams. He also produced historical subjects, at one point serving as the official history painter to the Prince of Wales. 1761 - 1831 Mather Brown Brown Mather 1945 Margaret Browne was born in Boston, MA on June 7, 1884. She studied at the Massachusetts Normal School from 1904 to 1909 and one of her teachers was the popular artist Joseph DeCamp. She attended the Boston Museum School in 1909 and 1910 receiving instruction from Edmund Tarbell and Frank Benson. During this period she also received private instruction from the color theorist Albert Munsell and from Richard Andrew. Her career included all aspects of the art world. In addition to painting, she taught classes at Annisquam, MA, was the art editor of the Boston Evening Transcript in 1919-20 and authored a book "Portrait Painting" in 1933. She served on the Advisory Board of Josephine Logan's Chicago based Society for Sanity in Art, an organization that promoted the retention of traditional values and styles in art Her success as an artist was assured, as she became known for her fine portraits, indoor genres and colorful still lifes. She worked in all media and was known for her broad use of color. Browne was a member of most professional artist's groups of her time including the Guild of Boston Artists, Copley Society, Rockport Art Association and at least 14 others. Her works were included in the exhibitions of most of these organizations and at the Pennsylvania Academy of Fine Arts and the Art Institute of Chicago. She was the recipient of many awards. Solo exhibitions of her work were held in Boston in 1915, 1917,1926,1938 and 1957. Other one person shows were held in Duxbury, CT in 1916, New York City in 1924, Washington, DC in 1930, portraits at the Boston Art Club in 1936 and at the Newport Art Association in 1950. Margaret Browne died in Boston in 1972 at the age of 87. In 1974 the Copley Society held a "Memorial Exhibition of Flower Compositions and a Few Portraits by Margaret Fitzhugh Browne.” 1884 - 1972 Margaret Fitzhugh Browne Browne Margaret Fitzhugh 1891 Brun was born in Montpellier, France May 5, 1885 and died in Paris February 20, 1908. He is considered an Orientalist figure painter from the French School. On April 7, 1847, Guillaume Charles Brun entered the Beaux Arts Academie to further his formal art training with Alexander Cabanel (1823-1889), a family friend from Montpellier. During Brun’s studies at the Academie with Cabanel, he was introduced Francois Edouard Picot (1786-1868). Picot had been Cabanel’s teacher. He accepted very few students but with a recommendation Cabanel, Brun was accepted. It was under Picot that Brun began to mature as an artist and began to develop. In 1847, Brun won his first medal at the Academie. Brun debuted at the Paris Salon of 1851 with two well-received paintings, "Portrait of Mme P" and "A Young Girl at Prayer." Brun began to focus completely on Algerian subjects. His more noted works during this period were; "A Portrait of Adj-Ali", "The Prayer", "Province of Constantine" (1859), "A street with Constantine" 1865, "The Appointment 1825 - 1908 Guillaume Charles Brun Brun Guillaume Charles 1890 Francois Brunery was born in Turin, Northern Italy circa 1850. He studied in Paris under Jean Leon Gerome (1824-1904) and Leon Joseph Bonnat (1834-1923), the former the renowned orientalist and the latter a leading academic painter of the era. Brunery then trod the well-worn path to Rome, the destination for generations of painters following their formal training in Paris, where he would have embarked on history painting and a study of the masters. Legend has it, that it was following one encounter too many with one of his models, that Brunery and his wife returned to Paris. His earliest exhibited works at the Paris Salon included a portrait in 1880 and Venetian canal views the following years. It was in the 1890's that he rapidly forged a reputation as the leading artist in a specific genre of Cardinal paintings; his rivals Andrea Landini (b.1847), Jean George Vibert (1840-1902) and Georges Croegaert (b.1848) all being exact contemporaries, and, it is no coincidence, all from Catholic countries. The last decades of the nineteenth century saw economic prosperity on a previously unknown scale in Europe and the United States. The burgeoning middle-class, the growth of mammon and with it perhaps a lessening in regard for the church, saw this genre of cardinal painting surge in popularity. The highly finished technique, the vivid purples and crimsons, the wealth of lavish detail and above all, the pointed humor proved to be of enormous appeal, and Francois Brunery was the leading exponent. Brunery exhibited at the Paris Salon from 1880 and received an honorable mention in 1903. fl.1 - 1903 Francois Brunery Brunery Francois 1580 Painter of romantic landscape subjects, genre and portraits; illustrator. Born at Taunton; studied art at the Academie Julian in Paris. Exhibition 1895-1927 at the R.A. and also at the R.I., R.B.A., R.O.I. and Paris Salon. "Valley of Flowers", R. A. 1897, was one of his best known works. He had an exhibition in 1895 at the Royal Academy in London and a year later at the Paris Salon des Artistes Francis in Paris. "Mr. Arthur Buckland's "Valley of Flowers" is of the order of romantic landscape; a forest glade, in which rhododendrons, along with many colored wild flowers are conspicuous, being the background for his subject. 'She placed a crown of gold upon my head which brought forgetfulness of all things'- a richly robed knight kneels at the feet of a stately woodland nymph, and if a few discordant notes of color are struck, there is no lack of spirit and grace in the canvas". 1870 - 1927 Arthur Herbert Buckland Buckland Arthur Herbert 3277 Harold Dow Bugbee is best known for his portrayals of ranch life, a subject reflected in his paintings as well as his book and magazine illustrations. Bugbee was born in Lexington, Massachusetts. In 1912, he went West to live on a ranch near Clarendon, Texas. He attended public school in Clarendon and attended in 1917 attended Clarendon College. The following year he attended Texas A&M College and then graduated from the Charles Cumming School of Art, Des Moines, Iowa, in 1921.Following graduation, Bugbee studied in New York City and then returned to Clarendon in 1922. Bugbee traveled regularly to Taos, New Mexico to paint with members of the Taos art colony. Drawing from his experiences living on a ranch, he did illustrations for books and magazines. He illustrated J. Evetts Haley's "Charles Goodnight, Cowman and Plainsman" (New York: Houghton Mifflin, 1936). Bugbee's illustrations were found on the covers of "Country Gentleman", "Quarter Horse Journal", "Progressive Farmer", "The Cattleman", "Field and Stream", and "Panhandle-Plains Historical Review". In 1951, he became part-time curator of the Panhandle-Plains Historical Museum in Canyon, Texas. Bugbee died in Clarendon, survived by his second wife, Olive Vandruff. Bugbee's studio has been recreated and on permanent exhibit at the Panhandle- Plains Historical Museum. He was a member of the Amarillo art Association, and exhibitions include the Fort Worth Frontier Centennial Exposition (1936), Annual Texas Artists Exhibition, Fort Worth (1937), Nita Stewart Haley Library, Midland, Texas, and the Panhandle-Plains Historical Museum, Canyon, Texas. Source: John and Deborah Powers, "Texas Painter, Sculptors, and Graphic Artists" 1900 - 1963 6 Harold Dow Bugbee Bugbee Harold Dow 2043 Conrad Buhlmayer was born in Vienna on August 18, 1835 and died November 30, 1883. He is considered a landscape and animal painter from the Austrian school. He received his formal art training under professor Josef Huger in Beau-Arts Academie in Vienna, with Rudolf Koller at the Zurich Academie and Hans Gude at the Dusseldorf Academie. Museums: Vienna Museum, Austria "Bétail dans les Alps" Listed: E. Benezit, vol.2, p. 384 1835 - 1883 Conrad Buhlmayer Buhlmayer Conrad 3236 Andrew Fisher Bunner (1841-1897). American, born and died in New York. Andrew Fisher Bunner was born in 1841 in New York City, and he studied there and in Europe. His career included extended travels in France, Holland, Germany, and Italy (1871-76) and especially Venice, where he lived from 1883-1886. He never became completely expatriated, however, retaining his strongest ties to the United States. He exhibited every year from 1865-1896 at the National Academy of Design, most of these years at Pennsylvania Academy of Fine Arts (1877-1890), and frequently at the Boston Art Club and the Brooklyn Art Association as well as the Paris Salon in 1878. Residing for several years in South Hampton NY, he often painted summers on Long Island or along the Hudson River. His work is in a number of museum collections, including the Metropolitan Museum, New York, Yale Museum, Connecticut and museums in Pennsylvania, Colorado, and New Mexico. Elected to Associate of the National Academy in 1880, Bunner might well have become a full member except for his relatively early death at age 56 in 1897. 1841 - 1897 Andrew Fisher Bunner Bunner Andrew Fisher 2124 Elbridge Ayer Burbank was born in Harvard, Illinois in 1858 and died in San Francisco in 1949, at age 90. He received his first formal training as an honors student at the Art Institute of Chicago. On graduation, an assignment from Northeast Magazine took him through the Rockies to the Washington State coast, painting Western scenes to promote land sales for the Northern Pacific Railway. In 1886, Burbank went to Munich to study with Paul Nauen and Frederick Fehr. Four years later, he returned to Chicago and specialized in portraits, particularly of Negro subjects. Beginning in 1895, Burbank drew and painted from life more than I, 200 pictures of leaders and members of some 125 Western tribes. He painted many chiefs, among them Geronimo, Joseph, Sitting Bull, Red Cloud and Rain in the Face. But hundreds of other subjects 'were chosen for their distinctive individual and tribal character. Burbank began exhibiting at the National Academy of design in 1895 with “Antiquarian” #276. He continue to exhibit at the Academy until 1900. Burbank also exhibited at the Chicago Art Institute (1894-1918) and the Pennsylvania Academy of the Fine Arts (1894-1903). His major lifework was launched in 1895 by his uncle, Edward E. Ayer, first president of the Field Columbia Museum, trustee of the Newberry Library and collector of Indian lore. He commissioned Burbank to do portraits of living, prominent Indian chiefs. Burbank traveled through Oklahoma, New Mexico and Arizona, among the Navajo, Hopi and Zuni. He portrayed numerous California tribes, and later, the Sioux, Crow, Nez Perce and Ute. Burbank liked the Indians; they were frequent guests at his table and in his home. Chief Geronimo, before his death in 1909, told Burbank he liked him better than any white man he had known. Burbank's work displays not only technical maturity and extraordinary representational skill, but sympathy and genuine respect for his subjects. Working in oil, watercolor and crayon, with remarkably fresh effect, he produced strong, insightful portraits and scenes. They form the final poignant record of the proud lndian cultures on the eve of their dissolution. Public Collections: Field Museum, Chicago Hubbell Trading Post Museum, Ganado, Arizona National Gallery of Art, Washington, D.C. Newberry Library, Chicago Listed: American Art Analog, vol., pg.551 Mantle Fielding’s Exhibition of the National Academy 1861-1900 The Annual Exhibition Record of the Art Institute of Chicago 1888-1950 The Annual Exhibition Record of the Pennsylvania Academy of the Fine Art 1876-1913 1858 - 1949 Elbridge Ayer Burbank 1 Burbank Elbridge Ayer 2912 David Burliuk is not only the father of Russian Futurism (budetlyane - people of the future) and one of the founders of the Cubo-Futurist movement in France and Germany (Der Blaue Reiter) in 1910, he is also one of the pioneers of the NEW UNIVERSAL ART, which included Pablo Picasso, Archipenko, Ferdinand Leger, Joseph Stella, Kandinski, Charles Sheeler, Alfred Steiglitz, Georgia O'Keeffe, John Marin, Nicoli Feshin, John Sloan, and others. David Davidovich Burliuk was born in Semirotovshchina village, Kharkov Province, Russia in 1882 and died in New York City in 1973. He was a prolific painter as well as a poet, author, and a great promoter of modern art. He was well educated, proficient in French, German, and to some extent Greek, and was exposed to the great poets, painters, and writers of the time. Burliuk began his formal studies at art colleges in Kazan (1898-99, 1901) and Odessa (1899-1900, 1909). He studied at the Academy in Munich (1902-03), in the studio of Fernand Cormon in Paris (1904) and at the Moscow Institute of Painting, Sculpture, and Architecture (1910-14), where he would eventually be expelled. The political turmoil within Russia following World War I would force Burliuk to immigrate to New York City by way of Japan and Canada in 1922. Throughout his career as an artist and intellectual Burliuk continued to paint a variety of subjects from abstract works to landscapes. In addition to his painting, David Burliuk actively created poetry throughout his artistic life. While in Russia, Burliuk envisioned a movement (eventually called Russian Futurism) that could express itself through multiple media, thereby making the movement more universal and less isolated as simply a visual development. Burliuk also had an essential role in nurturing the Russian Futurist poet Vladimir Mayakovsky. Burliuk wrote extensive critical pieces such as "Cubism" and poetry that were presented throughout Russia in public forums and published in futurist manifestos like A Trap for Judges and a Slap in the Face of Public Taste. Burliuk's interest in poetry continued well into the 20th century. Two of the most consistent characteristics of all Burliuk's works are his extreme interest in the act of painting and his assimilation of various styles from other artistic movements. He applied paint in thick impasto, often applying it directly to the canvas, either from the tube or with the palette knife. In his own words, "A painting is the result of movement . . . Drawings or paintings are seismographic recordings." Burliuk's theory of painting preceded the much celebrated theory and style of action painting Jackson Pollock devised around 1943.The other hallmark of David Burliuk's works is his "kaleidoscope" of styles. Expressionist painters of this movement did not have a uniform artistic theory but they shared an ". . . intense assertion of the painter's own vision" often manifested by vivid and exuberant colors. Burliuk participated in their first exhibition in 1911. Wassily Kandinsky, the leader of the movement, spoke passionately about the physical and psychological effects that arise from looking at colors, ". . . color awakens a corresponding physical sensation, which undoubtedly works poignantly upon the soul." As an artist, Burliuk was extremely aware of his audience and adjusted his style to meet the demand of the viewer. Burliuk toured Australia in 1962 and is quoted in a newspaper article, "These are the paintings people buy, so I do plenty of them." Yet these paintings also have a complex origin in Burliuk's artistic process. The unique blend of contemporary artistic styles such as Surrealism and Expressionism broke down the traditional portrait and required an individual versed in twentieth-century art to understand the significance each movement referenced has had on subsequent styles. Burliuk was represented by the ACA Galleries, NY and was a friend of Geri Pine and her husband. David Burliuk was a chameleon, changing his style and subject to fit the demand of the moment in order to please the audience. Geri Pine was a woman involved in the privileged art society of the 1940s which elevated their status among the New York avant-garde. Member: National Institute of Arts and Letters. Exhibited: Participant in exhibitions from 1906: Union of Russian Artists(1906-07), Wreath (1908), Link (1908), Knave of Diamonds (1910-13, 1916,1917), World of Art (1911), Union of Youth (1911-14), Der Blaue Reiter (Munich, 1911-12), Der Sturm (Berlin, 1912-13), Salon des Independents (Paris, 1914) etc. First of many one-man shows held in Samara, 1917, USA. Société Anonyme, 1924; WMAA, 1926-1946; Corcoran Gallery from 1939-47, and the PAFA from 1943-46. Work: Metropolitan Museum of Art; Whitney Museum of Art; Brooklyn and Boston and Philadelphia Museums of Fine Arts; Yale University. References Who Was Who in American Art (21 lines) Concise Oxford Dictionary of Art &Artists, 2nd ed. p.80 Mantle Fielding ADEC 98 Studied at art colleges in Kazan (1898-99, 1901) and Odessa (1899-1900, 1909), at the Academy in Munich (1902-03), in the studio of Fernand Cormon in Paris (1904) 1882 - 1973 David Davidovich Burliuk 1 Burliuk David Davidovich 1888 Milton J. Burns was a student of J.G. Brown and a founding member of the Salmagundi Sketch Club in 1871. During his most prolific period, from 1871-1899, Burns worked both as a painter and illustrator. His primary income was from illustration and his works were published in Harper's Weekly, Scribner's and Literary Digest. During his lifetime, Burns was one of America's most highly acclaimed marine artists, and one of the few to have experienced being a sailor himself. One critic noted that he looked "as much a sailor as he does an artist." Burns was introduced to marine painting when he accompanied William Bradford on an arctic voyage in 1869. In the early 1870s he became friends with Winslow Homer and went with him on several sketching trips. Burns and Homer shared the belief that the artist should go directly to nature for inspiration. Burns' experience of the sea is palpable in his paintings. One critic wrote of his marine works: "He painted them vividly and strongly, for he shared the perils of the life and mixed his oils with more than a dash of sea salt." Another critic wrote: "Burns is much more than a painter or illustrator of fishing life. He is the fisherman's friend, a devoted, understanding friend, his interpreter to the world." Unknown Milton J. Burns Burns Milton J. 3122 George Burr had a gallery of sketches that he collected and carefully hung on the walls of his Old Lyme house. Artist friends, often in exchange for one of his own sketches, gave most of them to him. Requesting a drawing from his friend Edmund Greacen, Burr wrote, "I like a sketch to look like what it is -a sketch, so don't finish except for name." George Burr's paintings reveal a similar strong interest in expressing a rough, unfinished quality. Most adept with smaller canvases, Burr created lively textured landscape and figure paintings by employing a translucent background over which strong dabs of paint were loosely applied, frequently exposing the canvas. Burr had been introduced to and influenced by the modern movements of German Expressionism and French Fauvism when he lived in Germany and France during the first decade of the twentieth century. Consequently his choice of color was at times more daring than that of most of the Old Lyme group. He readily experimented with intense blues, purples, and reds that convey an expressionistic mood in much of his work. The son of a prominent Middletown, Connecticut, banker, George Burr had left for Europe as a young man to study architecture in the Royal Architect's office in Berlin. He met and became engaged to Lucretia Phinney, who was studying German on a college scholarship. After their marriage in America, they returned to Berlin. Burr had decided against being an architect and began art studies first at the Berlin and then the Munich Academy of Fine Arts, continued them at the Colarossi Academy in Paris, and, later, at the Art Students League in New York. While in Europe, he and his wife lived for many summers in Holland, chiefly at Volendam. They often spent winters on the island of Capri in southern Italy. After living in Europe for fourteen years, George Burr decided in 1910 to bring his family back to his native New England, and he believed Old Lyme would be a good place to settle and establish his art career in America. He and his wife purchased "Cricket Lawn," an 1844 cottage-style house on the main street. For many of the local artists, the Burr home became a center of activity. George Burr had a fine sense of humor, he was a tennis enthusiast, and both he and his wife were active in town affairs. Burr was invited to contribute to the annual local art exhibition his first summer in Old Lyme. He became an active member of the art colony and of the Lyme Art Association when it was formed in 1914. He won the Association's Goodman Prize in 1933. In addition to painting, Burr developed considerable talent as an etcher and had some critical success with his colored etchings and monotypes. Burr's professional memberships also included the Allied Artists Association and the Salmagundi Club. Twenty-one examples of his work were displayed in 1978 at A. M. Adler Fine Art, Inc., New York, in the exhibition Three American Impressionists: From Paris to Old Lyme. Further reading: Three American Impressionists: From Paris to Old Lyme; Lucien Abrams, George Burr, Charles Ebert. Exhibition. Catalogue, A. M. Adler Fine Art, Inc., New York City, 1978. 1876 - 1939 George Brainer Burr 1 Burr George Brainer 1579 Norton Bush (1834-1894) was first noted for his portraits, marine views and landscapes of the East Coast and California. Later in his career, after visiting Central and South America, Bush devoted himself to his favorite topic, painting tropical scenery. Norton Bush was born in Rochester, New York, Feb.22, 1834. He first studied art in his native city under James Harris. He studied with Jasper Cropsey after moving to New York City. He received criticism from Frederick Church who was already famous for his lush tropical scenes. It was Church who encouraged Bush to paint tropicals. In 1853, Bush came to California via the Isthmus of Panama and the Chagres River. He made San Francisco his permanent home. In 1868, he opened a studio in that city. During a visit to Panama in 1868, Bush obtained material for a series of landscapes he painted for the late William C. Ralston. These paintings were hung on the walls of the Sharon residence in Belmont, California. On a trip to Peru, where made sketches of Mount Chimborazo, Bush also crossed the Andes, drawing the famous El Miste, Mount Meiggs and other exotic scenes. Bush was a frequent contributor to exhibitions held in San Francisco and at state fairs in Sacramento. He also exhibited at the National Academy of Design in 1852 and in 1871. Elected a member of the San Francisco Art Association in 1874 and a director in 1878. Bush died in San Francisco in 1894. Exhibited: National Academy of Design 1852-1871 Mechanics Institute, 1858 California State fairs (four gold medals) Museums: Oakland Museum Society of California Pioneers Crocker Museum, Sacramento 1834 - 1894 Norton Bush Bush Norton 1944 Mary Butler was born near Philadelphia in 1865. She studied art at the Pennsylvania School of Design for Women with William Sartain and Robert Henri, then at the Pennsylvania Academy with Cecilia Beaux and William M. Chase. 1865 - 1946 Mary Butler Butler Mary 3202 Although one of America’s most innovative post-impressionist painters, Theodore Earl Butler did not receive the recognition he deserved in his lifetime, since he was all but eclipsed by his famous father-in-law, Claude Monet. Born in 1861, Butler enrolled in the Art Students League in New York, then he studied in various art academies in Paris. Already in the Salon of 1888 he exhibited a painting that received an Honorable Mention. That summer, with Theodore Wendel, Butler discovered Giverny, the village that was to become the foremost impressionist artists’ colony. Initially inspired by Monet, who had settled there in 1883, Butler surpassed the impressionist aesthetic of Monet; using the French painter’s high-keyed palette as a springboard, he developed his own technique, and a style that forecasts elements of the Nabis movement, such as the simplification of forms, a use of pronounced contours, and flattened spatial effects. Butler sent his paintings regularly to American exhibitions: those of the Pennsylvania Academy, the National Academy of Design and the Society of American Artists. Still tied to impressionist subject matter, Butler applied his own vivid, energy-charged brushwork, striking color, highly saturated pigment, and boldly executed compositions that anticipate the canvases of Matisse. Butler married Suzanne Hoschedé, the daughter of Alice Hoschedé, with whom Monet was living out of wedlock. Butler exhibited at the progressive Barc de Boutteville Show in 1894, then the prestigious Vollard Gallery hosted a one-man show for Butler in 1897, however, French critics classified his art as imitative of Monet, as they joined in the anti-American sentiment of the fin de siPcle. Meanwhile he participated in the exhibitions of the Société des Artistes Indépendants and at the Salon d’Automne where the Fauves made their sensational debut. Butler traveled to New York, where he executed the innovative Brooklyn Bridge, which was very well received. Henceforth, Butler turned from genre scenes to landscape painting. He expanded his virtuoso brushwork, Fauve-like color, fluid line, and abstraction of form. Various one-man shows took place. As an innovator, Butler took part in the Armory Show in Chicago, in 1913, and then sent works to the Panama-Pacific International Exhibition in San Francisco two years later. Between 1912 and 1916 Butler executed murals for private patrons, including Cornelius Vanderbilt III. In 1917 he participated in the organizational work of the Society of Independent Artists, with John Sloan. Limited exposure in America and anti-American sentiment in France prevented Butler from gaining the recognition commensurate with his pioneering achievements in art. Great dealers such as Le Barc de Boutteville, Vollard, and Bernheim-Jeune recognized Butler’s innovations but French critics assigned him to the shadow of his celebrated father-in-law. Butler, while remaining in the famous village, chose a more avant-garde path as he would become a leading American post-impressionist. Only recently has his proper place in the history of American art been affirmed. Butler died in Giverny in May of 1936, by now a great modern American master. LITERATURE: Love, Richard H. Theodore Earl Butler: Emergence from Monet’s Shadow. Chicago: Haase-Mumm Publishing Co., 1985. 1861 - 1936 1 Theodore Earl Butler 1 Butler Theodore Earl 3215 Known for marine paintings from subjects he observed in the waters off New York, James Buttersworth lived long enough to depict the early steamship era. His career spanning sixty years was dedicated to portraits of all types of ships at sea such as racing clipper ships, steamers, and yachts. Nearly 600 of his paintings have been found, and his contribution in preserving this colorful chapter in American history is profound. His special skill was portraying the majesty, grace, and movement of sailing vessels, and viewers have a strong sense of being pulled along because of the curves and flow he conveyed in his wind-filled sails. He applied paint thinly, primarily in oil, and used a variety of grounds including canvas, milkboard, wood panels, and metal. A meticulous draftsman, Buttersworth had an eye for exact detail, and painted clipper ships and great sailing yachts as well as historical conflicts with battleships. The paintings are usually made dramatic by stormy skies and churning ocean waves. He was born in Middlesex County, England, and it is thought that his grandfather was Thomas Buttersworth, 1768-1828, and his father Thomas Buttersworth, Jr, 1797-1842, both renowned marine painters. Although his heritage is unproven, it is obvious James Buttersworth was well schooled in the tradition of English marine painting. Between 1845 and 1847, he emigrated to the United States and settled in Hoboken, New Jersey, and little is known of him before that time. He brought many of his paintings with him from England to sell, and Currier and Ives company purchased some of them to convert into lithographs. He benefited from the wide exposure this association gave his work. Another break came when he exhibited and sold paintings through the American Art Union from 1850 to 1852 in New York City, and, as a result, was commissioned to make a series of drawings for the yacht race of 1851 in England. He supported a large family and lived in West Hoboken, New Jersey with a view of the New York harbor. He prowled the water in a small boat, which is obvious because his perspectives are that of being on the water. Sources include: American Art Review and Magazine Antiques 1817 - 1894 James Edward Buttersworth Buttersworth James Edward 1578 Henry Newell Cady was born July 8, 1849 in Warren, Rhode Island. His death dates are not recorded. He received his formal education at the National Academy of Design in New York. He exhibited at the National Academy in 1873. The painting was Number, 81 "Shy before Strangers". Cady also exhibited at the Art Institute of Chicago between 1895 and 1899 and at the Pennsylvania Academy of Fine Art. Listed: Art Institute of Chicago Annual Exhibition Record, 1889-1950, pg.180 Exhibition of the National Academy of Design, 1861-1900, pg. 131 Pennsylvania Academy of Fine Art Annual Exhibition Records, 1873-1913, pg. 121 Dictionary of American Artists of the 19th and 20th Century, pg. 55 Who's Who in American Art, pg. 95 b. 1 - 1849 Henry Newell Cady Cady Henry Newell 1577 Emile Cagniart was a landscape and Paris Boulevard artist from the French school. He was born in Paris on May 23, 1851 and died on February 14, 1911. He studied at the l'Ecole de Beaux-Arts in Lyon with Pierre-Désiré Guillemet (1827-1908). Cagniart had his first exhibition at the Paris Salon of 1877. His watercolors "Les buttes Montmartre du côté de Cligancourt" and "Le Sentier à Montlignon" were extremely well received. In 1900, Cagniart was honored with an appointment as a member of the Comité du Salon. Museums: Musée de Périgueux , "Crépuscule" Musée de Rouen, "Le soleil et la neige, vue des envions de Paris" Musée de Toul, "Envions de Rouen, le soir" (pastel) Listed: E. Benezit 1851 - 1911 Emile Cagniart Cagniart Emile 2010 Alexander Calder was a sculptor of international renown. Born in Philadelphia, he grew up in an artistic family; both his father and his grandfather were accomplished and dedicated sculptors, who created heroically scaled figurative monuments. Calder studied at New York's Art Students League, but the significant influence on his early career occurred during the two weeks he spent sketching at the Ringling Brothers and Barnum & Bailey Circus. From his drawings of the performers, he created a miniature animated circus, which introduced the artist to the Parisian international art world. In 1926 Calder also began his first independent wire sculptures. About 1930 he began to create abstract works, influenced by the art of Joan Miro as well as that of Piet Mondrian, whose Neoplastic colored rectangles inspired Calder to realize a vision of "oscillating" art. He eventually developed two sculptural modes: "stabiles," or stationary abstract sculpture; and "mobiles," or motor-powered art. He soon gave up mechanically-driven motion, however, for that produced naturally by air and wind. Beginning in the late 1930s, Calder commuted between his home in Connecticut and France, and his work was exhibited extensively both in America and abroad, with major sculptures installed in public places in major cities throughout the world. 1898 - 1976 Alexander Calder 1 Calder Alexander 2933 Charles Clément Calderon (1870-1906) Charles Clément Calderon was born in Paris in 1870 and died in 1906. He received his formal art training in Paris at the Beaux-Arts Academie under Alexander Cabanel (1823-1889). Calderon was a regular exhibitor at the Salons. In 1906, just prior to his early death, he received recognition and praise for his Venice scenes at the L'Exposition Colonial. Listed: E. Benezit, Vol 2, pg 457 1870 - 1906 Charles Clement Calderon Calderon Charles Clement 2098 John (Giovanni) Eugene Califano is considered a genre, figure and landscape painter from both the American and Italian school. He was born December 5, 1864 in Rome, Italy and died June 15, 1946 in Van Nuys, California. In 1878, Califano would begin his formal studies in Naples at the Istituto di Belle Arti under one of Italy’s major Neapolitan ottocento artists, Domenico Morelli (1826-1901). It was here that Califano developed a style of figure painting rarely in such a young artist, which critics easily compared to the Italian master Giovanni Boldini (1942-1931). Califano would debuted in the 1880 Salon exhibition in Naples, where was awarded the gold medal. In 1881, he immigrated to the United States and lived briefly in both New York City and Chicago. According to the exhibition records of National Academy of Design, Califano exhibited “After the Storm” and “Good Friends” 1897, and “Return Home” in 1899. He listed his New York address as 468 Central Park, West in1897 and 75 West 55th Street in 1899. In 1897, he exhibited “The Storm, #35” and “Violet Beauty, #56” (pastel) at the Chicago Art Institute listing his address as 3722 Forest Avenue, Chicago. By 1915, John Califano had moved to San Francisco. Early in his career, he was primarily considered a figure and landscape painter. Toward the end of his very successful career, he began to focus his energy toward painting landscapes using California’s Sierra Nevada as a back drop. Listed: E. Benezit, Grund Vol. II, pg.459 Artists in California, 1786-1840, Edan Milton Hughes, pg.88 Who was Who in American Art, Falk. The National Academy Design Exhibition Record, 1861-1900 Annual Exhibition Records of the Art Institute of Chicago, 1888-1950 1864 - 1946 John Eugene Califano Califano John Eugene 1887 While it is not known exactly when AdolpheFelix Cals began his interest in art, his earliest training came from little known printmakers, who taught Cals engraving, drawing, and how to work from plaster casts in the studio. After working for such men as Anselin, Ponce, and Bosc (copying the works of Francois Boucher or Achille Deveria in lithographs), Cals was introduced by another young student to the academic painter Leon Cogniet (17941880) and entered his atelier at the Ecole des BeauxArts during the late 1820's. It is not surprising that Cogniet would expect Cals to study the masters, for that was the tradition of the atelier, but although Cogniet recognized the talents of his young pupil, he was not pleased with Cals's independent turn of mind. Perhaps the only qualities Cals acquired from Cogniet were interest in painterly detail and use of Romantic color, although even in this early period Cals maintained his determination to depict themes which stressed the miserable existence of the lower classes. After Cals left Cogniets atelier and served a brief period in the military, he painted landscapes on the outskirts of Paris (ca. 1833) in preparation for exhibiting his work at the Salon. Three of his works were accepted at the 1835 Salon, including one with strong social implications (Une Pauvre Femme). From that time on until 1870, he exhibited regularly at these yearly shows. Often, however, his works were poorly placed and, thus, overlooked by those who attended. Admittedly, contemporary academic critics found little to interest them because of the social overtones in his genre scenes and landscapes. Cals made friends with several young painters when he lived in Paris, including Ed. Cousin, who became the subject of one of Cals's early portraits.' During this period, Cals also married Ermance de Provisy, a young art student from an aristocratic family that he had met through Cogniet. When his irascible young wife showed signs of insanity, he left her, taking his small daughter to live with hum at numerous locations in Paris. She often accompanied him on his painting excursions to the outskirts of the city (e.g., Argenteuil, SaintCyr). It was not a happy existence, and the themes that Cals completed during the 1840s mirrored his personal preoccupation with poverty. Many of these early works show an interest in peasant life that anticipates the later works of Jean Francois Millet but which at the time only served to disturb a Salon public ill-prepared for anything but the classicism of Ingres. In 1846, when Cals exhibited eleven works at the Salon, the assurance of his many Realist friends that he would win a medal for his genre studies convinced him of the success he felt he deserved; his failure to receive of official recognition only added to his disillusionment. His struggles as an artist were finally alleviated by his friendship with the art dealer Pere Martin. In 1848 Martin, a man of passionate dedication and a firm supporter of the direct and contemporary way of examining the environment and themes of humanity, opened his first shop on rue Mogador. Here and later on rue Laffitte, Martin was able to sell works by Cals, as well as paintings by Millet, Corot, and others. Among the patrons who came to Martin's shop were private collectors such as the Rouart brothers and Gustave Arosa. With Martin's help, Cals's paintings may have entered private collections of the middle and upper classes, who were attracted to his small scale humble themes and who appreciated the still lifes that Cals began exhibiting in 1848. Pere Martin was not the only individual to come to Cals's assistance. In 1858, at Martin's gallery Cals met Count Doria and formed a lifelong friendship with this patron of the arts. Count Doria invited Cals to work at his private villa (until 1869) and there Cals was able to achieve some of his purest studies of light and atmosphere. During the 1850s, Cals also completed a number of studies of family life, many of which were perhaps inspired by a growing appreciation of Chardin, but were based, in part, also upon studies of his own daughter Marie absorbed in her daily activities. This type of painting was popular among other artists (e.g., Edouard Frere and Octave Tassaert), for it was a time when the Realists were studying the ramifications of childhood as part of their widespread appreciation of family life. Cals enjoyed the friendship of many of the Realists, but his relationship with the Dutch pre-impressionist Jongkind was probably his closest. By the late 1850s, word had already reached Paris that Jongkind was in poor health; in 1861 Cals was sent by Pere Martin and other friends to Holland to settle Jongkind's debts and to bring him back to Paris where he could be cared for. Cals and Jongkind remained good friends, and in 1873 Cals went to live with Jongkind at Honfleur, a region where others as early as the mid1850s had been studying effects of light. Undoubtedly, Cals's awareness of the landscapes of Charles Daubigny and the seascapes of Eugene Boudin, depicted at differing times of the day and under changing atmospheric conditions, inspired him to follow other pre-Impressionists. He became increasingly interested in painting landscapes. During the 1860s, when many of his canvases were rejected at the Salon because of their disturbing social themes, Cals gained increasing respect from other traditional Realists (e.g., Bonvin and Ribot), for his participation in the Salon des Refuses classified him as one of the vocal, revolutionary figures in French painting. His entry of a lowerclass genre painting, depicting the work of a shoemaker, typified the honest, hard work by lesser artisans that the Realists were then studying. By 1874, six years before his death, Cals had become associated with the new movement of the Impressionists, a generation of Realists who emerged as a force on the art scene with their first independent exhibition. Cals growing interest in newer tendencies in French art and his friendship with young painters (e.g., Claude Monet) thus conditioned him to mortify his style according to innovative theory and painting techniques. These later works that Cals exhibited with the Impressionists reveal a freer brushstroke and a lightened color range. Cals's home life was never easy and, like other Realists (e.g., Bonvin and Ribot), he was often afflicted by poverty and personal problems. In 1868 his daughter became insane, and he placed her in Charenton. Many of Cals's earliest canvases merit further examination, since it was in a variety of genre themes that he first attracted attention. His interest in still life, while apparently not extensive, began in the late 1840s and indicates that he had an opportunity not only to study domestic gemre compositions by Chardin, but also Chardin's Still lifes when they were first being rediscovered. Although he surrendered his expectation of further Salon exhibitions when he chose to exhibit with the Impressionists in 1874, his participation was characteristic of the independent position that he first established in the mid1830s. Altogether, his career embraces the full extent of the Realist movement, from the first generation to the final modification of the tradition. Museums: Le Musee du Louvre Musee de Reims Musee de Honfleur Unknown Adolphe-Felix Cals Cals Adolphe-Felix 1911 Duncan Cameron was born in Scotland in 1851 and died in 1921. He is considered a landscape painter from the Scottish school. According to records, Cameron was actively painting landscapes using Sterling and Edinburgh countryside and historical monuments as his focus from 1871 to 1900. Cameron exhibited twenty-five times at the Royal Academy in London and twenty-eight times at the Suffolk Street Gallery. The three most noted works exhibited at the Royal Academy were "The Druid Stores in Arran", "A Harvest Field in Perthshire" and "Glencoe." Listed: The Dictionary of Victorian Painters, By Christopher Wood, pg.80 Dictionary of Artists, Graves, pg.46 E. Benezit, Grund, pg. 476 The Royal Society of British Artists & The New English Art Club.1888-1917, pg 74. 1851 - 1921 Duncan Cameron Cameron Duncan 3336 Orville Campbell began his art studies with Eloise Polk McGill (1868 - 1939) during the early 1920's and later with John Herbert Barnard (1880 - 1949). He exhibited for the first time at the Witte Museum in 1930 among such artists as Jos Arpa (1858 - 1952), Peter Lanz Hohnstedt (1871/72 - 1957), Harold Roney (1899 - 1986), Rolla Taylor (1872 - 1970) and others. Campbell lived in San Antonio and later moved his studio to Kerrville, Texas where he remained for the rest of his life. President Lyndon B. Johnson in the 1960's chose one of Orville Campbell's paintings titled "Sinclair Worker" as the best painting at an exhibit at the L.B.J. State Park, which the painting became part of President Johnson's private collection. The exhibit consisted of over 40 of the State's top artists including many national known artists. Campbell's mother, Mrs. Alma Campbell, was an artist. His father a gold and silversmith. Orville Campbell exhibited paintings at the International Petroleum Exposition and received a blue ribbon for the best painting on the International level. He was also the art director for several motion picture studios, including Paramount Studios, Lubin Film Company and others. Martin Nestler, who was the owner of an art gallery in the 1970's in Ingram, Texas (just outside of Kerrville), represented Orville Campbell in his gallery. Orville Campbell's paintings are outstanding because of his unique ability to capture perspective, dimension, cloud formations and his excellent treatment of color, light and shadow. Additionally, Orville Campbell has concentrated on the quality of his paintings, rather than the quantity. Martin Nestler, gallery owner Source Fine Arts of Texas, Inc. San Antonio, Texas Specializing in Early Texas Art Since 1988 1903 - 1987 1 Orville A. Campbell Campbell Orville A. 2927 Johannes Ludwig Camradt, son of portrait painter Frederik C. Camradt (1736-1784), was born September 20, 1779 in Copenhagen and died December 4, 1849 in Hillerod. He began his formal training as a painter with still life painter Claudius-Ditlev (1763-1841) at the Beaux-Arts Academy. Camradt was invited to become a member of the Academy in 1821 and became a member in 1823. Camradt was highly regarded for his exquisite floral still life paintings which he exhibited at the Salons from 1819 to 1848. Listed: E. Benezit, vol. 2, page 489 1779 - 1849 Johannes Ludwig Camradt Camradt Johannes Ludwig 2071 Ulisse Caputo was born Salerno, Italy November 4, 1872 and died October 13, 1948 in Paris. He began his initial art studies as an apprentice to d’Alferi di Cava in Tirreni. From 1890 to 1892, he studies at the Beaux-Art Academe in Naples under the tutelage in Domenico Morelli (1826-1901). Caputo would leave the academy to travel with Gaetano Esposito (1858-1911). In 1900, he traveled to France to study and open a studio in Paris, which he maintained until his death in spite of many trips abroad. Caputo debuted at the 1901 Salon des Artistes Français in Paris and received a medal at the Salon in 1909. Caputo would be invited to exhibit and became the featured artist at La Biennale de Venice of 1907. In 1910, he received was awarded a gold metal at the Munich Exposition for "Les deux Amis." From 1911-12, he travels to Brittany to paint landscapes, all of which would be acquired by various local museums for their permanent collections. From 1913 to 1918, Caputo would travel the French countryside with his friend writer Henri Barbusse (1873-1935). At the end of his journey in 1918, he would open a studio in Aix-en-Provence. In 1922, he would return to his studio in Paris but would make annual trips to paint scenic Aix-en-Provence. Caputo continued to actively exhibit his works is Rome, Naples and Paris. He would make two voyages between 1925 and 1930 to the Americas to exhibit in the both United States and South America. A retrospective exhibition to honor Ulisse Caputo's was held in Salerno at the Palazzo S. Agostino from December 1997 to January 1998. An Italian website, l'Arte in Provincia di Salerno on Ulisse Caputo. Museums: Museé d'Orsay, Paris Museé du Luxembourg, Paris The Carnegie Institute, Pittsburgh Lima, Peru Santiago Museum, Chile Municipal Museé, Toulon Listed: E. Benezit, vol. II, pages 510-11 1872 - 1948 Ulisse Caputo Caputo Ulisse 2125 Joseph Caraud was born in Cluny (Saône-et-Loire) on Janruary 5, 1821 and died in November 1905. Caraud is considered a historical and genre painter from the French school. In 1844, Caraud traveled to Paris to attend the Beaux-Arts Academie. It was his academic studies under Master painter Alexandre Abel de Pujol (1787-1861) and later with Charles Louis Lucien Muller (1815- 1892) that helped launch his career as one of France’s best portrait and genre painters of the 19th century. Caraud debuted at the Paris Salon of 1843. He submitted several portraits and a wonderful painting with the title "La bonne maman et la petite fille (A Good Grandmother and her Granddaughter). Caraud continued to exhibit portraits, intimate genre and historical paintings at the Salons in Paris where he won numerous awards. Caraud’ s great success was built around his theatrical anecdotal paintings of life of Henry XV, the episodes in the life of Marie Antoinette and his small colorful idyllic Italian interiors. Caraud traveled extensively throughout France, Italy and Algeria gathering material and doing extensive research for each painting. The authenticity that he placed in each painting created an incredible demand for his work. The demand was so great that he would later reproduce them as engravings. Medals: 1859, 3rd class 1861, 2nd class 1863, 2nd class 1821 - 1905 Joseph Caraud Caraud Joseph 1965 Soren Emil Carlsen was born in Copenhagen on October 19, 1853. He studied architecture at the Danish Royal Academy between 1868 and 1872. He emigrated to America in 1872, settled in Chicago, and found work as an assistant to a local architect. For a time he also worked for a fellow Dane, the painter Lauritis Bernhard Holst (1848-1934). When Holst returned to Denmark in 1874, he turned his studio over to Carlsen, who had by this time decided to become a full-time painter. Upon the recommendation of the Chicago sculptor Leonard Wells Volk (1828-1895), Carlsen was appointed the first instructor at the newly formed school of the Art Institute. In 1875 Carlsen returned briefly to Denmark and then went to Paris, where he stayed for six months. While there, he carefully studied the works of the eighteenth-century painter Jean Siméon Chardin (1699-1779). Returning to New York in 1875, the artist set up his own studio, but he had to supplement his meager income from painting by working as an engraver and designer. In 1879 financial difficulties forced him to hold an auction of thirty of his works, but the proceeds did not even cover the sale's expenses. In the early 1880s Carlsen began to develop a reputation as a still-life painter. Commissioned by a dealer to paint saleable flower pieces, he returned to Paris in 1884, where he remained for two years, painting numerous brightly-colored pictures. Eventually, he grew tired of this repetitious work and broke the contract he had made with the dealer. Carlsen went back to New York and opened a studio on West 57th Street. He worked there until 1887, when he began a two-year tenure as director of the San Francisco Art Association's school. He resigned this post in 1889 but remained in San Francisco until 1891. Carlsen again settled in New York in 1891 and began teaching at the National Academy of Design, where he would continue as an instructor until 1918. He was married in 1896 and numbered among his friends in New York William Merritt Chase, J. Alden Weir, and Childe Hassam. 1853 - 1932 Soren Emil Carlsen 1 Carlsen Soren Emil 3249 As a young child in Sweden, John F. Carlson was introduced to art by an uncle who decorated carriages with landscapes. At the age of twelve, Carlson moved with his family to the United States and settled in Buffalo, New York. Carlson’s early interest in art grew and he apprenticed with a lithographer and received guidance from an amateur artist named Frederick Mayor. He later worked as a Lithographer at Cosack & Company to help support his family. His formal training began at the Albright School of Art (Albright Art Gallery) where he studied under Lucious Hitchcock. In 1902, Carlson earned a scholarship to the Art Students League in New York where he was a pupil of Frank Vincent DuMond. Following his two years of study at the Art Student’s League, Carlson went to Woodstock, New York, with a scholarship to study at Byrdcliffe, a fledgling art colony (later known as the Woodstock Artists Association). He received instruction from Birge Harrison, a Tonalist, who became both a mentor and a friend to the young artist. In 1906, Carlson, who was then a member of the Art Students League’s Board of Control, was instrumental in the decision to move the League’s summer school from Connecticut to Woodstock. Birge Harrison was named director of the new school of landscape at Woodstock and he hired Carlson as his assistant. Carlson became the school’s director following Harrison’s retirement in 1911, hiring Frank Swift Chase as his assistant. By that time, there were over one hundred students studying at the school. Enrollment was at its greatest under Carlson’s directorship which lasted until his resignation in 1918. In June of 1920, Carlson and his family moved to Colorado Springs, Colorado. Carlson, who by that time had earned national recognition as a landscape painter, was appointed director of the newly established Broadmoor Academy. The artist was thrilled with his new surroundings and stated “Nowhere outside of Italy can one see such combinations of color as the afternoon wanes.” Carlson spent two summers teaching landscape painting at the Broadmoor Academy. In 1922, Carlson returned to Woodstock where he established the John F. Carlson School of Landscape Painting. Three years later, the artist was elected a full member of the National Academy of Design. In 1928, Carlson published an instructional book titled Elementary Principles of Landscape Paintings. The book was reprinted as Carlson’s Guide to Landscape Painting in 1953, 1958, and 1970. EXHIBITIONS Art Institute of Chicago, 1905-1929; National Academy of Design, 1907-1944 (Carnegie prize, 1918; Ranger Fund prize, 1923; Altman prize, 1936); Glaenzer Gallery, New York City, 1908 (solo); Katz Gallery, New York City, 1909, 1912 (solos); Corcoran Gallery, 1910-1943; Swedish-American Exhibition, Swedish Club, Chicago, 1911 (first prize), 1913; Pennsylvania Academy of the Fine Arts, 1911-1931; Salmagundi Club, New York, 1912 (first Isidor prize and Vezi prize for watercolor), 1923 (Shaw watercolor prize), 1925 (prizes); Memorial Art Gallery, New York City, 1913; Washington Society of Artists, 1913 (silver medal); Copley Gallery, Boston, 1913, 1915; Macbeth Gallery, New York City, 1913-1940’s; Pan-Pacific Exposition, 1915 (silver medal); St. Louis Art Museum, 1917; St. Louis Museum of Art, 1917, 1943; Swedish National Museum, Stockholm, 1920; “Scandinavian-American Artists” exhibition, Brooklyn Museum, 1926, 1928, 1932; Anderson Gallery, Chicago, 1927 (solo); Brooks Memorial Gallery, Memphis, 1941 (solo); American Watercolor Society; Colorado Springs Art Gallery; Connecticut Academy of Fine Arts; Dayton Art Institute, Ohio; Milch Gallery, New York City; Mohr Gallery, Toledo, Ohio; Montclair Art Museum; New York Watercolor Club; National Arts Club; Paradox Gallery, Woodstock, New York; Plainfield Art Association, New Jersey; Sartor Gallery, Dallas; Washington Watercolor Club; Vassar College Art Gallery; Vose Gallery, 1978, 1980, 1982, 1987 (solos); Babcock Gallery, New York City, 1990’s (two solos). COLLECTIONS Art Institute of Chicago; Brooks Memorial Gallery, Memphis, Tennessee; Butler Art Institute; Carnegie institute; Corcoran Gallery of Art; Dallas Public Library; Fort Worth Art Association; Lincoln Art Association Nebraska; Metropolitan Museum of Art; National Academy of Design; Oberlin College; Randolph-Macon Women’s College, Lynchburg, Virginia; Toledo Museum of Art; Woodstock Art Association. Further Reading: Artists of the American West: A Biographical Dictionary, Vol. 3, Doris Ostrander Dawdy, Swallow Press, Chicago, 1980. 3 Vols. The Founders of the Woodstock Artists Association Exhibition Catalog, Carol B. Brener, ed., Woodstock Artists Association, Woodstock , New York, 2000. John F. Carlson and Artists of the Broadmoor Academy, David Cook Fine Art, Denver, Colorado, 1999. Pikes Peak Vision: The Broadmoor Art Academy, 1919-1945, Colorado Springs Fine Arts Center, Colorado Springs, Colorado, 1989. A Show of Color: 100 Years of Painting in the Pike’s Peak Region, Robert L. Shalkop, Colorado Springs Fine Arts Center, Colorado Springs, Colorado, 1971. Who Was Who in American Art 1564-1975: 400 Years of Artists in America, Vol. 1. Peter Hastings Falk, Georgia Kuchen and Veronica Roessler, eds.,Sound View Press, Madison, Connecticut, 1999. 3 Vols. Woodstock’s Art Heritage: the Permanent Collection of the Woodstock Artists Association, historical survey by Tom Wolf; published for the Woodstock Artist’s Association by Overlook Press, Woodstock, New York, 1987. 1874 - 1945 John Fabian Carlson Carlson John Fabian 3133 Franklin Carmichael was born in Orillia, Ontario, and trained in his father's carriage business, he started work as a commercial artist with Rous and Mann in Toronto in 1911, and studied art formally in Antwerp in 1913 (following in the footsteps of Lismer and Varley). He shared a studio with Tom Thomson upon his return in 1914, his study plans curtailed by the war. He was known to the others through his clever work as a commercial artist, as an enthusiastic weekend painter, and as another potential transcendentalist in his views on art and the spirit. 1890 - 1945 Franklin Carmichae 1 Carmichae Franklin 2126 John William Casilear, one of the very fine names that even today languish in the relative obscurity of historical neglect, was a formidable talent. To twentieth-century eyes his drawings present ample evidence to support his candidacy as the most fluent draftsman of all the Hudson River School artists. He was born in New York City and at age fifteen was apprenticed to the prominent engraver Peter Maverick; later he worked with Asher B. Durand. His interest in painting developed in the early 1830’s, and in I 835, he was made an Associate of the National Academy of Design, where he exhibited regularly from 1833 to 1893. He was also a member of the Century Association for more than forty years. He continued to pursue both careers, engraving and painting, eventually achieving a partnership in the engraving firm of Tappan, Carpenter, Casilear & Company and full membership in the National Academy of Design in 1851. Casilear's views of the Genesee Valley and of Lake George were highly regarded and other examples may be seen at the Metropolitan Museum of Art and the Corcoran Gallery of Art. This magical view of Lake George, similar to that of Bricher, manifests the fine unobtrusive color, restrained brushwork, and tight composition one might expect of an engraver, yet everywhere Casilear's artistry is in evidence. The refined Claudian symmetry and crystalline atmosphere virtually stop time and heighten the luxurious tranquility of the moment. The subtle modulation of tone, elegant restrained brushwork, beautiful surface quality, and blistering light are all features of Casilear's most poetic and successful essays. He loved Lake George it was among his favorite subjects and in mostly intimate, diminutive paintings he created images that are amazingly resilient in one's memory. Today these elements are sometimes seen as cold, tame, or colorless. From another point of view, these same characteristics might be seen as classic. Casilear was an important and accomplished Hudson River School artist. His art will sustain a considerable amount of viewing, and as the whole milieu becomes better understood, it seems likely that the unique and far-reaching qualities of his art will be more widely appreciated. 1811 - 1893 John William Casilear 1 Casilear John William 3172 Italian born painter and printmaker Frank Cassara studied under Walter Speck, Reginald Bennett at the Detroit School of Art from 1933-36. He also studied fresco painting with Jean Paul Slusser. In 1938 he was appointed supervisor of Michigan’s easel painting section of the WPA/FAP. Cassara for this program including at the Thompson School in Highland Park, the Water Conditioning Plant in Lansing, Fort Wayne in Detroit, a post office mural in east Detroit, and another in Sandusky. He began teaching at the University of Michigan in 1947, earned a Master’s degree in Design in 1954. In 1958 he studied at Stanley W. Hayter’s Atelier 17 in Paris. From the late 1950’s on he focused on print and paper making. His work is in several Michigan museum collections, the Bibliothèque Nationale in Paris, the Stedelijik Museum, Amsterdam, and the Smithsonian American Art Museum. A sketch of a woman’s head from the Water Conditioning Plant mural is part of Kresge Art Museum’s collection. Frank Cassara Cassara Frank 1886 Gerald Cassidy was raised in Cincinnati and studied there at the Art Institute under Frank Duveneck, who had also taught Joseph Sharp and Walter Ufer. In 1898, after a period in New York, where he found work as a commercial artist, Cassidy contracted tuberculosis and was sent to a sanitarium in Albuquerque. His health improved and, finding that he loved the New Mexico landscape and its people, he began to paint the local Indians, including the Navajo chief Vicente. Cassidy then moved to Denver, where he worked as a lithographer until 1911 when he first visited Santa Fe. In 1912 Cassidy married the sculptor, Ina Sizer Davis and two years later they moved permanently to Santa Fe, where Cassidy abandoned commercial illustration and concentrated on painting. His reputation as a painter was established in 1915 when he was awarded the grand prize and gold medal at the Panama-Pacific Exposition in San Diego for a series of murals for the Indian Arts Building which depicted the life of the Southwestern Indians. 1879 - 1934 Ira Diamond Gerald Cassidy Cassidy Ira Diamond Gerald 3211 Jean-Pierre Cassigneul (French, 20th century) Born 13 July 1935, in Paris Painter, lithographer, engraver, illustrator; Portraits, figures, nudes, flowers, fruit, murals, designs for tapestries. Jean-Pierre Cassigneul studied at the École des Beaux-Arts in Paris and went on to exhibit in various group exhibitions, including the Salon d' Automne in Paris (of which he was member), the Salon de la Jeune Peinture, and Meubles Tabeaux (Furniture-Paintings), an exhibition held in 1977 at the Centre Beau Bourg, where he showed a piece of occasional furniture in the Louis XIV manner, the doors and sides of, which were decorated with female figures. He exhibited solo as of 1952, on a regular basis in France but also in New York, and Tokyo. Cassigneul is known for his charming and extremely popular Van Dongen-influenced paintings of women in floral hats, complete with frequent allusions to other aspects of the Années Folles. Reference: Benezit Jean-Pierre Cassigneul Cassigneul Jean-Pierre 3252 Born in Siena, Italy, 1838. History painter and Professor in the Academy of Fine Arts in Florance, and Honorary Member of that of Siena. Pupil of Professor Luigi Mussini. His correctness in drawing was remarkable, and in 1863 he received the first prize of the Tuscan government. His picture of "Lorenzo de Medici showing his jewels to Ludovico Sforza", now in the collection of Count Saraceni in Siena, first called attention to him, and immediately gave him a high rank as an artist in Italy. His other principal works are "The Battle of Legnano," a large work, with many figures (now in the Gallery of Modern Paintings at Florence), and "Provenzano Solvani receiving offerings from the Citizens for redeeming a Prisoner from Charles I of Puglia" (in the Palazzo Publico at Siena). "Bianca Cappello" and "The Studio of Leonardo da Vinci" are also pictures worthy of his reputation. Listed: "Artists of the Nineteenth Century and their Works", by Clara Erskine Clement and Laurence Hutton. Fifth Edition, revised, p.124 "Cyclopedia of Painters and Paintings", edited by John Denison Champlin, Jr., Pg. 251 "E. Benezit, Dictionnaire critique et documentaire des Peintres, Sculpteurs, Dessinateurs et Graveurs", Novelle edition, V. 2, Pg. 581. 1838 - 1891 Amos Cassioli Cassioli Amos 3134 Alfred Joseph Casson was known for his watercolor paintings of small communities in southern and central Ontario, Canada. He was one of the members of the Group of Seven, active in the 1920s. He was born in 1898 in Toronto, Ontario but grew up in Guelph and attended school in Hamilton. He first saw the artwork of the unformed Group of Seven when he and his family had returned to Toronto in 1916. He enrolled in art classes at the Central Technical School and worked as a freelance commercial designer. At the commercial art firm of Rous and Mann, Casson worked under the guidance of Franklin Carmichael. Casson learned typography and graphics from Carmichael and the two often took sketching trips together around Toronto. Already an accomplished landscape painter he was soon introduced to the rest of the members of the Group of Seven. Casson together with Franklin Carmichael and Frederic Henry Brigden founded the Ontario Society of Painters in Water Color in 1925. Soon after this event, Casson accepted an invitation to join the Group of Seven. He struggled free from the influence of Carmichael's painting style to establish his own. He strayed from the more typical depictions of northern landscapes to concentrate on the smaller communities such as Parry Sound, Glen Williams, Norval, Salem and Killarney Park. He died at the age of 94 and was buried along side the other members of the Group of Seven. 1898 - 1992 Alfred Joseph Casson 1 Casson Alfred Joseph 3078 William Chadwick was born in 1879 in Dews bury, Yorkshire, England and died on Aug. 3, 1962 in Old Lyme, Connecticut In 1902, William Chadwick, at twenty-three, was introduced to Old Lyme through colleagues at the Art Students League in New York. At the time Chadwick's painting interests focused on portraiture and figure subjects. During that first of many summers spent in Old Lyme, Chadwick began experimenting with landscape painting, no doubt influenced by the many well-respected landscapists already attracted to the growing art colony. For the next several years Chadwick shared studio residences in New York with Will Howe Foote and Harry Hoffman and spent summers with them at the Griswold House in Old Lyme. The painters and their families were close friends all their lives, and all of them eventually made Old Lyme their permanent home. As Richard H. Love has noted, however, "at this time they established a working orbit between New York City and Connecticut, not vastly different from the precedent set by Twachtman, Robinson and Weir." Chadwick studied with Joseph DeCamp at the Art Students League, and the artist's early painting shows the mark of his instructor's Boston School style. While in Old Lyme, Chadwick gradually absorbed the influences of the colony's older painters, particularly Willard Metcalf and Walter Griffin. Incorporating elements from both the Boston and Old Lyme Schools, Chadwick developed his own conservative impressionistic style, marked by delicate and subtle tones. Chadwick married Pauline Bancroft of Wilmington, Delaware, in June of 1910, and, two years later, the couple left for a lengthy trip to Europe. Most of their time abroad was spent in Italy, where Metcalf and Griffin visited them. In 1915 Chadwick and his wife purchased a house on Johnny Cake Hill in Old Lyme. For the next forty years the artist resolutely carried on the Impressionist tradition, painting the seasonal changes in the countryside around Old Lyme. Additionally, Chadwick made frequent sketching trips to Monhegan Island, Maine, Vermont, and Bermuda, often with one or more of his artist friends, such as Foote, Hoffman, or Charles Ebert. The Telfair Academy in Savannah, Georgia, hosted Chadwick's first one-man show in February 1927. One month later basically the same show was presented at the Wilmington (Delaware) Society of Fine Arts. Both exhibitions were highly praised by local critics. Although William Chadwick never had great commercial success, he was well respected by his artist-colleagues in the Lyme Art Association. Following the painter's death in 1962, the association held a memorial show of Chadwick's paintings in 1963. Referring to the exhibition, the artist Nelson C. White wrote: William Chadwick's work is distinguished for a sensitive and subtle Impressionism . . . . he evokes the mood of the shifting seasons, effects of sunshine and cloud shadows, the laurel of late spring and the snow of winter. Chadwick recently gained national exposure in a major retrospective, William Chadwick, 1879-1962: An American Impressionist, that opened at the Lyme Historical Society in August, 1978, and circulated to several museums in the eastern United States.- The exhibition was organized by R. H. Love Galleries of Chicago. Chadwick's work is represented in the Lyme Historical Society, the Lyman Allyn Museum, and the National Collection of Fine Arts. Further reading: An Exhibition of Paintings by William Chadwick. Exhibition Catalogue., Wilmington [Delaware] Society of Fine Arts, 1927. 1879 - 1962 William Chadwick 1 Chadwick William 3261 Marc Chagall was born in July 7, 1887 to a poor Jewish family in Russia. He was the eldest of nine children. Chagall began to display his artistic talent while studying at a secular Russian school, and despite his father’s disapproval, in 1907 he began studying art with Leon Bakst in St. Petersburg. It was at this time that his distinct style that we recognize today began to emerge. As his paintings began to center on images from his childhood, the focus that would guide his artistic motivation for the rest of his life came to fruition. In 1910, Chagall, moved to Paris for four years. It was during this period that he painted some of his most famous paintings of the Jewish village, and developed the features that became recognizable trademarks of his art. Strong and bright colors began to portray the world in a dreamlike state. Fantasy, nostalgia, and religion began to fuse together to create otherworldly images. In 1914, before the outbreak of World War I, Chagall held a one-man show in Berlin, exhibiting work dominated by Jewish images. During the war, he resided in Russia, and in 1917, endorsing the revolution; he was appointed Commissar for Fine Arts in Vitebsk and then director of the newly established Free Academy of Art. In 1922, Chagall left Russia, settling in France one year later. He lived there permanently except for the years 1941 - 1948 when, fleeing France during World War II, he resided in the United States. Chagall's horror over the Nazi rise to power is expressed in works depicting Jewish martyrs and refugees. In 1948, the year after Chagall returned to France, he started Arabian Nights, a series of lithographs (prints created by a printing process using stone or metal plates that have been treated so that the image to be printed picks up the ink and the blank area does not). He began working in ceramics in 1950 and made his first sculptures the following year. In 1952 he married Valentina "Vava" Brodsky. His famous "Paris" series, a sequence of fantastic scenes set against the background of views of the city, was created between 1953 and 1956. Chagall continued to create great artworks throughout the later years of his life. In the 1960s and 1970s, his stained glass art appeared in such buildings as the United Nations (UN) in New York City. In 1973 a museum of his works was opened in Nice, France. In 1977, the Louvre, a world-famous art museum in Paris, exhibited sixty-two of his paintings, an extremely rare event for a living artist. Chagall died at the age of ninety-seven in 1985. In addition to images of the Jewish world, Chagall's paintings are inspired by themes from the Bible. His fascination with the Bible culminated in a series of over 100 etchings illustrating the Bible, many of which incorporate elements from folklore and from religious life in Russia. Israel, which Chagall first visited in 1931 for the opening of the Tel Aviv Art Museum, is likewise endowed with some of Chagall's work, most notably the twelve stained glass windows at Hadassah Hospital and wall decorations at the Knesset. Chagall received many prizes and much recognition for his work. He was also one of very few artists to exhibit work at the Louvre in their lifetime. Museums: Lincoln Center - New York United Nations Headquarters Musee National Message Biblique Marc Chagall, Nice, France Marc Chagall Museum in Vitebsk, Russia Tudeley Church, Kent England 1887 - 1985 Marc Chagall 1 Chagall Marc 1586 James Wells "Champ" Champney was a prolific artist whose work was of high quality and broad scope. He was very successful as an oil painter of genre scenes, and later was perhaps the foremost pastelist of his day. A lecturer, illustrator, watercolorist and photographer, he was also one of the first Americans to grasp and utilize the spirit of impressionism. Champney was born in Boston in 1843. At Lowell Institute he studied drawing and took courses in anatomy under Oliver Wendell Holmes. He was apprenticed to a Boston wood-engraver at 16, but left in 1862 to serve in the Civil War. Discharged because of malaria, he taught drawing from 1864 to 1866 at Dr. Dio Lewis's Young Ladies' Seminary. In 1866, Champney decided to become a professional artist and went to Europe to study. He left for London in October, then journeyed on to Ecouen, France a month later to be tutored by Edouard Frere. Champney spent 1868 in Antwerp studying under Van Lerius, and 1869 in Italy. That year he exhibited his first genre painting at the Paris Salon. In 1870 he returned to Boston, where he opened a studio and continued to produce genre paintings, popular with the American public. These paintings quaintly depicted the young, as in "Teetering at the SawMill" (date and location unknown); the old, as in "Second Childhood" (date and location unknown) or the two together, as in "Helping Grandma" (date and location unknown). In 1873, Champney was commissioned by Scribner's to illustrate "The Great South," a series of articles by Edward King. The two traveled more than 25,000 miles and Champney contributed at least 500 illustrations. Afterwards, Champney visited Europe, where he again exhibited at the Salon, and was commissioned by L'Illustration, the French magazine, to do figure drawings of American life. In 1876, Champney settled in Deerfield, Massachusetts and showed his paintings at the Centennial Exhibition in Philadelphia. While teaching art at Smith College between 1877 and 1884, Champney began experimenting with pastels. His pastel "translations," or copies, of European masterpieces, as well as portraits of New York Society and theater personalities, boosted his artistic growth and popularity. In fact, to have one's portrait rendered in Champney's pastels was an affirmation of status. The high point of his career, however, was his exhibition at Knoedler's Gallery in 1897. He displayed 40 pastels, 12 comprising a series called "Types of American Girlhood." These large paintings bore such titles as "The Bicyclist", "The College Graduate" and "At the Golf Links". Champney died in an elevator mishap while leaving the Camera Club in New York City in 1903. Memberships: American Watercolor Society Black and White Club Camera Club Century Club Metropolitan Museum of Art National Academy of Design Salmagundi Club Society of American Artists 1843 - 1903 James Wells Champney Champney James Wells 1585 Bryant Chapin is known for his many still lifes, although he also painted landscapes and portraits during his 40-year career. A member of the Fall River School of Massachusetts painters, he studied with Robert S. Dunning as a young man. Dunning's influence can be seen particularly in Chapin's early work. Like Dunning, Chapin painted fruit on highly polished tables with elaborately carved edges and deep reflections. Grapes and peaches were favorite subjects, but Chapin also introduced the open orange. The palette in these early works is light, the forms rather hazy and the light soft. Born in Fall River in 1859, Chapin spent most of his life there. He taught at the evening Drawing School and lectured on art. He did travel several times, however, to paint landscapes in landscapes in Europe. He died in Fall River in 1927. Chapin was very conscientious about his paintings and imbued them with a wistful mysticism which made them popular. His later still lifes are more distinctive because they are set outdoors. Many of these paintings are of berries, some in wooden berry boxes and some on bare ground. The edges, especially of strawberries, were ideal for heavy highlights. Chapin's style was so fluid and soft, however, that the very paint surface suggests cushioning for the tender fruit. Public Collections: Fall River Public Library, Massachusetts 1859 - 1927 Bryant Chapin Chapin Bryant 2066 When one hears the name Chaplin, we immediately make the inevitable link to the legendary comic actor Charlie. However, in the 19th century there was already a famous Charles Chaplin. This Charles Chaplin was born on 8th June 1825 in Andelys, France and died in Paris on the 20th of January 1891. -Chaplin began is formal studies in 1840 at the École des Beaux-Arts as a student of Michel-Martin Drölling [the younger] (1786-1851). Upon finishing his studies, he had developed into an accomplished painter, pastellist, etcher and lithographer. Charles debuted at the Salon of 1845 with a portrait of a young woman. This painting brought attention to Chaplin’s ability to paint magical portraits of women and children and would crystallize his career making him one of Frances most famous painters. Starting in 1847, Chaplin would become a regular exhibitor at the Paris Salons and at the Royal Academy in London. Besides his portraits of young women and children, he also exhibited landscapes and animal portraits. However, his most sought after and impressive works are of beautiful women executed with soft pastel values, with a preference of white, silvery gray and pink following the tradition of the great English portraitists of the 18th century. Many of Chaplin’s paintings are considered very erotic. He often painted very provocative portraits of women wearing transparent clothing. In fact, "Aurora" which he presented to the Salon jury of 1859 was refused as scandalous and the Count de Nieuwerkerke, superintendent of the fine arts under Napoléon III, imposed an exhibition prohibition for this painting. But Napoleon III would abolish this prohibition order. Charles Chaplin became Paris’ most popular fashion painter. He was also Napoléon and l’impératrice Eugéne’s favorite court painters during the 1860's. Charles Chaplin was also a teacher at his own atelier, which was reserved for women only. His most noted students were Norwegian artist Marie Helene Aarestrup (1826-?), Louise Abbéma (1858-1927) and Mary Cassatt (1855-1926). Charles Chaplin was awarded medals at the Salons throughout the course of his career. In 1878, he was elected to Chevalier de la Légion d’honneur and he became an officer in the Légion 1881. Museums: London, England South Kensington: "La pêche", "Rose de mai" Victoria Albert Museum: Several engravings Florence, Italy Palais Pitti: "La dame aux Lilas" Tokoyo, Japan Morenci Museum, "rêverie" Saint Petersburg, Russia Hermitage: "toilette du matin", "jeune fille au nid" Turkey Palais Dolmabacie, "jeune femme" France Bayonne: Musée Bonnat "la nuit" Bayeux: "une rue d'Auvergne" Bordeaux: "L’appel dans les bruyères" Bourges: "le château de cartes", "Saint Célestin, pape" Marseille: "le rêve" Mulhouse: "Jeune Fille (water color)", "Jeune Fille (engraving)", "Primavera", "Dame en Rose", "Petite fille en priére", "Baigneuse" Paris: Musée de Orsay: A large mural. Reims: "Femme assise" Rouen, "le jeu de loto" Saintes: portrait study (water color) Listed: E. Benezit, vol. II, pgs. 663-4 Dictionnaire des Petits Maîtres de la Peinture, 1820-1920, vol.I, A-H 1825 - 1891 Charles Joshua Chaplin 1 Chaplin Charles Joshua 1595 Adelaide Cole Chase, American, (1869-1944) is known as a painter of decorative still lives and of portraits (especially women and children). She was born in 1868 to Belgium pianist Irma de Pelgrom and Boston painter Joseph Foxcroft Cole. The Cole's circle of friends included many artists. Winslow Homer used Adelaide as a model several times when she was about ten. Her earliest art teacher was Frederic Paul Vinton. Vinton ,Homer , and her father encouraged Chase to pursue career in art. In 1892, after her marriage to Boston architect William C. Chase, Adelaide entered Museum School. She studied under American impressionist Frank Benson (1862-1951) at the Museum. She later studied with Edmund Tarbell (1862-1938) who was the greatest influence to her style of painting. Adelaide discovered what other women of the 19th century had found, the lack of access to the rigorous training in anatomy courses, especially courses in drawing the live male nude. This was available to men in the professional art academies only, which made it almost impossible for women to achieve the same standard of quality in their art. Chase, like other women, created her own resourceful alternatives to the academy. Itinerant painters of modest ability began to travel through small towns where they gave art lessons to women. Wealthy ladies, like Chase, attended newly opened "seminaries" where drawing and painting were added to the curriculum for a small fee as part of a 'genteel' lady's accomplishments. These young women produced numerous paintings based on literary and biblical sources, they copied engravings, magazine articles, instruction books and decks of cards. Other women, whose male relatives were willing to teach them, were dependent on this uneven quality of instruction. Ellen C. Clayton stated in 1867, "there is no more vexed subject difficult of satisfactory solution; than this matter of drawing from life by ladies studying painting". In 1890, Chase had ventured to Paris to enroll in the classes with Jean-Paul Laurens and Carlus Duran. It was here that she developed and studied to become a very sought after painter of portraits. Events were as follows; Chase's first one-man exhibition was held at Doll and Richards in 1901. In 1904 she won a silver medal at the St. Louis Exposition. She was elected to the Associate National Academy in 1906. In 1915 she won a silver medal in the Pan-American Exposition in San Francisco. Chase exhibited in Boston at Doll and Richards, Rowlands Galleries, the Guild of Boston Artists and the Boston Club. In New York she exhibited at the Society of American Artists. She also exhibited at the Pennsylvania Academy and the Chicago Art Institute. She died at the age of 75 in Gloucester, Mass. in 1944. Museums: Boston Museum of Fine Art, "Violinist" 1868 - 1944 Adelaide Cole Chase Chase Adelaide Cole 1932 Susan Chase was born in St. Louis, Missouri in 1868. She began her art studies at the Corcoran School of Art in Washington, DC. She continued studies under William Holmes, Henry B. Snell, William Lester Stevens and George Pearse Ennis. Additional instruction was received from two well-known Washington artists, E. C. Messer and Bertha Perrie and at dhe Chester Springs Summer School. She was very active in the Washington arts community and was a member of the Art Club of Washington, Washington Water Color Club and the Society of Washington Artists. She was also a member of the American Water Color Society. During her professional career she taught at the Anne Abbott School of Fine and Applied Art, Washington, DC. Known for her work in water color she exhibited extensively with the organizations of which she was a member. She was awarded The Water Color Medal of the Corcoran School of Art in 1917 and received Honorable Mendon at the Woman's National Exhibition held in St. Louis. The Washington Arts Club featured her works on many occasions. An article in the March 1, 1925 edition of the Washington Star describes one of these shows, "The exhibition at the Arts Club of paintings by Susan B. Chase has a distinctly local flavor, inasmuch as it consists exclusively of views "round about Washington. " The 41 exhibits, all of which are water colors, were painted in or near Washington, Georgetown and Alexandria and will come to have historic as well as artistic value. The review continues, "What she has chosen to interpret are the picturesque, out of the way places the little house on M Street, one time Washington's headquarters and where L'Enfant is said to have stayed, the K Street Market, the Georgetown Canal, quaint old buildings here and there which give homey flavor to the city. lt is, those who can discover beauty in the commonplace and make it patent to all that in the field of art are really serving their generation". 1868 - 1948 Susan Brown Chase Chase Susan Brown 1584 William Merritt Chase, master of a full spectrum of techniques and painting styles, was also one of the most influential teachers of the late nineteenth and early twentieth centuries. His paintings reflect his enthusiasms. A landscape might draw on the boldest impression; a still life, on the vigorous brushwork of the Munich school; a portrait, on lush classism or on interior, subdued tonalism. Chase, born in 1849 in Ninevah, Indiana, first studied art in Indianapolis. In 1870, he studied for a year at the National Academy of Design in New York City. From 1872 to 1876, Chase attended the Royal Academy in Munich. In 1877, he visited Venice for nine months with other Munich students, Frank Duveneck and John H. Twachtman. Chase returned in 1878 to New York City, where his work had gained notice at the previous year's National Academy show. His students, many of whom became famous, included Kenneth Hayes Miller, Marsden Hartley, Rockwell Kent, Charles Sheeler and Georgia O’Keefe. Chase died in 1916, in New York City. Member: National Academy of Design National Institute of Arts and Letters Society of American Artists Ten American Painters Public Collections: Art Institute of Chicago Brooklyn Museum Cincinnati Art Museum Cleveland Museum of Art Detroit Institute of Arts Museum of Fine Arts, Boston Metropolitan Museum of Art, New York City National Gallery of Art, Washington, D.C. Parrish Art Museum, Southampton, NY St. Louis Museum 1849 - 1916 William Merritt Chase 1 Chase William Merritt 2069 James Bruce Cheek, architect, was born on February 19, 1895, in Hillsboro, Texas. He was the only child of Bruce and Lenni Cheek. The Cheek family moved to Dallas when James was five where he spent most of his life. In 1913, James Cheek would enroll in the University of Texas but soon left to serve in the United States Navy during World War I. After the war he did not return to school and begin his architectural apprenticeship with H. B. Thomson in 1918. Thomson designed robustly scaled, eclectic houses for Dallas gentry. Cheek had a hand in many of Thomson's best-known commissions from 1918 to 1920, particularly those along Swiss Avenue and in Highland Park. During the apprenticeship, James Cheek would meet Marion F. Fooshee, who became his partner. About 1920, they apparently opened an office in Wichita Falls. By 1925 they had returned to Dallas and established a small practice at 19011/2 Harwood Street, now the site of the Dallas Museum of Art. They worked independently on small commissions but collaborated on larger work. Cheek designed numerous houses, mostly in Dallas, but also in Corsicana, Terrell, Tyler, and Wichita Falls. Always eclectic, much of his work was characterized by rich, well-crafted Spanish designs. Fooshee and Cheek's nonresidential work included shopping centers, motels, gas stations, and participation in several buildings at Fair Park, including the Hall of State, the Aquarium, and the United States Federal Exhibits Building. While the exact nature of Cheek's participation in many of the firm's projects is unclear (with the exception of the Federal Exhibits Building, where he is individually credited as the associate architect), he was the primary creative force behind Highland Park Village (1929) in Highland Park, the first self-contained shopping center in the United States. To gather research for the shopping center project, Cheek and developer Hugh Prather made trips to southern California and South Texas to study the architecture. In 1929, they traveled to the World Exposition in Barcelona to further their research of authentic Spanish architecture. Cheek and Prather take the knowledge from their trips combined with a visit to Country Club Plaza in Kansas City to formulate their plans for the center. They had prepared themselves to invent a new building type and would receive national attention from their design. James Cheek was also a talented watercolorist. He studied under the Dallas painter Charles Frank Reaugh (1860-1945) and with his childhood friend, muralist Reveau Bassett (1897-1981), whom he commissioned to work on several buildings, including the Highland Park Village Theater. During World War II, when private construction was halted, Cheek obtained appointment as architectural supervisor for the Federal Housing Administration. His area of responsibility encompassed Texas, New Mexico, Arkansas, Louisiana, and Oklahoma. Cheek was a member and served as president of the Idlewild Club and was also a member of the Terpsichorean Club. In 1939 Cheek married Mary V. (Pat) Murphy. They had two daughters. He was a member of Highland Park Presbyterian Church and the American Institute of Architects. He practiced until the mid-1960s and died in Dallas on March 30, 1970. During the last twenty years of his life he designed many private vaults at Hillcrest Mausoleum. He is buried on its grounds in Hillcrest Memorial Park. BIBLIOGRAPHY: Architectural Record, September 1931. Dallas Morning News, April 1, 1970. Duncan T. Fulton III, "Fooshee and Cheek," Texas Architect, November-December 1989 Anita Towes, "Spanish Colonial Revival Architecture in Dallas: The Work of Fooshee and Cheek," Perspective 13 (1984). Duncan T. Fulton III "CHEEK, JAMES BRUCE." The Handbook of Texas Online. 1895 - 1970 James Bruce Cheek Cheek James Bruce 1583 Painter of portraits, genre, animal and landscape. He was born in Briancon, France high in the Alps, on May 12, 1833. In the year, around 1846, he moved with his family to Lyon, France. In 1847, he entered the l, Ecole des Beaux-Arts. His professors that he studied with while at the school were Michel-Philibert Genod (1792-1862) and Claude Bonnefond (1796-1860). Chenu also worked with the animal painter Jean Baptiste Louis Guy (1824-1888). Early in his career as an amateur painter he painted mural decoration to make a living. As time went on he started to paint the city and countryside around Lyon working with artists Jean Baptiste Beuchot (1821-) and Joseph Benoit Guichard (1806-1880). He made his debut in Lyon at the Salon of 1854 and 1855. The paintings were "Annibal d defait les Romains a cannes" and "Effet du Matin". In 1867, he debut at the Paris Salon with "Sur le quai" and "La neige", Alexandre Dumas (19th c. critic) noted these works. Chenu became famous for his paintings of the snow, combining the environments of both Paris and Lyon. He died in Lyon on May 9, 1875. Public Collections: Musee de Lyon: "Plaine et Village d, Champdor" Listed: E. Benezit, 2nd edition, page 709 Thieme/Becker, vol 5/6, page 459 Bryan, Michael. "Bryan,s Dictionary of Painters and Engravers". Chase died in 1916, in New York City. Member: National Academy of Design National Institute of Arts and Letters Society of American Artists Ten American Painters Public Collections: Art Institute of Chicago Brooklyn Museum Cincinnati Art Museum Cleveland Museum of Art Detroit Institute of Arts Museum of Fine Arts, Boston Metropolitan Museum of Art, New York City National Gallery of Art, Washington, D.C. Parrish Art Museum, Southhampton, NY St. Louis Museum 1833 - 1875 Augusti Pierre-Bienvenu Chenu Chenu Augusti Pierre-Bienvenu 3193 Constantine Cherkas was born in 1919 in Sumi, USSR. His art studies were at the Moscow Académie of Fine Arts, MFA 1941; the Vienna Académie of Fine Arts, 1945; and the Munich Académie of Fine Art, 1945-49. Becoming a resident of Julian, California, he has been active in numerous exhibitions there. He is known for watercolor and oil landscapes with figures. CONSTANTINE CHERKAS Introduction by Professor John Bowlt For Constantine Cherkas the most vital element in the art of painting is color - and his unabashed mixtures of red, orange, yellow and blue are what strikes us in his landscapes and portraits, still lives and interiors. A decade's worth of studies at the three academies of fine arts at Moscow, Munich and Vienna and rigorous apprenticeships also gave Cherkas a fine appreciation of form and texture as his early sketches demonstrate so well. In particular, his portraits pay homage to Cezanne in their careful observation of plane and facet, tone and construction, a legacy that Cherkas encountered from his lessons with many of Russia's great painters. In this way, Cherkas maintains a direct line with the stellar members of Russia's cultural rebirth when artists undermined the canons of 19th century narrative painting by emphasizing the right to experiment with the intrinsic components of the painting, un-beholding to the imposition of didactic political and moral behests. What also preoccupies Cherkas is composition rather than construction, plane rather than volume, and he apprehends the reality of phenomena precisely as a vast color field. While acknowledging the importunacy of material things Cherkas uses objects and figures primarily as bearers of emphatic colors, undisturbed by local shade and shadow. Consequently, in reshaping our world according to his own dictates, Cherkas reminds us of its physical substance of its aerial spectrum and spectral air, of its sensuous origin and tactile beauty. The visual response, however, is both a confirmation of our environment and the displacement of our conventional reception of it, a double result that is both gratifying and unsettling. Dr. John E. Bowlt May 1999. - Founder and Director, The Institute of Modern Russian Culture - Professor, University of Southern California - Art expert, author, and curator of international exhibitions 1 Constantine Cherkas 1 Cherkas Constantine 1582 Emma Richardson Cherry was born on Feb. 28, 1859 in St. Louis Mo. and died in 1947 in Houston, Texas. Her first studies were with William Merritt Chase at the Art Students League. She then studied at the P.A.F.A. with Hugh Henry Breckenridge. Ms. Cherry then traveled to Venice to study with Zantti Zilla. Upon her return to the States, she taught at the University of Nebraska. In 1881, Ms. Cherry returned to Paris to paint and study. Her first exhibition was at the Sketch club in Kansas City. Cherry was invited to Denver, CO. where she formed the Denver Art Club. It was this group that founded the Denver Art Museum and Emma was elected a charter member in 1893. Cherry's next destination would be Houston, Texas to teach and paint. While teaching in Houston, she founded the Houston Public Art League (later called Houston Art League). Through her efforts, art education began being offered in the Houston Public School System. She also was one of the founders of the Houston Museum Emma R. Cherry is considered Houston's most important art personality. Emma R. Cherry was a painter, teacher, writer and ambassador to the arts. She contributed a number of articles on the arts to newspapers and periodicals. Museums: Society of Civil Eng., NY Elizabeth Ney Museum, TX Witte Mem. TX Museum of Fine Arts, TX Art Assoc., Chappel House, CO. Exhibitions: Art Institute of Chicago Salons of America, NY Metropolitan Art School, NY Peabody Institute Gloucester Society of Artists Salon des Beaux Arts, Paris 1926 American Art Galleries, NY 1923 Western Art Association, Omaha, Nebraska Texas Exhibition, TN 1927 Museum of Fine Arts Houston 1850 - 1947 Emma Richardson Cherry 1 Cherry Emma Richardson 1598 Frederic Edwin Church was one of the most famous landscapists of the two continents in the 1850s and 1860s. His huge canvases are extravaganzas of nature in its extremes, painted with scientific exactitude. At their best, they are marvelous weddings of light, form and detail. Born in 1826 in Hartford Connecticut to a wealthy family, Church demonstrated early talent. In 1844, he became the pupil of the leading landscapist, Thomas Cole. A year later, at the age of 19, Church made his debut at the National Academy of Design and was named an associate member. He established his studio in New York City in 1848 and took in his first pupil, Henry Stillman. In 1853, Church made his first trip to South America. During his seven months travel in Columbia and Equador, Church painted views of Volcanoes, jungles and the snow-capped Andes Mountains, journeying 600 miles to the Magdalena. His South American paintings were acclaimed at the National Academy of Design in 1855. In 1861, Church traveled to the Arctic to paint massive canvases of glittering icebergs and seas. After a later trip to Jamaica and the Tropics, he produced landscapes that some critics now fault as melodramatic. Some believe Church's approach might eventually have created a second ascent to popularity, but in 1877 inflammatory rheumatism began to cripple the artist's right hand. Church tried to educate his left. For the remaining 23 years of his life, Church divided his time between his fabulous Moorish-inspired home, "Olana", on the Hudson River, his camp near Katadin, Maine and travel in Mexico. Though his work had depreciated and was unsought, he continued to produce numerous oil sketches. After his death in 1900, virtually forgotten as an artist, Church was honored with an exhibition at the Metropolitan Museum of Art. 1826 - 1900 Frederic E. Church 1 Church Frederic E. 2119 Fabio Cipolla was born in Rome, Italy in 1854 and died in 1924. He is considered a Historical genre and Orientalist painter from the Italian school. Cipolla received his formal art training at the L’École de Beaux-Arts in Rome. Cipolla debuted at the Turin Salon of 1880 with “Coutume arabe” and “La vueve de Nalm” where he was awarded a metal. He also exhibited at the Rome Salon of 1883. Cipolla would return to exhibit in Turin 1884 with “Ava Maria” and “Campagne.” Listed: E. Bénézit Thieme-Becker-Lexikon 1854 - 1924 Fabio Cipolla Cipolla Fabio 3200 Born in Chicago, Illinois on March 25, 1876, Alson Clark, at age 11 enrolled at the Art Institute of Chicago, continued in New York City at the Art Students League, and with William Merritt Chase and Frank Duveneck. Late in 1898 he went to Paris for further study at Académie Carmen under James Whistler. Returning to the U.S. in 1901, he established a studio in Watertown, New York, and then returned to Chicago where in 1903 sales in a successful exhibition allowed for travel in Canada and Europe. After serving as an aerial photographer in WWI, he settled in southern California where in 1922 he and Guy Rose formed the teaching faculty of Pasadena's Stickney Art School. During this period he also had a studio in Palm Springs. He taught landscape classes at Occidental College in Eagle Rock in the late 1930s. Clark died of a heart attack in Pasadena on March 22, 1949. One of southern California's most renowned painters, his early portraits and figure studies evince the somber tonalities of Whistler. After painting in Giverny with Guy Rose and other impressionists, by 1910 his palette had begun to brighten considerably. MEMBER American AA of Paris; Chicago Society of Artists; LA AA; Salmagundi Club; SWA; Calif PM. Exh: Paris Salon, 1901; Louisiana Purchase Expo (St Louis), 1904 (bronze medal); AIC, 1906 (solo); PPIE, 1915 (bronze medal); Calif. Art Club, 1920-30; LACMA, 1922, 1924 (prizes), 1929; Southwest Museum (LA), 1923 (grand prize); Stendahl Gallery (LA), 1923; San Diego FA Gallery, 1923, 1937 (solo); Painters of the West (LA), 1924; Pasadena Art Inst., 1925, 1931 (2nd prize), 1933 (1st prize); Pasadena Society of Artists, 1927; Pasadena Public Library, 1928; LA AA, 1937; GGIE, 1939; Calif. WC Society, 1940. COLLECTIONS Victoria & Albert Museum (London); AIC; LACMA; Muskegon (MI) Art Gallery; San Diego Museum; Watertown (NY) Public Library; Gardena High School; CSL; Pasadena Community Theatre; First Nat'l Bank of Pasadena (mural); Univ. Club (Pasadena); Irvine (CA) Museum; Women's Athletic Club (LA); Fleischer Museum (Scottsdale); Orange Co. (CA) Museum; Cathay Circle Theatre, LA (murals). Source: Edan Hughes, "Artists in California, 1786-1940" Who's Who in America 1918; Who's Who in California 1928; California Impressionism (Wm. Gerdts & Will South); American Art Annual 1933; Who's Who in American Art 1936-47; Artists of the American West (Samuels); Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs (Bénézit, E); Dictionary of American Painters, Sculptors & Engravers (Fielding, Mantle); Southern California Artists (Nancy Moure); Plein Air Painters (Ruth Westphal); NY Times, 3-24-1949 (obituary). Nearly 20,000 biographies can be found in Artists in California 1786-1940 by Edan Hughes and is available for sale ($150). For a full book description and order information please click here. 1876 - 1949 Alson Skinner Clark Clark Alson Skinner 3079 Walter Clark was born in 1848 in Brooklyn, N.Y and died in 1917, New York City Clark spent three years studying engineering at the Massachusetts Institute of Technology before he traveled to Europe to study art and architecture in 1869. He journeyed on to India, China, and Japan, then settled briefly in Wyoming for a stint as a sheep rancher before returning to New York to continue his artistic training in earnest. He studied at the National Academy of Design under Lemuel Wilmarth and Jonathan Hartley, the son-in-law of the tonalist George Inness. Inness's influence became more direct in the early 1880s, when Clark had a studio in New York adjacent to that of the older artist. By the 1890s, Clark was beginning to turn from tonalism toward Impressionism, probably as a result of working beside his friends John Twachtman, Edward Potthast, and Joseph R. DeCamp. During the summers, Walter Clark and his son Eliot (born 1883) painted in such artists' colonies as Cos Cob, Chadd's Ford, Gloucester, and Ogunquit, Maine. (Drawing on his personal familiarity with many of his father's friends, Eliot Clark would later write perceptive criticisms of the work of Twachtman, Hassam, Robinson, Weir, and others.) Walter Clark was highly respected during his lifetime. He was a member of the National Academy, the Society of American Artists, and the Salmagundi Club. He received a silver medal at the Pan-American Exposition in Buffalo in 1901, the Inness Gold Medal of the National Academy of Design in 1902, and a silver medal at the St. Louis Exposition in 1904. Further reading: Monograph on Walter Clark and Eliot Clark,1980. Richard H. Love 1848 - 1917 Walter Clark Clark Walter 1597 Pierre de Clausade was born in Paris on April 15, 1910 and died at his mountain home in 1978. His initial education was as an architect. Clausade always had the desire to become a painter and to express himself through painting. In 1938, he enrolled at the Beaux-Arts Academy. He knew that to accomplish his dream, he would need the proper tools that education, knowledge and training could bring. After attending the Beaux-Arts Academy in Paris, Clausade began endless experiments in an effort to develop an entirely personal method of expression. He wanted to develop a style that was unique and he wanted to be comfortable with his newfound medium for expression. Before any attempt for a public exhibition, he wanted to identify solidly with himself and painting as a career. He didn't want to be classified a mere follower of his distinguished contemporaries, such as Braque, Matisse and Picasso. Clausade wanted to be taken seriously by having his own identity. P. de Clausade, after trial and failure extending over several years, finally decided to hold his first exhibition at the 1941 Paris Salon where he was awarded a Silver medal. The success and acceptance that he received from these first public exhibitions gave him the courage to continue his career. P. de Clausade began exhibiting regularly at the Societe des Beaux Arts. In 1945, he was accepted as a member of the Salon d'Hiver. With the continued success of his Salon exhibitions, Clausade began receiving invitations to exhibit worldwide. He exhibited in Rio de Janeiro, Boston, New York and Dallas. In 1955, Clausade won the Prix de Po&eacute;sie in Paris. His continued successes enabled him to perfect his unique style. As witnessed by his canvases, Clausade had a tremendous desire for perfection. He also needed to satisfy an analytical artistic consciousness, irrespective of anything else. Clausade has always been a great lover of music and literature and indeed and there are many who see in his particularly personal painting the reflection of music. His paint flows like cream across the canvas. He delights us with his creation of a world of solitude, which expresses at the same time the full beauty of nature in all its aspects. There is an enchantment and inspiration of great cloud masses that only he can create. He takes us to places off the beaten track, where he refreshes us in the peace and above all, with the quietness of his pictures. Today, when the world is in such a turmoil and men have 'lost their reason&quot;, the ability to give such relief is an important and recuperative gesture, for which collectors everywhere have shown their appreciation and gratitude. 1910 - 1978 Pierre de Clausade Clausade Pierre de 1596 George Lafayette Clough was a notable New York landscape painter of the nineteenth century. His numerous naturalistic landscapes are of the Hudson River School. Born in Auburn, New York in 1824, Clough was one of six children raised by a widowed mother. Although he was basically self-taught, Clough probably received some early training from local portrait painter Randall Palmer. Around 1844, Clough set up his own studio above a store in Auburn. Soon afterward painter Charles Loring Elliott came to Auburn to paint a commissioned portrait; he asked Clough to lend him the studio. Clough and Elliott became friends and Clough studied with Elliott in Auburn and New York City. Clough went to Europe to study in the early 1850s. He copied paintings at the Louvre, and went to Holland, Germany and Italy. When Clough returned to America, he began to concentrate on landscapes. Pastoral landscapes were his primary subject. While most of his paintings depicted the area around Auburn, Clough also painted throughout Pennsylvania, Eastern Ohio and New England. During the 1860s and 1870s, Clough painted urban scenes, often using New York City as a subject. He also painted some genre scenes around 1870. Toward the end of the 1870s, Clough again concentrated on landscapes. All Clough's paintings were rather academic. He painted sensitive, emotional scenes, with an emphasis on the natural lighting and atmosphere of each. Clough died in Auburn in 1901. Memberships: Art Club Brooklyn Brush and Palette Club 1824 - 1901 George Lafayette Clough Clough George Lafayette 2090 American modernist, Edith Varian Cockcroft was born in Brooklyn New York in 1881 to wealthy parents and would spend her formative years living with them living in Allendale, New Jersey. In 1898, Cockcroft traveled to France where she would meet and briefly study with Henri Matisse (1869-1954), who had a profound influence on her work for the rest of her life. During trips to the Nice and Cagnes, she would be introduced to and become a friend of Pierre Auguste Renoir (1841-1919. Although it was rumored that she and her friend Paul Gauguin (1848-1903) were lovers, it was probably unfounded. Gauguin, like Matisse, would also have a great deal influence over her work, which shows in many of here figurative paintings and her later Haitian works. Following in the footsteps of other young artists, Cockcroft began spending most of her time in the art colonies of Pont Aven and Concarneau, where the modernist movement was in full bloom. In 1911, she exhibited market scenes at the Paris at the Salon de la Société Nationale des Beaux Arts. She also exhibited her landscapes and portraits at the 1910 and 1911 Paris Salon d’Automne. In 1908, Cockcroft exhibited “St Ives” at the National Academy of Design in New York, after visiting England. She was a regular exhibitor at the National Academy from 1910 to 1915, 1914 at the Art Institute of Chicago, the International Art Union, 1910-1930 at the Pennsylvania Academy and the Corcoran Gallery in Washington, D.C. Edith Cockcroft married as a teenager and lived with her husband in New York City and then in Sloatsburg, New York. Her husband, Charles Weyand, was a stock broker who lost considerable money during the Depression. Charles never recovered from the loss. As the founder of Cockcroft Arts, Inc., she became the sole supporter from the sale of her paintings, her pottery, jewelry and her fabric designs. In her later years, Cockcroft, who was also known as Edith Varian Wyland and Edythe Varian Cockcroft, would travel to Haiti where she would paint several paintings using the Haitian people and their local color as a subject. In 1962, Edith Varian Cockcroft died in Ramapo, New York. A fire in her studio had destroyed a large number of her paintings, and in the 1990s, a large number of her works were found, having been rescued from a trash compactor. Bibliography: Stephanie Strass, "American Women Artists" Who was Who in American Art”, Falk Women Artists in America, 18th Century To the Present (1790-1980): Jim Collins & Glen B. Opitz E. Benezit The Annual Exhibition Records of the Pennsylvania of the Fine Arts 1876-1913 and 1914-1968 1881 - 1962 Edith Varian Cockcroft Cockcroft Edith Varian 1622 Lois Green Cohen was a painter and printmaker. Born in Chicago, IL on February 22, 1919. Green studied at Carnegie Tech in Pittsburgh and with Samuel Rosenberg. She worked as a fashion illustrator in Pittsburgh before moving to Los Angeles in 1938. She further studied there at the Chouinard School of Art and at UCLA while working as a motion picture illustrator and painting in her leisure. In 1945 she married Eugene Cohen and continued her art career. Beginning in 1973 she created the paintings for projection at Griffith Observatory. Upon retirement in 1986, she moved to Paradise, CA where she is currently living. Primarily a watercolorist, her work also includes oils and prints. Her subject matter includes figures, landscapes, animals, and urban scenes. Member: Los Angeles Art Association; California Watercolor Society. Group shows: Los Angeles Art Association, 1939-1986 San Diego Museum, Pasadena Museum, 1953 de Young Museum, San Francisco, 1954 Oakland Museum, 1958 Santa Paula Museum, 1960. Works held: Harvard University (mural at planetarium). Listed: Edan Milton Hughes, Artist in California, 1786-1940, vol. II 1919 - sent Lois Green Cohen Cohen Lois Green 2009 A wildlife painter and a landscapist, Michael Coleman was born and raised in Utah, where he spent his boyhood hunting, fishing, trapping, and developing an understanding of nature. He later studied art at Brigham Young University, where he developed a traditional realist style inspired by the aesthetic approach of the mid-nineteenth-century Hudson River School. Working in oil, gouache, and watercolor, the artist specializes in depictions of animals in broad, expansive landscapes and historically accurate portrayals of Plains Indians and moun-tain men. His work is lauded for its technical expertise and its emphasis on detail. As well as studying the wildlife in and around his native Wastach Mountains, Coleman has traveled to Alaska, the Yukon, northern British Columbia, and Africa to hunt, trap, and observe animals. He has had numerous solo exhibitions throughout the United States and abroad, including a one-man show at the Deutsches Jagdund Fischerei Museum (German Hunting and Fishing Museum) in Munich in 1996. The artist currently resides in Provo, Utah. b. 1 - 1946 Michael Coleman Coleman Michael 1594 Samuel Colman was born in Portland, Maine in 1832. His father was a fine-arts bookseller and publisher who moved to New York City while Samuel, Jr. was a boy. His store on Broadway became a center for artists and literary types. In New York, Colman studied painting under Hudson River artist Asher B. Durand. At age 18 he showed his first painting, "Morning", at the National Academy of Design; in 1860 he was already an associate, and by 1862 he had become a full academician. He exhibited at the Boston Athenaeum, the Maryland Historical Society, and the Pennsylvania Academy of Fine Arts. From 1860 to 1862 and from 1871 to 1875, Colman traveled to France, Italy, Spain and Morocco, studying and painting. His oils before 1870 are characterized by a lucid style indicative of an affinity for watercolor, which he also used. His later work shows the influence of the barbizon painters in bucolic, unpopulated scenes, broadly executed. Colman was a many faceted man: etcher, collector and authority on oriental art and porcelains. He did some interior design and worked for Louis Comfort Tiffany and John Lafarge in the 1880's. He wrote two books on art, Nature's Harmonic Unity, and Proportional Form. Samuel Coleman died in New York in 1920. Memberships: American Watercolor Society National Academy of Design Public Collections: Chicago art Institute Hudson River Museum Metropolitan Museum of Art National Academy of Design Etc. 1832 - 1920 Samuel Colman 1 Colman Samuel 3125 Morgan Colt was born in Summit, New Jersey, on September 1876. He studied at the School of Architecture, Columbia University, then practiced with a New York firm. Around 1905 he gave up architecture and settled near New Hope to study with William L. Lathrop and to "devote himself to creating things where there was no hampering by clients' tastes or whimsies. Colt and his wife, Jane Boudinot Keith, first lived in a rented house on the towpath near Rabbit Run Bridge. Then in 1910 they purchased a building, a former pigsty, near the Lathrops at Phillips Mill converting it to a home and workplace that he called the Gothic Shop. Colt was influenced by the Arts and Crafts movement, which began in England in the latter half of the nineteenth century and eventually spread across the United States. The movement marked a resurgence in handmade works, hearkening back to medieval handicrafts and guilds. Colt designed and made objects of everyday life—doors, windows, screens, furniture, fire place equipment, and household accessories. He carved and gilded wood, hammered copper, twisted iron, molded and colored cement, and tooled and painted leather, aided in the fabrication of his metal works by blacksmiths Amos Armitage and Isaac Wallwork. Wallwork was also a creative contributor to the works Colt designed and produced. Ironwork and a carved altar by Colt can still be seen at Saint Philip's Chapel, on River Road, north of New Hope. Colt also painted landscapes, often in a brightly colored impressionist style influenced by Claude Monet. "An illness ... prevented him from painting out-of-doors." Nevertheless he became a master in easel painting done in the studio. Colt exhibited regularly at the Pennsylvania Academy of the Fine Arts, Philadelphia, from 1909 to 1926, at the annual exhibitions of the National Academy of Design in New York from 1915 to 1917 and again in 1919, and in the 1916 Biennial Exhibition of the Corcoran Gallery of Art in Washington, D.C. In 1916 Colt joined Rae Sloan Bredin, Daniel Garber, William L. Lathrop, Charles Rosen, and Robert Spencer in forming the New Hope Group, which exhibited together for many years at important venues around the country. Colt was a member of the Art Alliance of Philadelphia, the Boston Art Club, the New York Society of Craftsmen, and the Salmagundi Club. After suffering heart trouble for ten years, Colt died suddenly on April 12, 1926, of an apparent heart attack while on his way to the mail box in front of his home.' He had no children' Many of his paintings were scattered and lost after his death, and they are extremely rare today. 1876 - 1926 Morgan Colt 1 Colt Morgan 1910 Francois-Claudius Compte-Calix was born in Lyon on August 27, 1813 and died in Chazay d’Azergues on July 29, 1880. He received his formal training at the Beaux-Arts de Lyon from 1829 to 1833 under Professor Claude Bonnefond (1796-1860). Compte-Calix returned to the Academie to further his studies and teach drawing from 1835 to 1836. He debuted at the Salon de Lyon in1837 with a watercolor, Portrait de l’autuer et La résistance and at the Paris Salon of 1840 with La S&oelig;ur cadette, époque Louis XIII et La resemblance. Compte-Calix soon became a regular exhibitor at the Salons. He exhibited portraits, romantic genre scenes and anecdotal historical scenes. Francois-Claudius Compte-Calix became a very successful engraver. His style of etching was easily adapted to his paintings. He was commissioned to illustrate numerous books and several romantic books of poetry. Museums: Leipzig Museum, Un religieux en garde national au service de la République Lyon Museum, Les s&oelig;urs de lait Roanne Museum Pavy (Louis-Antoine-Auguste) Listed: E. Benezit, Grund vol. III, pg. 130 Dictionnaire des Petits Maîtres de la peinture 1820-1920, Gérald Schurr & Pierre Cabanne, vol. I, pg. 287, illustrated pg. 287 1813 - 1880 Francois-Claudius Compte-Calix Compte-Calix Francois-Claudius 3313 John Anthony Conner (1892-1971) John Anthony Conner was born in Franklin Grove, Illinois in 1892. Conner became an established impressionist painter of desert landscapes, portraits and western genre. He was a descendant of Susan B. Anthony and portraitist Gilbert Stuart. After serving in World War II, John Anthony Conner married and moved to Los Angeles where he worked in the art departments of movie studios including MGM. Conner moved to Eagle Rock, CA where he was inspired by the desert vistas, seascapes, coastal views, missions and cowboy-Indian genre. Source: "Artists in California, 1786-1940" by Edan Hughes 1892 - 1971 John Anthony Conner Conner John Anthony 1885 Tito Conti was born in Florence, Italy on September 3, 1842 and died in the same city in 1924. Conti is considered a master of genre from the Italian School. Tito Conti is considered one of Italys most important 19th century figure painters. He is known for his precise attention to detail bringing each character to life. His works are filled with atmosphere and color. Contis designed each canvas with precision which brought him fame and fortune. Museums: Le Musse de Mayence, Italy La Galerie d'Modern, Florence Listed: E. Benezit, Vol.3, pg.146 Popular 19th Centruy Painting. A Dictionary of European Genre Painters Cyclopedia of Painters and Paintings Thieme Becker 1842 - 1942 Tito Conti Conti Tito 2930 Paul Rodda Cook, a muralist, and painter of portraits, landscapes and still-life, was born in Salinas, Kansas. His family moved to Uvalde, Texas when he was 7 years old. It took some time for Cook to realize that he wanted to be an artist. He first studied law at the University of Texas, Austin, leaving school for Massachusetts, where he took a job, obviously marking time, in sales for a tanning company. He was saved by an illness that sent him back to San Antonio, where he began his art studies with Hugo David Pohl, then to Taos, New Mexico, with well-known artists Walter Ufer and Leon Gaspard. When Cook began his art studies, he did so with fixity of purpose, continuing in Boston with Hermann Dudley Murphy, and in Woodstock, New York, with Charles Rosen, Lowell Birge Harrison, and Henry Lee McFee. Cook moved to Boerne, Texas, near San Antonio, from 1928 until the early 1940s, then to Taxco de Alarcon, Mexico. From 1949-1971, he lived in Houston, and then moved to San Miguel de Allende, Mexico. Cook died in a Mexico City hospital, and was brought back to the United States for burial in Houston. Memberships: San Antonio Art League, Southern States Art League, Villita Street Gallery, San Antonio, American Artists Professional League and New York Watercolor Society. Exhibitions: Texas Artists Exhibition, San Antonio Art League (1926); Annual Texas Artists Exhibition, Fort Worth (1927-28, 1930, 1933, 1936-37); Edgar B. Davis Competition, San Antonio (1927-28, 1929 honorable mention); Annual Texas Cotton Palace Exposition, Waco (1929 prize, 1930); Lockhart State Fair (1929 prize); Annual Exhibition of the State Fair of Texas, Dallas (1929, 1939); San Angelo (1929 prize); Southern States Art League Annual Exhibition (1929, 1938, and 1940); San Pedro Playhouse, San Antonio (1931 one-man); Witte Memorial Museum, San Antonio (1935 one-man, 1950); San Antonio Local Artists Annual Exhibition (1935, 1937-38, 1940, 1948); Bright Shawl Gallery, San Antonio (1936 one-man); Texas Centennial Exposition, Dallas (1936); National Exhibition of American Art, Rockefeller Center, New York (1936-38); Texas Fine Arts Association Exhibition (1936, 1938); Annual Southeast Texas Artists Exhibition, Houston (1937 honorable mention, 1939); Museum of Fine Arts, Houston (1937 with Caroline Durieux and Boyer Gonzales, Jr.); Texas General Exhibition, (1940 special mention); Texas-Oklahoma General Exhibition (1941); San Antonio Art League (1947); River Art Group, San Antonio (1948); Texas Seen/Texas Made, San Antonio Museum of Art (1986); Special Christmas Exhibition, Witte Museum, San Antonio (1989); Hock Shop Collection: Rediscovering Texas Artists of the Past, Center for the Visual Arts, Denton (1998). Museums: South Texas Institute for the Arts, Corpus Christi; Stark Museum of Art, Orange; Groos National Bank, and Witte Museum, San Antonio; San Antonio Art League; Carnegie Library, Waco; and John H. Vanderpoel Art Association, Chicago. Source: John and Deborah Powers, Texas Painters, Sculptors, and Graphic Artists 1897 - 1972 Paul Rodda Cook Cook Paul Rodda 1931 Dixie Cooley was born in Hartwell, Georgia in 1896. She studied at the Gibson-Mercer Academy, the University of Chattanooga under Frank Baidsden and at the Art Students League in New York with Alexander Brook and Yasuo Kuniyoshi. She also studied art at Newcomb College in New Orleans. She was a member of the Chattanooga Art Association, Southern States Art League and the American Artists Professional League. She exhibited with the Chattanooga Art Association, the American Water Color Society, IBM, and Audubon Artists and had a one-person show at the American-Britain Art Center in 1943. The University of Chattanooga Museum acquired her watercolor "Old House" after it won the University Purchase Prize and Thomas Watson purchased one of her works for the IBM collection. She has also won a number of prizes with the Southern States Art League. b. 1 - 1896 Dixie Cooley Cooley Dixie 1975 Collin Campbell Cooper was born in Philadelphia in 1856 and died in Santa Barbara, California on November 6, 1937. He began his formal training at the Pennsylvania Academy of the Fine Arts with Thomas Eakins. In 1885, Cooper traveled to Paris to study Academie Julien and the Ecole Delecluse in Paris. Traveling to Belgium, Holland and France, Cooper painted numerous picturesque scenes of European architectural treasures. These paintings gained him wide recognition, and he continued to travel in search of unusual landscape and architectural subjects throughout his career. Unfortunately, most of his early works were destroyed in a fire in 1896. In 1897, Cooper married painter Emma Lampert (1855-1920). In 1902, he began a series of important oil paintings of New York City skyscrapers. He became particularly well known for his depictions of skyscrapers in New York City and Philadelphia. Cooper's use of impressionist palette and brushstrokes in his oil paintings of American urban life was inspired by Childe Hassam, who painted impressionist views of New York as early as 1890. Equally competent at watercolor painting, Cooper developed a technique of applying watercolors on canvas in a way that makes the finished work look like an oil painting. After spending some time in Philadelphia and abroad, Cooper settled in California in 1921, and became dean of the School of Painting at the Santa Barbara School for the Arts. MEMBERSHIPS American Federation of Arts American water Color Society Associate of the National Academy of Design New York National Arts Club New York Society of Painters New York water Color Club Pennsylvania Academy of the Fine Arts Philadelphia Art Center Philadelphia water Color Club PUBLIC COLLECTIONS Art Club of Philadelphia Boston Art Club Cincinnati Art Museum Dallas Art Association Lotus Club, New York City Pennsylvania Academy of the Fine Arts, Philadelphia Reading Museum, New York St Louis Museum of Fine Arts 1856 - 1937 Collin Campbell Cooper 1 Cooper Collin Campbell 1943 Emma Lampert Cooper was born in Nunda, New York in 1860. She studied at Wells College, the Cooper Union in New York, the Art Students League and with Agnes Abbatt and William Merritt Chase. She made many trips to Europe and studied at the Academic Delecluse and with Jacob Kever in Holland. Upon her return from Europe she became head of the art department of the Foster School in Clifton Springs, NY. She taught at the Mechanic’s Institute in Rochester from 1893, until her marriage to the artist Colin Campbell Cooper in 1897. She was a member of many professional organizations and exhibited widely. Her work was accepted internationally and in addition to a joint exhibition, with her husband, at the Royal Canadian Academy in 1897 she served as president of the Women's Art Association of Canada. Her paintings were exhibited at the Columbian Exposition in Chicago in 1893, San Diego Exposition, 1916, the Cotton States Exposition in Atlanta in 1895 and the St. Louis Exposition of 1904. She received awards in each of these exhibits. Cooper exhibited at the National Academy of Design for eleven years, from 1883 to 1895, under her maiden name Lampert. Her exhibition record with the Academy then continues under Cooper. An article "Women in Art," published in the Quarterly Illustrator for AprilJune 1894 stated "Emma E. Lampert, herself a landscapist of merit, advises women not to make landscapes a specialty, unless they have great physical strength and perfect health. She says: "The difficulties encountered by a woman working alone in the fields is rarely realized by one who has not had the experience. The weight of the necessary outfit, the long walks in the hot sun and the danger of working alone in just the wild sort of places that are especially paintable, are reasons why so few women elect this branch of art." In her obituary published in August 1920 in the American Art News, the writer states "Her work was well known throughout the country, having been exhibited in all the leading galleries and exhibitions. She was a brilliant colorist, a good draughtswoman, and, with inherent good taste, always selected subjects that had individual attraction. A woman of sterling worth and an artist of distinction, she will long be mourned by her many friends. 1860 - 1920 Emma Lampert Cooper Cooper Emma Lampert 3126 Born in Decatur, Illinois, Fern Coppedge began art studies at the Art Institute of Chicago and then went to New York to study with William Merritt Chase at the Art Students League. She also studied with John Carlson and Henry Snell and then attended classes at the Pennsylvania Academy of the Fine Arts. She settled in Pennsylvania, living both in Philadelphia and New Hope where she did many of the winter scenes for which she is known. She had met Daniel Garber, a New Hope painter, at the Pennsylvania Academy, and she moved to New Hope in Bucks County in 1920. For 30 years, she traveled between there and her studio in Philadelphia. She also spent many summers painting harbor genre in Gloucester and Rockport, Massachusetts. She exhibited for many years with a group of women called the "Ten Philadelphia Painters." Her style of Impressionism emphasized bright, contrasting colors, and she is sometimes compared to the Fauves and European postimpressionists. Source: David Michael Zellman, "Three Hundred Years of American Art" 1883 - 1951 Fern I. Coppedge 1 Coppedge Fern I. 1884 Jean Baptiste Camille Corot was born in Paris on July 16, 1796. His mother managed a fashionable dress shop in Paris on the Rue du Bac and as a result he spent his first four years with a family near I'sleAdam, and until 1807 lived in a pension on the Rue Vaugirard. He was sent afterwards on scholarship to a school in Rouen, but did not adapt well to his new environment, and in 1812, his parents decided it would be best for him to return to Paris. When he finished his education in the village of Poissy, near Paris, his father insisted that he venture into business, and though he had expressed his desire to become an artist, Corot worked in several cloth merchant shops from 1815 until 1822. In 1822, his parents finally agreed to support him as an artist. Corot's first teacher was Achile Etna Michallon, a landscapist who had studied in Rome. The time Corot spent with Michallon was brief, since Michallon died later that same year. His influence, however, was immense, for it was he who suggested to Corot to carefully study out-of-doors. Corot afterwards studied with Jean Victor Bertin, who had also been Michallon's teacher. In 1817, Corot's father bought a country home at Ville d'Avray, and the countryside became a tremendous source of inspiration for the young artist. With the financial support of his family, Corot traveled to Italy in 1825: his simple, direct interpretations of what he saw caused a stir among his colleagues, who included Leopold Robert, Schnetz and d'Aligny. Corot left Rome in 1826 and traveled throughout much of Italy, returning to France in 1828, where he maintained a rigorous schedule throughout his life. During the winters he worked in his Paris studio, and devoted the summers to travel around France, recording his experiences with nature. Essentially ignored in the 1830s, Corot won important patrons and state commissions during the following ten years. In the late 1840s and early 1850s he exhibited regularly and was a member of the Jury in the Salon. His entries for the Salon generally included traditional subject matter such as Biblical and mythological themes, although a few landscape studies were also included. Following the death of his mother in 1851, Corot accepted an invitation from Constant Dutilleux to recover from his loss. He went to Arras and La Rochelle where he worked constantly. In 1851 and 1855 he traveled to the Limousin, Switzerland and to Holland, attaining considerable recognition during this period. One of his most important victories was in 1855 when he exhibited six paintings at the Universal Exhibition. The exhibition was an enormous success and earned Corot his place among the Barbizon painters. The public experienced an increased interest in his works during the late 1850s, and in 1858, thirtyeight of his works were sold at the Hotel Drouot for a considerable amount. Corot continued to exhibit at the Paris Salon until the end of his life. He died in the Ville d'Avray on February 22, 1875, at the age of seventynine. Corot, one of the foremost landscape artists of his time, is at last recognized as one of the greatest painters of nature and of the human form, and one of the most moving recorders of an artist's intimacy with his work. Corot had the extraordinary skill of being able to delineate not just the contours of objects, but the actual substance and luminosity. He was one of the first painters to love and to paint nature for its own sake, and his landscapes were surprisingly sensitive. He possessed a true quality of vision and expressed a genuine poetic style in his work. Corot's paintings combined poetry, light and color to reveal a clear and intense truth. He enlightened the realm of landscape painting with a new naturalism, and a definite romanticism. Corot was a revolutionary artist and a precursor to the art of the next generation. 1796 - 1875 Jean Baptiste Camille Corot 1 Corot Jean Baptiste Camille 2172 “I was born from and for painting…” Èdouard Cortès Èdouard Leon Cortès was born in Lagny, France on August 6, 1882 into a family of artists and artisans. His birth certificate recorded the child as Èdouard Leon Cortès, but at the age of six weeks, he was baptized Henri Èdouard Cortès. He would use the name Henri for several years signing his early paintings Henri, Henri Èdouard or Èdouard H. After the death of his father in 1908, Cortès would revert to using Èdouard. Cortès would sign his paintings Èdouard Cortès, Ed Cortès or simply E. Cortès for the rest of his career. Cortès’ father, Antonio Cortès, who was born is Seville, Spain was a successful painter for the royal court in Spain. In 1855, Antonio traveled to Paris to attend the Exposition Universelle and fell in love with the French people and countryside. He would remain is Paris. While in the city, Antonio would marry his first wife, Angéline Cécile Berger. They would have a son André, who was born in Paris. Shortly after the birth of their son in 1866, Antonio and his young family would leave Paris to settle in Lagny, a small village east of Paris in Seine-er-Marne region where he would open a studio and became recognized as a painter of country scenes and farm animals. In 1870 at the pinnacle of the Franco-Prussian War and the death of Angéline, Antonio and his son would move back to the safety of the city to escape the perils of the war. In 1872, Antonio married Lagny dressmaker Léontine Augustine Frappart. They had two children, Jeanne and Èdouard. All three children followed their father to pursue a career as a painter. André the oldest was primarily an accomplished painter of horses. His younger sister Jeanne, like her father, painted pastoral scenes of farm yards and flocks of sheep. Like her brothers, she was also a member of the Union Artistique et Littéraire du Canton de Lagny, which was formed as a result of their brother André’s death in 1898. Èdouard, the youngest of the siblings, exhibited an exceptional artistic talent. Cortès attended a private elementary school until the age of 13. Upon leaving school, he listed himself in the local census as “artist-painter” and his nationality as Spanish, probably as a tribute to his father. Èdouard Cortès would continue his artistic training at his father’s Lagny studio receiving encouragement from his brother, sister and local artists. For centuries, Lagny was a magnet for artists, who were attracted to the light, lush landscapes and the Marne. Eugene Isabey, Charles Jean Jacque, Henri Lebasque and Camille Pissarro along with others painted in and around Lagny. The presents of these artists working in the most up-to-date methods and style were a major influence on Cortès growth as a painter. However, the greatest influence would come from his father and Barbizon painters Constant Troyon and Henri Harpignies. In 1899, at the age of 16, Èdouard Cortès exhibited his first work at the Société des Artistes Français entitled La Labour, of a farmer driving a horse-drawn plow with a dog by his side, which revealed the influence of his father’s animal paintings. The work was well received by the critics and the public - helping establish Edouard’s favorable reputation in Paris. The press in the French capital awarded this young prodigy status of a legend and placed crowns of victory upon his head. Everyone spoke of and discussed the young Henri Cortès. Èdouard Cortès continued to exhibit in Lagny and at the national exhibition of the Société des Artistes Français, of which he was now a member. In 1901, Cortès began his long career as a painter the streets in and around Paris. In subsequent years, Cortès would continue sending canvases Salons depicting Parisian scenes, which captured the nostalgic atmosphere of bustling rainy and snow filled streets. His Paris street scenes became popular to an ever growing international audience, which makes it difficult to know how many paintings that Èdouard Cortès actually painted. “I do nothing but paint. I stand in front of my easel at around eight in the morning; from twelve to two I eat lunch and rest, and I paint in the afternoon till dusk, because I don’t like artificial light. That gives me eight to ten hours a day to paint” “As long as I am able to get up and go to my easel, I will paint. Until my last breath, because I was born from and for painting, and I will die happy if I am in front of my easel” Èdouard Cortès Cortès would continue to live with his parents in Lagny until just after the death of his father in 1908. He and his mother would then move into a house and studio originally built for Cavallo-Peduzzi at 22 rue Macheret. Except for a few years in Paris and Normandy, Cortès spent most of his life living in this home and working in his studio. Édouard married Fernande Joyeuse in 1914 and had a child – Jacqueline Simone in 1916. The First World War would interrupt the life of this young family. Although a pacifist, Èdouard Cortès would join the French military at the age of 32. He was sent to the front lines as a contract agent. Sustaining a bayonet wound, Cortès would be evacuated to a military hospital. He was awarded the Croix de Guerre. Once recovered, Èdouard Cortès was assigned to a staff position, where his artistic talents proved invaluable in sketching enemy positions. After the war, Cortès became even more pacifist in his convictions and refused to accept the Légion d’Honneur when it was offered by the French government. In 1919, Èdouard Cortès was demobilized and retuned to Paris. His wife, Fernande would die in 1918 leaving Cortès and his two year old daughter, Jacqueline, alone. Shortly thereafter Édouard would marry his sister-in-law Lucienne Joyeuse. They settled in Paris and Édouard continued to paint views of Paris. In 1925, Cortès moved his family moved back to Lagny (in Normandy) and he began painting scenes of country life - including landscapes, interior scenes and still lives. Later Cortes bought a second home in Normandy village of Quistreham where he spent much of his time painting between 1935 and 1941. After returning to Lagny, Èdouard Cortès became an active member of the Union des Beaux-Arts de Lagny and was the Unions first president. Their inaugural exhibition was held in 1927. Cortès continued to exhibit at the Union until the late 1930’s. During this period he received many awards, gained great notoriety and was a frequent exhibitor at the exhibition halls in Paris, including the Salon d’Automne, Salon d’Hiver, Salon de la Société Nationale de l’Horticulture and Salon des Indépendants. During the years of World War II, Cortès and his family spent their time in Cormelles-le-Royal (in Normandy) in an attempt to remove themselves from the harsh realities of war. By 1954, Èdouard Cortès had relocated to Lagny, where he passed his life in a simple manner among a small circle of friends. Edouard Cortès continued to paint mastering several mediums (oil, gouache, watercolor and pastel) to execute his exquisite variations of his primary theme: the beauty of Paris. When asked why his works stilled showed horse-drawn carriages, omnibuses and fashions from before 1930, Cortès commented that he wished to stop history in 1939 before the Second World War His paintings by now were in demand all over the world. Èdouard Cortès achieved special success in the United States and Canada, where he had first exhibited in 1945. Edouard Cortès was an extremely modest man. He refused all interviews, cared nothing about documenting his career, and even declined in 1955 to be the subject of an hour-long filmed documentary. He preferred to remain anonymous as an individual to allow his painting to speak for themselves by standing on their own merit. In the last years of his life, Èdouard Cortès received homage from the Salon de Vincennes, where he was one of 117 exhibitors. The Salon awarded him the prestigious Prix Antoine-Quinson. Èdouard Leon Cortès passed away in 1969 in his home at 22 rue Macheret, Lagny-Torigny the same way he lived his life in serenity and simplicity. Although he did not wish the town of Lagny to celebrate his life, ten years after his death a street was name in his honor. “I had a good fortune to inherit some talent, and also to have been taught by my father. If my paintings please those who view them and if they give a feeling of places and moments, or waken curiosity about the history of a monument of a place, then I am fully satisfied with my success.” Edouard Cortès Principle Art Exhibitions: Principaux Salons Salon des Artistes Francais Salon de l’Union Artistique et Littéraire de Lagny Salon de l’Ecole Française Salon d’Hiver Salon d’Automne Salon des Indépendants Salon de l’Union des Beaux-Arts de Lagny Expositions: France: Arras, Auxerre, Avallon, Beauvais, Caen, Calais, Cannes, Chelles Awards: 1920: Officer de l’Académie des Beaux-Arts 1931: Croix d’Honnneur de Chevalier de l’Education Sociale 1959: Chevalier de l’Ordre des Arts et Lettres 1882 - 1969 6 Edouard Leon Cortes 1 Cortes Edouard Leon 1961 Pierre-August Cot was born in Bédarieux, (Herault) the February 19, 1837 and died in Paris on August 2, 1883. Cot began his studies at the l’Ecole des Beaux-Arts with sculptor, Francisgue-Joseph Duret (1804-1865). He continued his studies at the Academie with one of Paris’ more influential teachers, historical painter , Leon Cogniet (1874-1880). Cote also studied with Alexander Cabanel (1823-1889 and William Adolphe Bouguereau (1825-1905). Pierre-August Cot debuted at the Paris Salon of 1863 with historical scenes, genre and allegorical subjects. As his genre scenes and portraits began to decorate the some of the more notable homes in Paris, Cot became extremely popular and one of Paris’ more successful painters. His paintings had an strength that magically was mixed with delicate grace. Some of the more notable works were; " Prométhée", "Meditation", "The Day of Deaths", "Dionisa", "Le Printemps", "Mireille" and "Ophelia". He would later marry Francisgue-Joseph Duret’s daughter. MUSEUMS: Algiers: "Forte de Sidi Ferruch" Béziers: "Saint Elizabeth of Hungary, looking after the patients" Montpellier: "Prométhe and the vulture", "Mireille" Séte "Téte of étude" Metropolitan, NY: "Le Printemps" Listed: E. Benezit, vol.3 pg. 206 Dictionnaire des Petits Maîtres de la peinture 1820-1920, vol.1, pg.299 Bryan’s Dictionary of Painters and Engravers Cyclopedia of Painters and paintings, New York 1885-1887 Unknown Pierre-August Cot Cot Pierre-August 2906 Jean-Yves Couliou was born October 18, 1916 in Flandreau, Finland. He received his formal art training at the Beaux-Arts Academie in Rennes and in Paris. In 1939, Couliou began exhibiting at several different salons; Salon des Artists Française, Terres Latines, d’Automne and at the Salon des Indépendants. He also exhibited internationally in London, New York, and Genéve. Couliou painted landscape, Marines, cityscapes is his own style that was a combination of cubism and abstract Couliou’s works are represented in museums in Belgrade, Genéve and Vannes. Listed: E. Benezit, vol. 3, pgs. 216-217 1916 - 1995 1 Jean-Yves Couliou Couliou Jean-Yves 1883 Gustave Courbet was born to prosperous farming parents in the small town of Ornans, in the FrancheComte, Courbet's parents provided him with a good and thorough education but he showed little aptitude and less interest in scholarly studies. In 1839, at the age of twenty, Courbet moved to Paris to begin his professional career. However, much to his parents surprise, shortly after his arrival he announced his decision to become a painter. He studied in a number of studios including Steuben's and Hesse's, and spent a great deal of time copying Dutch landscape paintings in the Louvre. Though Courbet would later align himself more closely with the Barbizon painters, his earlier work may in some senses be seen to more closely parallel literary developments. While Courbet was studying, copying, and drawing from live models, his literary contemporaries, Balzac and Stendahl, were exploring the depths of Realism. If literary Realism may be seen to represent the serious tragic representation of everyday life, Courbet can be viewed in the same light. Courbet, at the center of Realist painting, produced many canvases with subjects devoted to the laborer and his chores, and even his landscapes are often presented with a similar savage and tragic hue as that found in his powerful painting, The Stonebreakers. At the same time, the artists of the Barbizon school were also moving away from the typical subjects of the Academy, by submitting what appeared to be 'unfinished' canvases as completed works. Courbet and the Barbizon painters were, therefore, identified with each other by association. Courbet was from the beginning a combative person and artist. From the moment The Burial at Ornans appeared at the Salon, the painting and Courbet came under sharp and severe criticism. This eventually led Courbet to soften the tone and subject of his canvases, and it is at this stage that he became more closely identified with the Barbizon school, although personally he would become increasingly involved in the political turmoil of France that would eventually end his life. Like Rousseau, Courbet made various and usually only partially successful attempts to establish exhibitions of Realist and refusee painters. In the 1870s he began to take serious interest in politics and was named chairman of the Arts Commission. When the Communists came to power, Courbet played a more important and political role. However, at the fall of this government, he was charged with allowing the destruction of several major works of art and held responsible for the costs of their reconstruction. Shortly thereafter Courbet fled to Switzerland where he fell ill and died within a few years. 1819 - 1877 Gustave Courbet 1 Courbet Gustave 1882 Eanger Irving Couse was born in Saginaw, Michigan in 1866, and during his childhood he became familiar with the large Native American population, which continued to flourish in the Saginaw area into the 1870s. From an early age Couse had wanted to become an artist, and he regularly visited the local settlements of the Chippewa and Ogibwa tribes to sketch the tepees and make figure studies of the Indians. His formal artistic training began at the Art Institute of Chicago, and then continued at the National Academy of Design in New York. Finally, Couse spent four years studying under Adolphe Bouguereau at the Academie Julian in Paris, where he adopted the French Academic painting style, which would endure for the rest of his career. While in Paris, Couse married a fellow student, Virginia Walker, whose family lived on a ranch in Washington, near the Oregon border. In 1891 the couple resumed to the Northwest and Couse gained access to the local Klikitat, Yakima and Umatilla tribes, and completed his first Indian paintings. Couse did not visit Taos until 1902, after he had met Joseph Henry Sharp, Ernest Blumenschein and Bert Phillips in Paris, and they had told him of the beauty of the New Mexico landscape and the Indian population who lived in the relatively undisturbed Pueblo culture there. Couse immediately took to Taos, and Patricia Janis Broder writes "Taos was everything Couse had dreamed of. The Taos people and their routines of life at the Pueblo satisfied all of his artistic requirements and desires. He recognized that in the Pueblos of the Southwest he had found the ideal Indian subjects for his paintings" (Patricia Janis Broder, Taos A Painter's Dream, Boston, Massachusetts, 1980, p. 149). Couse spent every summer in Taos from 1902 until 1927, when he became a permanent resident. He was a prominent figure in the town and was elected the first president of the Taos Society of Artists in 1915. He established many close friendships within the local Indian population who became willing models for him. Patricia Janis Broder writes "He was not interested in depicting the daily or ceremonial life of the Taos Indians but preferred to paint his models in traditional studio poses" (Broder, p. 141). However, he did paint a series of Indian subjects as hunters, in which the Indian is depicted in a traditional role, proving his skill as a hunter and living off the meat from the animals and birds of the forest. Images such as this provided Couse with a subject that spans both the traditional concept of the Indian as a hunter warrior and the peaceful, sympathetic characters that inhabit Couse's popular interior Indian subjects. Publications E. Irving Couse 1866-1936 by Nicholas Woloshuk (Santa Fe Village Art Museum, Santa Fe, New Mexico, 1976) page 90-color reproduction. E. Irving Couse Image Maker for America edited by Virginia Couse Leavitt & Ellen Landis (Albuquerque Museum of Art, 1991) page 221, color reproduction. Atchison Topeka & Santa Fe Railway, 1928 Calendar, color reproduction. Partial List of Public Collections Phoenix Art Museum, Phoenix, AZ Arizona State University Art Museum, Tempe, AZ San Diego Museum, San Diego, CA Colorado Springs Museum, Colorado Springs, CO. Denver Art Museum, Denver, CO. Smithsonian American Art Museum, Washington, D.C. Metropolitan Museum, N.Y. National Cowboy & Western Historical Museum, Okla. City, OK C.M. Russell Museum, Great Falls, MT Gilcrease Museum, Tulsa, OK El Paso Museum of Art, El Paso, TX Museum of the Southwest, Midland, TX Amon Carter Museum, Fort Worth, TX Stark Museum, Orange, TX The Philbrook Museum of Art, Tulsa, OK ETC. 1866 - 1936 1 Eanger Irving Couse 1 Couse Eanger Irving 3292 Marian Couse (1922-1984) Was the wife of Kirby Couse (Taos painter E. I Couse's son). We have spoken to Ms. Virginia Couse Leavitt (Marian's step daughter) from the Taos Foundation regarding Marian Couse's life and career. She told us that you would do a little research and would get back with us. Unknown Marian C. Couse Couse Marian C. 1881 William Wilson Cowell is considered a 19th century landscape and marine painter from the American school. He was born March 24, 1856 in Boston, and died in Chicago. He received his formal art education at the Pennsylvania Academy of Fine Art under Edward Moran and J. Faulkner. According to the exhibition records at the Pennsylvania Academy of Fine Art, William Wilson Cowell was a regular exhibitor from 1876 to 1900. He also was active in New York and Boston. Like many other artists, the works of A.T. Bricher and F.A. Silva from of the luminist school influenced William Wilson Cowell. He combined the teachings of Ruskin with the influence of the luminist to compose his wonderful light filled expressions of nature, as seen in Sunset of Desert Rock, Maine 1873. b. 1 - 1856 William Wilson Cowell Cowell William Wilson 1942 Little information is available about the life of Ann Crane. She was the stepdaughter, and later the wife, of the American Tonalist painter Bruce Crane. She studied art with John Twachtman in New York and with Merson in Paris. In 1902 her mother Jeanne, then married to Bruce Crane, brought a divorce suit against him, accusing him of adultery with her daughter by a previous marriage. Jeanne had been hospitalized in an insane asylum. The judge believed there was many problems with her action and allowed Bruce to divorce her instead. Two years later he married Ann, who was 24 years his junior. Her husband maintained a studio in New York while Ann spent most of her time at the family farm near Utica. Bruce was also spending time at Old Lyme, associating with the artists who worked at the Florence Griswold house. Ann and Bruce had a daughter, who later suggested that her mother was unhappy at Old Lyme, where her husband was popular and where she was unable to establish her own identity as an artist. They moved to Bronxville, New York in 1914 and Ann is recorded as having been active in that city into the 1940's. 1881 - 1948 Ann Brainerd Crane Crane Ann Brainerd 3235 Robert Bruce Crane was born in New York City on October 17, 1857. The son of Solomon Bruce Crane and Leah Gillespie, he was educated in New York's public schools and was exposed to the city's galleries and museums by his father, himself an amateur painter. By the age of seventeen, Crane had moved to Elizabeth, New Jersey, where he was employed as a draftsman by an architect and builder. He soon decided to devote his career to painting, and about 1876 or 1877 sought the guidance of the landscape painter Alexander H. Wyant, with whom he subsequently shared a close friendship until Wyant's death in 1892. Between 1878 and 1882, Crane attended the Art Students League in New York and traveled to Europe for further study. In the United States during this period, he painted in New Jersey; East Hampton, Long Island; and the Adirondacks. He wrote to his father from the Adirondacks that among the influential painters working nearby at the time were Eastman Johnson, George and James Smillie, and Samuel Coleman, and he described the dramatic terrain: "Went to the famous Rainbow Falls which several artists have tried to paint . . . Wyant and Hart among them . . . over the top comes tumbling the water which strikes every few feet throwing a spray which catches the sun giving a most charming as well as wonderful appearance." Crane spent time in East Hampton, on the eastern end of Long Island, during the summer of 1880 or 1881 and possibly during other summers. From there he wrote his father that the painters "Stimson, Dellenbaugh, Moran, Robbins and Coleman are here . . . I have finished the study of an old house . . . and the artists say that [it] is exceedingly good." In another note he described some of his typical subjects at this time: "I have been working on a 20 x 30 [inch] subject, a row of apple trees, gigantic in size . . . I commence in a few days the study sheep." In these early works, Crane painstakingly reproduced the pastures, hayfields, and barnyards of rural East Hampton. A critic later remarked that "Troubled or placid skies, the bright luminous atmosphere of a summer's day, or the gray tones of autumn were given in these pictures, not only with truth to nature and a certain poetic sentiment, but with a brilliant sparkling quality of effect. Source: Clark, Charles Teaze; "Bruce Crane, Tonalist Painter", Antiques Magazine, November, 1982. 1857 - 1937 Bruce Crane 1 Crane Bruce 3333 Born in Westmoreland County, Virginia, Catharine Critcher became the first and only woman member of the Taos Society of Artists in Taos, New Mexico, elected in 1924. She was known for her formal portrait paintings of distinguished easterners and also for portraits of New Mexico and Arizona Indians. In addition, she did landscape paintings, florals and figures, and locations in addition to the Southwest included Mexico, Canada, France, and Massachusetts. Critcher was raised on her family estate in Audley in Westmoreland County, and was the daughter of John Critcher, a judge and U.S. Congressman, and Elizabeth Whiting Critcher. She studied at Cooper Union School of Design in New York City in 1890, and the next year at the Corcoran School of Art in Washington DC. She then worked for thirteen years as a portrait artist in the DC area, followed by study in Paris at the Academi Julian and with Richard Miller and Charles Hoffbauer. In 1911, she exhibited at the Paris Salon. In Paris in 1905, she founded her own school of art, the Cours Critcher, where she showed much administrative ability as well as painting talent. She maintained the school until 1909, when she returned to the United States. From 1911 to 1917, she was an instructor at the Corcoran School of Art, and in 1924 in Washington D.C. with a partner, Clara Hill, founded another school of art, The Critcher School of Painting and Applied Arts. Critcher served as Director until 1940 when she decided to devote herself full time to painting. In 1943, she settled in Charles Town, West Virginia, and in 1957, moved to a nursing home in Blackstone, Virginia, where she died in 1964. In 1922, Catharine first went to Taos, New Mexico and returned each summer through 1926 and again in 1928. She said . . . "Taos is unlike any place God ever made. . . . There are models galore and no phones." (Kovinick 59). She did some notable portrait studies and continued to return for many summers, and in 1924 was unanimously voted into the all-male Taos Society of Artists. She is recalled as energetic and attractive and startling in Washington D.C. because she would return after her summers in Taos "with a wrinkled, deeply suntanned skin in the 1920s when that was not fashionable" (Samuels, 115). From New Mexico, she traveled to Arizona where in 1928, she spent two months during the summer sketching and painting on the Hopi Indian Reservation in northern Arizona. Among her painting titles from that period are Hopi Indian Home and Snake Chief. 1868 - 1964 Catharine Critcher Critcher Catharine 1592 Jasper Cropsey was a mid-nineteenth century painter and architect known for his detailed, romantic autumn landscapes. A member of the Hudson River School, he reached his artistic peak in 1860 with a nine-foot-long canvas of a New York autumn. Its brilliant colors stunned many of the English viewers to whom it was presented in London. Cropsey was born on Staten Island, New York, in 1823. He was trained in mechanical drafting and apprenticed at age 15 to architect Joseph Trench. He developed a strong interest in painting and took lessons in painting watercolors. In 1841, he began doing landscapes in oil, painting scenes of the White Mountains, the Catskill Mountains and areas around Greenwood Lake, New Jersey, as well as literary and thematic landscapes. In 1842 he left Trench's office to devote himself to painting, although he continued to work as an architect. In The Spirit of War (1851, National Gallery of Art) Cropsey represents war as a mighty medieval fortress set among fantastic geological peaks against a phenomenal sunset. Allegorical paintings like this one, dark and turbulent, were remarkably similar to those of Thomas Cole. Cropsey went to Europe in 1847 for two years; beginning in 1856, he lived in England for seven years. There, he painted one of his greatest works, Autumn-On the Hudson River (1860, National Gallery of Art), which received critical raves and rated Cropsey an audience with Queen Victoria. From then on, Cropsey specialized in fall scenes, earning the nickname "America's painter of autumn." He was inclined toward precise detail and had a tendency to be repetitive. In the later years of his life, Cropsey settled on the Hudson River at Hastings, New York, painting oil and watercolor views of the river many times over. He continued some architectural work throughout his life; among his designs was the Victorian-style Sixth Avenue elevated station in New York City. Cropsey died in 1900. Public Collections: Harvard University Metropolitan Museum of Art, New York City National Gallery of Art, Washington, D C New-York Historical Society, New York City 1823 - 1900 Jasper Cropsey 1 Cropsey Jasper 3218 Edward Cucuel was born the son of a newspaper publisher in San Francisco in 1875. At the early age of 14, he attended the local academy of arts. His first job as a teenager was with the newspaper 'The Examiner', as an illustrator. In 1892, Cucuel was sent to Paris, where he entered the Académie Julian and the Académie Colarossi. He would then apply and be accepted to the Académie des Beaux Arts, where he would briefly study with Jean Léon Gérôme. In 1896 Cucuel returned to the United States and settle in New York. While in the city, he worked for a short period of time as a newspaper illustrator. Unhappy with his artistic fortunes in the States, Cucuel would return Paris to devote himself to art. After spending the next two years in and around Paris, Cucuel traveled through France, Italy and Germany studying the old masters. While traveling through Germany, Cucuel lived briefly Berlin, where he could only find work as an illustrator. In 1907, Cucuel moved to Munich which would become his home several years. During this period, he would join and exhibit with the artists' group 'Scholle', which founded by German Artist Leo Putz. In 1912, Cucuel began exhibiting at the Paris Salons. He found great success with collectors and critics alike with his colorful impressionistic style of capturing women in bright interiors and in charming plein-aire scenes. From 1914 to 1918, Cucuel lived in Holzhausen at the Ammersee. He would later open studios in Munich and Strasbourg. From 1928 to 1934, Cucuel worked out of his studio in New York and spend his summers in Germany. With the beginning of Word War II in 1939, Cucuel would leave Germany and settle permanently in the Pasadena, California, where he would live a secluded life until his death in 1954. Museum: University of Kentucky Museum, Lexington, KY Reference books: Artists in California: 1786-1940, Hughes, Edan Milton, (Two Volumes), page 1249	 Who Was Who in American Art, 1564-1975, Falk, Peter Hastings (Editor), 3 Vols., page 3724 The Annual Exhibition Record of the Art Institute of Chicago, Falk, Peter Hastings (Editor), page 1117	 Annual Exhibition Record, National Academy of Design 1901-1950, Falk, Peter Hastings, page 622	 Artists in California, 1786-1940, Hughes, Edan Milton, page 637 Annual Exhibition Record, 1914-68, P.A. F. A., Falk, Peter Hastings (Editor), page 538 Impressionism & Post-Impressionism Transformations 1885-1945, Preato, Robert/Sandra Langer, page 104, illustrated Mantle Fielding's Dictionary American Painters, Sculptors, Engravers, Opitz, Glenn B (Editor), page 1081 Who Was Who in American Art Artists Active 1898-1947, Falk, Peter Hastings (Editor), page 707 The American Pupils of Jean-Leon Gérôme Weinberg, H Barbara, page 113 Dictionary of American Artists, Opitz, Glenn, page 372 Index of Artists International Biographical, Mallett, Daniel Trowbridge, (2 Vols.), page 811 Der Maler Edward Cucuel, published 1925, von Ostini, Fritz		 1875 - 1954 Edward Cucuel 1 Cucuel Edward 2127 Born in Rotterdam on August 29,1820, Johan Mongels Culverhouse was one of six children of R. Culverhouse and C. Mongels. Culverhouse made a name for himself as a "candlelight painter," specializing in nocturnal scenes illuminated by moonlight or candlelight in the tradition of seventeenth-century Dutch painting. In the same tradition he also painted genre subjects, including rowdy taverns, busy markets, and bustling streets. It is sometimes said that Culverhouse studied at the Dusseldorf Academy, but this is unlikely, as his name does not appear on its rolls. According to Pieter A. Scheen, Culverhouse lived and worked in Rotterdam until 1845 and The Hague in 1846. He exhibited at Groningen in 1845 and Rotterdam in 1846 before coming to the United States. The year of his arrival is not known. Mainly exhibition records and his work document Culverhouse’s life in America. He exhibited at the American Academy of the Fine Arts in 1849, the Boston Athenaeum and the New Jersey Art-Union in 1851, and the National Academy of Design and the Pennsylvania Academy of the Fine Arts in 1852. The American Art-Union in New York acquired and exhibited seven of his paintings in 1849 and distributed them to its subscribers. It sold six more at public auction in 1852 when it was disbanded as an illegal lottery. Culverhouse apparently returned to Europe in the late 1850s. He exhibited at the Paris Salons of 1857, 1859, 1861, 1863, and 1864, giving a Paris address. According to Scheen, he exhibited in Antwerp in 1861 and in Amsterdam the following year. By the mid-1860s Culverhouse was back in America. He exhibited at the National Academy of Design in 1865 and 1866, giving a New York address, and at the Pennsylvania Academy of the Fine Arts in 1867. By December 1871 he had settled in Syracuse, New York. Notes from a variety of sources in the collection of the Onondaga Historical Association provide a brief record of his stay there. The Syracuse Journal for December 12,1871, reported that he opened a studio in Judson N. Knapp's art gallery and frame store at 47 Genesee Street. The building is shown in Culverhouse’ s painting of Syracuse by moonlight, now titled “Clinton Square – 1871” (Onondaga Historical Association, Syracuse). According to the city directory for 1872, Culverhouse was boarding at the St. Charles Hotel. Several of Culverhouse’ s paintings were shown in the fall exhibition of the Brooklyn Art Association in 1877 and one in the spring of the following year. Although he is said to have died about 1889, the date and place of his death are not known. Judging by his sporadic exhibition record, Culverhouse led a peripatetic life. Perhaps, as has been suggested, he returned to Europe several times. Although he tried to accommodate the American market by painting local scenes, he remained a firm adherent to Dutch traditions. His choice of subjects and the style of his known paintings reflect this European background. Exhibited: National Academy of Design American Art – Union Boston Athenaeum Pennsylvania Academy of Fine Art Museums: Metropolitan Museum of Art, New York City Brooklyn Museum, Brooklyn, New York 1820 - 1891 Johan Mongels Culverhouse Culverhouse Johan Mongels 3177 Beatrice Lavis Cuming was born in 1903 in Brooklyn, New York and died in 1975 in Uncasville, Connecticut. Ms. Cuming studied locally at the Pratt Institute Art School before departing for Paris to attend the Academie Colarossi. Within two years, she was back in New York working as an illustrator and attending classes at the Art Students League in 1928-29. Following a four-year sojourn to France and North Africa, Cuming again returned to New York where she came under the influence of Charles Burchfield, Charles Sheeler and Charles Demuth. In 1934, Cuming moved to New London, Connecticut, where she remained for the balance of her career, participating in the Public Works of Art and WPA Federal Art Projects, teaching art classes and directing the Young People's Art Program at the Lyman Allen Museum from 1937 through 1967. She exhibited widely, including solo exhibitions in New York City at the Guy Mayer Gallery (1942) and Contemporary Artists Gallery (1946) as well as various Connecticut venues culminating in retrospectives at the Lyman Allen Museum in 1968 and 1990. The present work is reminiscent of Sheeler in its focus on the industrial environment and of Edward Hopper in its sense of urban isolation. The three figures in the middle ground of the painting serve in one sense to provide scale and in another to underscore industrial dominance. "Her typical subjects are buoys, drydock cradles, industrial plants, bridges, storage sheds," wrote New York Times critic Edward Alden Jewett. "Miss Cuming paints a man's world, and she does so with uncompromising vigor." Various features of the painting provide inconsistent evidence regarding its origin. The presence of a 1931 date on the stretcher is difficult to explain, as Cuming was then in Europe. There is also a Socony (Standard Oil Company of New York) billboard on the right side of the composition. Although the artist was commissioned by Standard Oil Company in the 1940s to paint watercolors depicting company plants in Philadelphia and Lancaster, Pennsylvania, there is no evidence that the commission included oils and the Socony billboard is an inconsequential aspect of the composition. Finally, there is another separate stretcher inscription containing the artist's name above a reference to "New London," the Connecticut city to which Cuming moved in 1934. The similarity of the subject matter to some of her other New London industrial landscapes of the period suggests that the work was most likely done in that city in the mid- to late Thirties. Museums: Georgia Museum of Art, Athens, GA Lyman Allyn Museum, New London, CT Mystic Art Association Gallery, Mystic, CT Portland Art Museum, Portland, Or "New York Times" art review of February, 3 1942, courtesy Ira "Bud" Hillyer of Palm Springs, California. 1903 - 1975 Beatice Lavis Cuming Cuming Beatice Lavis 3228 Cyrus Cuneo was a full blooded Italian, born in the United States and one of a large family including two brothers who became artists. He was also the father of the late Terence Cuneo, the distinguished British Artist whose career bore a startling resemblance to his own. Even as a boy Cyrus, or 'Ciro' as he was always known, had one ambition - to get to Europe and study art in Paris. Ciro knew that fulfillment of this ambition must come entirely from his own efforts. He jealously guarded every cent he could gain. While still at school he took on a paper round, but his principle source of income was in staging shows and plays in the family stable, charging so many empty bottles for admission, which were later collected and sold. As he grew into his teens he started boxing with his elder brother, Rinaldo, and other local enthusiasts. His undoubted prowess was soon apparent and small matches were arranged in and around San Francisco, nearly everyone of which he won. By the time he was nineteen he was flyweight champion of the city and with the purse he received, plus his savings, he turned his head to east. Once he was in Paris he was just in time to enjoy the last of the romantic era. It was an untidy mixture of draughty garrets, picturesque creatures surrounded by the aroma of cabbage and living in a litter of dog-eared portfolios, 'masterpiece' canvases and mandolins. Not that this sort of existence was entirely fictitious. Such conditions certainly did exist for the students of the Carlo Rossi Academy, where Ciro studied for nearly four years. Before his second year was out, Ciro had become Whistler's head student and had bolstered his income by giving boxing lessons. These not only paid the rent, but were also responsible for starting the vogue of boxing throughout the Latin Quarter. In 1903, Ciro arrived in England and married Nell Tenison, daughter of Dr. Ryan Tenison [a relative of the poet Tennyson]. She had spent the previous two years also as a student at the Carlo Rossi Academy. He immediately became inundated with work on magazines and book illustration. After this he went to Canada to carry out an important series of commissions for the Canadian Pacific Railway*. He then resumed his career in England. In 1910 when King Edward died, Ciro found himself working literally day and night in the office of the Illustrated London News, on spread after spread of the funeral and subsequent George V Coronation drawing. When the 1914 war broke out he moved smoothly onto war subjects, without being affected by the collapse of many of the peacetime periodicals. His war paintings were widely used and magnificent - one canvas, auctioned in 1915, raised enough to buy two ambulances which went to France, each bearing the inscription "The Cyrus Cuneo Ambulance". One summer's morning a dove flew into the nursery and settled on the lintel under a fanlight. It stayed for most of the day, seeming composed and unafraid. The following afternoon it returned and the housemaid climbed on to a chair, lifted it down and gave it straight to Cyrus who had entered the room at that moment. A few days later, on an excursion to the basement a remark was made to the kitchen maid, "You mark my works Alice; it is bad luck to 'ave birds in the 'ouse. It means death!" It could not have been more than a day or two after this that Cyrus first showed the signs of blood poisoning - caused by the accidental stab of a hat pin at a dance he attended - which was to kill him. Within six weeks, on the 23rd July 1916, he was dead; thirty-seven years old and at the peak of a brilliant career. Memberships: Royal Institute of Oil Painters. Exhibitions: Royal Academy of Arts; Panama Pacific International Exhibition, 1915 *Regrettably much of this material was destroyed when CPR's offices were burnt down during the Blitz of 1940. 1879 - 1916 Cyrus Cincinnati Cuneo 1 Cuneo Cyrus Cincinnati 1930 Terence Cuneo was the establishment artist for much of the latter half of the twentieth century. Painter of portraits, the Coronation of 1953, artist to industry, renowned for his works portraying mines, dams, industrial processes, but above all his railway scenes. Cuneo was born in London, the son of Cyrus and Nell Cuneo, artists who met while studying with Whistler in Paris. Terence Cuneo studied at the Chelsea Polytechnic from 1924 to 1927 before, like his father, working as an illustrator for magazines, books and periodicals. In 1936 Cuneo started working in oils, continuing with his illustration work. During the war he worked for the War Artists Advisory Committee providing illustrations of aircraft factories and wartime events. Following the war Cuneo was commissioned to produce a series of railway posters; locomotive, track, locomotive works and bridges, the latter involved being lashed to the Forth Bridge in a gale. A significant point in his career was the commission to portray the Coronation in 1953, which brought his name before the public world-wide. He received more commissions from industry, which included the depiction of manufacturing, mineral extraction, road building, including the M1, and many portrait commissions; H.M. the Queen, and Field Marshal Montgomery. Cuneo painted over a wide range on his own account; big game in Africa, landscapes and his famous 'mouse paintings' a legacy of which being the inclusion of a small mouse in each of his paintings, his trademark. Further success was achieved in his regimental commissions, battle scenes and incidents as well as portraits but above all, it is Cuneo's longstanding fascination with railways for which he is renowned. His works can be found in museums in: London, H.M. the Queen Mother, Guildhall Art Gallery, H.M. the Queen and the Royal Institution. 1907 - 1996 Terence Cuneo Cuneo Terence 1591 Charles Courtney Curran, a prolific and popular painter all his life, was among the artists responsible for the rebirth of the genre tradition in late nineteenth century American art. Born in 1861 in Hartford, Kentucky, Curran spent his formative years in Sandusky, Ohio, where his family had moved in 1881. Curran studied briefly at the Cincinnati School of Design The following year, Curran moved to New York City. There he enrolled in the National Academy of Design, worked under the tutelage of Walter Satterlee, and later attended the Art Students League. Curran achieved early artistic recognition. He had his first exhibit at age 23 at the National Academy of Design. Five years later, the Academy awarded him Third Hallgarten Prize for A Breezy Day (date and location unknown), designated most "meritorious painting in oil." Curran's two years of study at the Academie Julien in Paris, from 1889 to 1891, likely influenced the impressionistic use of form and light in his subsequent works. He spent the remainder of his life dividing his time between New York City and his house and studio in the Cragsmoor region of New York State. Curran died in l942. In addition to teaching art and painting, Curran was a leader of the Cragsmoor Art Colony. For several years, he and his wife co-edited the art student publication Palette and Brush. During his life, Curran received much recognition for his figure paintings, but his style was not limited exclusively to that genre. The widely traveled artist also painted landscapes, portraits and a series of views of the Imperial Temples of Peking. He is perhaps best known for those works which combine sweeping vistas of the Cragsmoor area with the almost whimsical delicacy of the female form, as in Two Women in a Landscape (1916, location unknown). Memberships: Allied Art Association American Water Color Society National Academy of Design Lotos Club MacDowell Club National Arts Club New York Water Color Club Salmagundi Club Society of American Artists Public Collections: Albright-Knox Art Gallery, Buffalo Art Association of Richmond, Indiana Columbus Museum of Art, Ohio Dallas Museum of Fine Arts Fort Worth Art Museum, Texas Metropolitan Museum of Art, New York City Montclair Art Museum, New Jersey National Gallery of Art, Washington, D.C. Pennsylvania Academy of the Fine Arts, Philadelphia Toledo Museum of Art, Ohio Witte Memorial Museum, San Antonio 1861 - 1942 Charles Courtney Curran Curran Charles Courtney 1929 Born in the District of Columbia, Custis was exposed, at a very early age to the Washington arts community. Executed in 1913, "Girl With Cockatoo" is her first known, and dated watercolor. In 1915 she enrolled in the fall classes at the Corcoran School of Art. She completed a full time, 3-year program in 1918, the year Edmund Tarbell became the principal of the school. She continued her studies at the Corcoran enrolling in many classes between 1919 and 1925. She also studied with Henry Snell during the summers of 1924 and 1925 in Boothbay Harbor, Maine. After 1926 she made many trips to Europe painting in a number of countries. Custis was an active member of the Washington arts community. She served as an officer of the Washington Watercolor Club, the Arts Club and with other local groups and regularly participated in their exhibitions. She exhibited with Vose Galleries in Boston, the American Watercolor Society and participated in many annual presentations of the Grand Central Art Galleries in New York. After 1935 her principal interest turned to the camera and she later became known as the "First Lady of Photography." Her photos illustrated many books and magazines and she was the author and illustrator of an 8 volume set "Composition and Pictures" published in 1947. 1897 - 1983 Eleanor Parke Custis Custis Eleanor Parke 1590 Elizabeth Parke Custis (1897-1952) was born and died in Washington D.C. She studied art at the Corcoran Art School and with Henry B. Snell. Elizabeth exhibited at the Chicago Art Institute in 1926 and 1936. The 1926 painting was a watercolor #40, titled "A Store in Wiscasset". The 1936 painting was a gouache #200, "A Street in Cairo". She was a member of the American Watercolor Club, National Association of Women painters and the American Federation of Artists. Custis's paintings hang in public collections such as The New Haven, Connecticut Public Library and The Adams School in Washington D.C. She was best known for her illustrations of children books and national magazines. Listed: Mantle Fielding, pg. 209 Women Artists in America 18th Century to the Present The Annual Exhibition Records of the Art Institute of Chicago (1888-1950), pg. 248 Dictionary of American Artists of the 19th and 20th Century Engravers, pg. 85 1897 - 1952 Elizabeth Parke Custis Custis Elizabeth Parke 3306 Władysław Czachorski (1850–1911) Polish In 1866, Czachorski began his studies with Rafał Hadziewicz at the Warsaw Drawing School. He would then spend one year studying at the Dresden Academy. To further his studies, Władysław traveled to Munich to study at the Academy (1869-1873). A few of his noted classmates were Hermann Anschütz, Karl von Piloty, and Alexander Wagner. Czachórski graduated Magna Cum Laude (the Grand Silver Medal) from Munich Academy. After graduation, he travels to France, Italy and Poland. Czachórski was a member of the Berlin Academy where he briefly taught. Czachórski returned to Munich to live and open his studio. During this period, he became the organizer and jurist for international exhibitions. In 1893, he was awarded the Bavarian Order of Saint Michael. He gained critical acclaim at his exhibitions in Kraków, Warsaw, Łódź, Lwów and many other cities in Poland. After his death in 1911, a posthumous showing was held at the Warsaw "Zachęta" Society of Fine Arts. Czachorski's most noted works were his Shakespearean scenes; Juliette's Funeral (1873), Hamlet (1873), and Hamlet Receiving the Players (1875), which are also widely recognized as his greatest works. He was also known for his still lifes and elegant portraits. The hallmark of Czachorski's style and the basis of his fame, are his images of beautiful young women in rich interiors, painted with great realism. He has long been regarded a master of rendering fabrics, jewelry and other details to create the atmosphere of luxury and elegance. His paintings can be found in even more famous and sizable museums of Poland. His works also make appearances in private collections in many countries including Germany, Poland, England and the United States. They can also be found in museums such as Lwów, Bremen and the Academia de San Carlos in Mexico City. 1850 - 1911 Władysław Czachorski Czachorski Władysław 1941 Sara Kolb Danner was born in New York, NY in 1894. Her father, who was an artist and student of Thomas Eakins, taught her to paint as a child. She later studied at the Pennsylvania Academy of Fine Arts where the Sara Kolb Danner Theatre is named for her. She also studied at the Philadelphia School of Design for Women, the Massachusetts Normal Art School, the California College of Arts and Crafts, at Stanford University and the University of California at Santa Barbara. She also received instruction from George L. Noyes and Henry Snell. She was a member of the Hoosier Salon, Women Painters of the West, California Water Color Society, California Art Club and the Palo Alto Art Club. During her years in Indiana she exhibited with the South Bend Artists and at the Hoosier Salon, where, in 1919, she received the prize for the best landscape by a woman. She exhibited with the Philadelphia Art Alliance and at the Woodmere Art Museum in that city. In California she exhibited with the Women Painters of the West, at the Golden Gate International Exposition of 193940, the California State Fair, Santa Barbara Museum, Stanford Museum and at the Los Angeles County Museum of Art. One-person shows of her work were held at the Art Institute of Chicago in 1927 and 1939. She also exhibited at the National Academy of Design in New York. Danner wrote poetry which appeared frequently in The Saturday Review. In 1952 the Stanford Press published a book combining her paintings and poetry entitled "Gallery Tour." 1894 - 1969 Sara Kolb Danner Danner Sara Kolb 1880 A prolific painter and devoted student of nature, Dardoize was a self-taught anist who debuted in the Paris Salon of 1845 and continued to exhibit there until 1895. By the age of thirty he started a publishing house for prints, the success of which enabled him to concentrate on his true interest, painting. Using only nature as his model he did not associate himself with any school or influence but traveled over most of France painting its scenery. He was a bronze and gold medal winner in the Expositions Universelle in 1878 and 1889. 1826 - 1901 Louis-Emile Dardoize Dardoize Louis-Emile 1928 A contemporary of Jean Beraud (1849-1934), Dargaud was also a faithful recorder of city life, particularly Paris. A series of his Paris views are held in the Carnavalet Museum in Paris. Dargaud was, in addition, a painter of genre, still life and landscape who exhibited at the Paris Salon from 1873. He traveled throughout France and to Italy where he painted views in Florence. His interest in architectural detail can be seen throughout his oeuvre, but as with Beraud, he shows a keen interest in the everyday street life of the Parisian bourgeoisie in the years following the Franco-Prussian war. Beraud himself painted from a mobile studio, a converted carriage, to enable him to paint unobserved. Dargaud was also painting contemporaneously with Manet and the Impressionists, while their interpretations of urban life and architecture capture a mood, Dargaud's painting represents a captured moment. 1873 - 1921 Paul Joseph Victor Dargaud Dargaud Paul Joseph Victor 1607 Born in Philadelphia, Sophia Towne Darrah was the daughter of John Henry Towne. The artist's father endowed the "Towne Scientific School" at the University of Pennsylvania in 1876. He was also a prominent collector of "modern" art and so young Sophia grew up surrounded by paintings. In 1845, Sophia Towne was betrothed to Mr. Robert K. Darrah of Boston and her interest in music (she loved to play the harp) shifted to painting. In 1849, she became a pupil of the painter Paul Weber. She also traveled to Europe to further study the art of the great masters. Interested above all in painting landscapes and seascapes, Darrah was a proponent of plein-air painting. 1819 - 1881 Sophia Towne Darrah Darrah Sophia Towne 3335 Dasburg was born in 1887 in Paris. He emigrated from Germany to New York City with his widowed mother in 1892. After a severe injury, he passed the time in convalescence by sketching. In 1902 he joined the Art Students League of New York on a scholarship, where he was taught by Kenyon Cox. At the League's summer school in Woodstock, New York, he studied landscapes under Birge Harrison. In 1909 Dasburg visited Paris and joined the modernist circle of artists living there, including Morgan Russell, Jo Davidson, and Arthur Lee. During a trip to London that same year he married sculptor Grace Mott Johnson. Johnson returned to the United States early the next year, but Dasburg stayed in Paris where he met Henri Matisse, Gertrude Stein and Leo Stein, and became influenced by the paintings of Czanne and Cubism. He soon became an ardent promoter of the Cubist style. Dasburg returned to Woodstock, New York, in August and he and Johnson became active members of the artist community. In 1911 their son Alfred was born, the same year as Dasburg's first exhibition. Dasburg exhibited three oils and a sculpture at the "International Exhibition of Modern Art", better known the Armory Show, which opened in New York City's 69th Regiment Armory in 1913 and introduced astonished New Yorkers to modern art. The three Cubist-oriented oils displayed at the 1913 show were considered "daringly experimental". In the years after the Armory Show, Dasburg's works were exhibited along with those of other Modernists at Alfred Stieglitz's 291 gallery. At the Armory show, Dasburg exhibited the only sculpture he had ever made. Prior to the show, he extensively reworked a sculpture, originally a life-size cast plaster head by Arthur Lee, by carving facets directly into the plaster of Paris. I asked him if I could cut it which he was glad we were very close friends. So I carved a head and it must have been an awful-looking thing. At the time, I called it Lucifer, looked like Lucifer. At the Armory Show, they put it right up at the entrance as you came in, and here was this head on a stand. Dasburg and Johnson lived apart for most of their marriage. By 1917 they had separated and Dasburg began teaching painting in Woodstock and in New York City. In 1918 he was invited to Taos, New Mexico, by Mabel Dodge Luhan, and returning in 1919, Johnson joined him there for a period of time. After moving to Santa Fe, New Mexico in 1921, Dasburg integrated the boxy traditional construction styles in New Mexico into his Cubist art. In both New York and Taos, he was part of the social milieu that included Georgia O'Keeffe and Gertrude Stein, and a close friend of Mabel Dodge Luhan. A painting named The Absence of Mabel Dodge was allegedly painted to inflame the jealousy of her then-lover, mutual friend John Reed (it was a pointed reminder of a peyote celebration in which the two had shared), and for four years Dasburg and Reed's other lover Louise Bryant carried on an affair. The elderly Dasburg appeared posthumously as himself in the movie about Reed and Bryant, Reds, although he "curiously ... does not speak of his intimacy with either". He was also involved for some time with Ida Rauh, a co-founder of the Provincetown Players, and the two of them were friends with D. H. Lawrence and his wife Frieda von Richthofen, and helped Lawrence recover from a bout of tuberculosis that nearly got him refused entry to the U.S. at the border with Mexico. In 1933, he married poet Mary Channing "Marina" Wister, the daughter of Owen Wister. Dasburg died in his home in Taos, New Mexico, on August 13, 1979, at age 92. Following his death, the New Mexico Museum of Art in Santa Fe held a 96-work retrospective exhibition funded in part by the National Endowment for the Arts which traveled to four other Western states. His works are in the collections of the Whitney Museum of American Art, the Metropolitan Museum of Art, New Mexico Museum of Art[18] and the Denver Art Museum, among others. Awards and honors Tulips, Second Prize, First Pan-American Exhibition of Oil Paintings at Los Angeles County Museum of Art (1925) Poppies, Third Prize, 16th International Exhibition of Art, Carnegie Institute of Technology (1927) Guggenheim Fellowship (1932) References 1. Jump up to a b c d e Steve Shipp (1996). American Art Colonies, 1850-1930 A Historical Guide to America's Original Art Colonies and Their Artists. Greenwood Press. ISBN 0-313-29619-7. 2. Jump up to a b American Studies at the University of Virginia 3. Jump up to a b c "Andrew Michael Dasburg". Retrieved 2007-09-25. "Andrew Dasburg was one of the leading Modernists in New Mexico for sixty years. A student of Robert Henri, an acquaintance of Matisse and a contributor to the famous 1913 Armory Show, his artistic credentials are sterling and his following devoted." 4. Jump up to Edward Burns, ed. (1986). The Letters of Gertrude Stein and Carl Van Vechten 1913-1946. Columbia University Press. ISBN 0-231-06430-6. 5. Jump up to a b Corley, Erin, A Finding Aid to the Andrew Dasburg and Grace Mott Johnson Papers, 1833-1980 (bulk 1900-1980), Archives of American Art, Smithsonian Institution. 6.Jump up to Andrew Michael Dasburg, artnet. Accessed October 30, 2007. 7. Jump up to a b c "Andrew Dasburg, Cubist Painter, Dies. Said to Be Last Surviving Artist of the Armory Show of 1913.". New York Times. August 14, 1979. Retrieved 2007-09-25. "Andrew Dasburg, a painter who was said to be the last survivor of the artists who contributed work to the Armory show of 1913, died yesterday in Taos, N.M. He was 92 years old." 8. Jump up to Corley, Erin, A Finding Aid to the Andrew Dasburg and Grace Mott Johnson Papers, 1833-1980 (bulk 1900-1980), Archives of American Art, Smithsonian Institution. 9.Jump up to Archives of American Art, Oral history interview with Andrew Dasburg, 26 March 1974 (interviewed by Paul Cummings) 10.Jump up Zimmer, William. "Mexico, Both Sides of the Border, From the Century's First Half", The New York Times, October 27, 1996. Accessed October 30, 2007. "Andrew Dasburg worked with the idea that New Mexican towns and villages, with their arrangements of box-like buildings, constituted a kind of Cubism in the flesh. His Taos Houses (New Mexican Village) is a good example of this." 11.Jump up Ross Wetzsteon (2002). Republic of Dreams Greenwich Village, the American Bohemia, 1910-1960. Simon and Schuster. ISBN 0-684-86996-9. The painting is now lost. 12.Jump up Mark Christopher Carnes (1995). Past Imperfect History According to the Movies. Holt Paperbacks. ISBN 0-8050-3760-8. 13.Jump up John Worthen (2007). D. H. Lawrence The Life of an Outsider. Counterpoint Press. ISBN 1-58243-355-0. 14.Jump up Staff. "Dispatches", Time (magazine), March 13, 1933. Accessed November 21, 2015. "Married. Mary Channing Wister, poetess daughter of Novelist Owen Wister and Painter Andrew Michael Dasburg, 45, Guggenheim Fellow in Philadelphia." 15.Jump up Staff. "MISS MARY C. WISTER BETROTHED TO ARTIST Daughter of Owen Wister, the Novelist, and Herself a Poet to Wed Andrew Dasburg.", The New York Times, February 7, 1933. Accessed November 25, 2015. ""The engagement of Miss Mary Channing Wister, daughter of Owen Wister, the novelist, to Andrew Dasburg, an artist of Santa Fe, N. M., was announced today." 16.Jump up Conrad, Joseph Karl, Frederick Robert and Davies, Laurence. The Collected Letters of Joseph Conrad, Volume 7, p. lxi. Cambridge University Press, 1983. ISBN 9780521561969. Accessed November 25, 2015. "(Mary Channing) 'Marina' WISTER (1899-1970), the eldest child of the American novelist Owen Wister and civic activist Mary Channing Wister, published three books of poems.... Married to the New Mexico painter Andrew Dasburg in 1933, she settled in Taos, and in addition to writing poetry and music was involved in asserting the rights of native people." 17.Jump up Frank Waters (2000). Of Time and Change. MacAdam/Cage Publishing. ISBN 1-878448-07-2. 18.Jump up "Related for Andrew Dasburg". New Mexico Museum of Art. Retrieved 28 April 2014. 19.Jump up "History of the American Art Collection of the Los Angeles County Museum of Art". Los Angeles County Museum of Art. Retrieved 2007-10-31. "It turned out to be an important event for the art world of Los Angeles and also for the museum's collection, to which were added not only the purchase prize paintings-William Wendt's Where Nature's God Hath Wrought, John Carroll's Parthenope, Andrew Dasburg's Tulips, Guy Pne du Bois's Shops, and Diego Rivera's Flower Day --but also Bernard Karfiol's Seated Figure and Eugene Savage's Recessional." 20.Jump up "International Exhibition". TIME magazine. October 24, 1927. Retrieved 2007-10-31. "Third prize ($500) was given to Andrew Dasburg of Santa Fe. He had painted a table, on which a vase was full of poppy petals, heaped on the canvas like the bright blood of an immortal." 21.Jump up "Guggenheim Fellowships". TIME magazine. March 21, 1932. Retrieved 2007-10-31. 1887 - 1979 Andrew Dasburg Dasburg Andrew 1879 Charles Francois Daubigny was born in Paris on February 15, 1817. His father Edme, and his Uncle Pierre were painters of some reputation, so it is not surprising that Daubigny's interest in art was encouraged from an early age. A sickly child, his parents arranged for him to live in the country in the small village of Valandmois. It was during these childhood years with the Bazots, his adopted family and lifelong friends, that Daubigny's love of the rural landscape began. Daubigny's earliest artistic experiences included the decoration of boxes and clocks and, at the age of 17, restoring paintings at the Louvre under the direction of Granet. His training was largely informal; his studies in the well-respected atelier of the artist Sentie were interrupted by a yearlong painting sojourn in Italy with his friend and fellow artist, Henri Mignan. In 1840, he spent a brief period under the tutelage of the academician Paul Delaroche. His earliest successes, as well as a means of financial support, were his etchings and illustrations. After winning his first Salon prize in 1848, the French government commissioned an etching from him after Claude Lorrain's Abreuvoir. Daubigny's first love, however, was landscape painting and his fascination with water was evident judging from his Salon entries of the late 40s and early 50s. Known for his spontaneity and broad painterly brushstroke, his work was often criticized for its sketchy quality. In the Moniteur Universel, a popular daily, the critic, Grunn, wrote on June 20, 1852, "Is M. Daubigny afraid of ruining his work by finishing it? I have a better opinion of his talent and I am convinced that a man who has begun so well could not finish badly." Daubigny, unlike many of his contemporaries, with whom he is closely associated due to their mutual concern with the study of nature, spent little time in the region of Barbizon. He traveled extensively in France, as well as to Spain and England. In 1852, Daubigny met Corot, and a long and enduring friendship, which included many painting excursions together throughout France and Switzerland, began. The painter was most drawn, however, to the landscape of Valandmois, the place of his childhood and the countryside of Auvers, where the artist would eventually make his home. It was at Auvers in 1857 that Daubigny launched his studio boat, the Botin, from which he would produce his most memorable and popular paintings of the Oise. From this time, a difference could be seen in Daubigny's work. His ability to capture the simple beauty of the countryside was unchanged, but his brushstroke became shorter and more confident. Though his work had finally found popular acceptance, criticism did not cease. In 1861, Daubigny's unique style of painting would be assaulted by Gautier, who accused him of painting only "an impression". Daubigny's position as a respected painter and prominent member of the artistic community was clearly recognized when in 1865, he was elected a member of the Salon jury. In this role, he was one of few who recognized the talents of a new generation of younger artists, and his influence was key in the acceptance of works by Pisarro, Monet, Sisley and Degas. Daubigny died on February 19, 1878 in Paris, and according to his wishes, was buried next to his friend Corot at the Cemetery of Pere Lachaise. 1817 - 1878 Charles Francois Daubigny 1 Daubigny Charles Francois 2008 Among the early American modernists, James Daugherty was one of the first exponents of abstract color painting. Inspired by the work of the American Synchromists, especially Arthur B. Frost, Jr., Morgan Russell, and Stanton Macdonald-Wright, as well as by the Orphic Cubism of the Parisian painters Robert and Sonia Delaunay, Daugherty came to view pure color and abstract design as the most effective means to create dynamic and provocative works of art. Daugherty's chromatic abstractions, produced from about 1915 until 1922, influenced a number of younger painters, especially Jay Van Everen. Daugherty was born in Asheville, North Carolina, and studied at the Pennsylvania Academy of the Fine Arts in Philadelphia. He worked in a Futurist manner until late 1914 or early 1915, when he came under the influence of Frost and the Delaunays and began to explore the use of pure color in conjunction with abstract design. He soon developed a style consisting of highly complex arrangements of strips, segments, and circles of color. In the 1920s Daugherty responded to the call for indigenous subject matter by adopting a more figurative style while retaining his former emphasis on vibrant color. Toward the end of his life, Daugherty produced a series of abstract color paintings reminiscent of his work from the l910s. 1887 - 1974 James Henry Daugherty Daugherty James Henry 1878 Julian O. Davidson, the son of Mathias Oliver Davidson (manager at the Cumberland Coal Mine), was born in Cumberland, Maine in 1853 and died in Nyack, New York in 1893. He is considered a Marine Painter, writer and illustrator from the American school. He received his formal art education with Mauritz Frederik Hendrick de Haas (1823-1895). Upon finishing his studies with de Haas, Davidson opened his studio at the Nyack Boat Club. At the Boat Club, he was a considered champion sculler. During the 1880s, Davidson began writing and illustrating for Harpers magazine. He also began exhibiting at the National Academy of Design in 1874 and continued to exhibit until 1893/4. Museums: Dossin Great Lakes Museum, Detroit F.D.R. Library, Hyde Park, New York Listed: Who was Who in American Art Mantle Fieldings E. Benezit Dictionary of Marine Painters Exhibitions of the National Academy (1861-1900) 1853 - 1893 Julian O. Davidson Davidson Julian O. 1606 Arthur Bowen Davies was born in Utica, New York on September 26, 1862 and died October 24, 1928 in Northern Italy. His first studies were with Dwight Williams, professor of art at the Uthica Seminary, at age 15. Arthur then traveled to Chicago to study with Charles Courtney Currin (at the Art Institute). In 1878, he studied at the Art Students League in New York. Davies moved to New York permanently in 1886 to work as a magazine illustrator and gaining influence among wealthy women who liked his romantic, dream-like paintings, untouched by realism or modernism. Through the 1890's, Davies painted conventional landscape, moving in 1913 to a cubist style in which his dancing nudes are presented as geometric forms with supernatural facets. In 1918, he developed an interest in lithography, aquatint and etching, returning in his last decade of work to misty romantic canvases of his early period. His art covered many periods, as did his medium. Davies was a sculptor of wood, ivory and marble. He worked in lithography, etching, watercolor, oil, enamel and glass. He was a weaver of Gobelin tapestry and fine rugs. Arthur was considered a mystic thinker, a romantic painter and a great artist. Although he was a recluse, he served as president of the Society of Independent Artists. He also has been credited with organizing the 1913 Armory Show. Listed: Who was Who in American Art A.I.C. Annual Exhibition Record American Art Annual American Arts, Rilla Everlyn Jackman The Dictionary of American Painters & Sculptors Woman Artists in America, 18th Century to Present Museums: Art Institute of Chicago Metropolitan Museum of Art, N.Y. Brooklyn Museum Minneapolis Museum de Young Museum, San Francisco 1862 - 1928 Arthur B. Davies 1 Davies Arthur B. 3081 Davis was born on January 7, 1856 in Amesbury, Mass and died August 5, 1933 in Mystic. In 1890 Charles H. Davis moved to Mystic to live year-round. The story is that Davis, intending to settle somewhere in his native New England, studied maps and statistics to find the place that best answered his requirements of topography and climate. It was Mystic. Davis was then thirty-four years old and just back from France. His American training had been limited to two or three years under Otto Grundmann at the Boston Museum of Fine Arts in the late 1870s. His schoolteacher father had had to struggle to find the tuition for the Museum School, but Davis did so well there that in 1880 a businessman from his hometown offered him a thousand dollars to study in Paris. Davis enrolled at the Academic Julian under Boulanger and Lefebvre. Soon, however, he ended his formal training and moved to the Barbizon region outside Paris, where he began painting the simple, glowing landscapes that characterize Barbizon art. One was accepted for the Salon the following spring, and Davis found enough buyers for others he began to send home that he was able to stay abroad for a decade, a success few young American artists could boast of. He was married in 1884 to a Frenchwoman, Ang'ele Lagarde. How Davis responded to French Impressionism is still unknown, but the Barbizon style lingered in his work after he moved to Mystic. Around 1895 a change is perceptible to purer color, more light, and what Davis himself called an "eloquent arrangement" more faithful to mood than to naturalistic detail. Once in Mystic, Davis was content to stay. (There were a few trips, however, including one in 1928 to Wales.) An art critic reported that, "With a walking stick and a bit of grass between his teeth, he may be seen almost any day, summer or winter, wandering over hill and dale, storing his memory full of choice spots . . . where the spirit of beauty dwells." He painted about nine hundred landscapes in the Mystic area during his career, usually recording them as numbered miniature sketches (cat. 19). In a period when artists joined social clubs, kept winter and summer studios, and travelled widely, Davis belonged only to the Lotos Club and never had a city studio. While Davis stayed home, however, his scenes of Mystic travelled to Macbeth Gallery in New York, Doll & Richards in Boston and museums and major exhibitions in places as far flung as San Francisco, Chicago, Atlanta, St. Louis, and Paris, where they regularly won prizes. Davis's prize list is exceptionally long and impressive, beginning with the 1887 Paris Salon and continuing almost annually Until his death in 1933. He was a member of the National Academy of Design and of the Society of American Artists. He also became a member of the Grand Central Art Galleries in New York, a pioneer cooperative organized by artists and businessmen in 1923. On home ground, Davis could be outgoing. Early on he held art classes in Mystic that attracted so many students that Connecticut Magazine commented in August, 1899, that "The pallet and easel have become familiar sights along the river, and the village streets, and among the hills." In 19M, two years after his wife died, Davis married one of his students, Frances Thomas, who exhibited regularly in Mystic art exhibitions and was, for a time, a paid reviewer of those at Old Lyme. Davis was good friends with Henry Ward Ranger of Noank and with artists at Old Lyme. He persuaded other artists to settle in Mystic and is credited with starting several on their careers. In 1913, with his doctor friend, George Leonard, Davis founded the Mystic Art Association, which was initially financed by a tearoom run by townswomen on exhibition afternoons. "Uncle Charlie" was apparently never too busy to listen to and encourage younger artists in Mystic. Always interested in spreading the good word about art, lac willed his library of more than eight hundred art reference books to the nearest major public library, in Westerly, Rhode Island, where the books are still in circulation. Davis died in Mystic in 1933. Further reading: "Charles H. Davis — Landscapist," International Studio, 75 (June 1922), 176-83. Gillet, Louis Bliss. "Charles H. Davis." American Magazine of Art, 27 (March 1934), 105-12. Also in Memorial Exhibition: Paintings by Charles H. Davis (Exh. cat., Macbeth Gallery, New York City, 19 1856 - 1933 Charles Harold Davis 1 Davis Charles Harold 1549 Dawson-Watson was born July 21, 1864 in London England and died September 3, 1939. He began his art studies with Mark Fisher (1841-1923) at the Royal Academy. Dawson-Watson continued his studies at the Beaux-Arts Academie under Charles Emile Auguste Carolus-Duran (1837-1917), Theobald Chartran (1840-1907), Louis Joseph Raphael Collin (1850-1916), Aime Nicolas Morot (1850-1913) and Leon Glaize (1842-1912). Dawson-Watson painted in Giverny from 1885 to 1890. A number of paintings from this period can been seen in the permanent collection of Daniel Tara Museum in Giverny. At the urging of fellow artist and friend James Carroll Beckwith (1852-1917), he traveled to the United States. Dawson-Watson lived in and around the New England from 1893 to 1897. He painted in Woodstock, New York in 1901 and in 1902 he listed his address as Quebec, Canada and returned to Woodstock in 1903. Dawson-Watson then took a position at the St. Louis School of Fine Art as a teacher. He remained in St. Louis from 1904 to 1915. It wasn xt until 1927 that Dawson Dawson-Watson moved to San Antonio, Texas. He would make Texas his home. Watson was a member of numerous art organizations; San Antonio Art League, North Shore Art Association and the Texas Fine Art Society. Memberships: San Antonio Art League North Shore Art Association Texas Fine Art Society Exhibited: Lewis and Clark Expo, Portland, Oregon, 1905, Medal Sedalia, MO., Gold Medal Illinois State Fair, 1916, Prize State Fair Austin Texas, 1926, Prize Texas Wildflower Competition, 1927, 1928,1929 Prize, Hors concours, Prize Southern States Art League, 1929, 1931, Prize Nashville Art Association, 1927, Prize Abilene, Texas, 1935, Prize Museums: City Art Museum, St. Louis Barr Branch Lib., St Louis Oakland Museum, Oakland CA Library, Houston, Texas Springfield Art Association, Springfield, Ill. University of Texas Witte Museum 1864 - 1939 Dawson Dawson-Watson 1 Dawson-Watson Dawson 1953 A native of Orange County, California, Bruce Sanford Day grew up on an orange ranch in Tustin. As a child, he played in the sunlit corridors of the orange grove his grandfather planted in 1908. He developed an extensive butterfly collection, which inspired and influenced his feeling for shimmering light and color. Another fascination was his grandfathers' art studio. Unused since his death, the studio contained all his portrait and landscape paintings and drawings. Bruce spent many happy hours in the quiet studio trying to copy his grandfather's art. Grandmother recognized his natural gift for drawing and bought Bruce his first artists' materials when he was 6 years old and continually encouraged him to draw and paint. Bruce studied art in high school, however, being a teenager in the "50's, he also found a new love; hot rods. He obtained an "old" 1940 Chevrolet Coupe and he became engrossed in mechanics, car clubs and cruising. He also drew more hot rods than anything else in art class. During his time in the Air Force and the Calif. Division of Forestry he continued his art studies through correspondence school. Bruce's devotion to his art grew to such an extent that he decided to enter Monterey Peninsula College in 1968 to major in art. He transferred to Art Center College of Design in Los Angeles where he studied under Professors Lauser Feitelson and Harry Carmean. He later attended California State University, Fullerton to continue his discipline in painting and drawing. In 1968, Bruce began his career fully committing himself to his art as a life long pursuit of creating a visual celebration of people and nature. Since 1972, Bruce has lived in a canyon of Saddleback Mountain in Orange County where he still finds magic in the shimmering color and light that once gave flight to his imagination as a child. His inner vision remains as strong today. PERSONAL STATEMENT To me, creativity takes precedence over a polished technique. The mood and feelings generated by my paintings are important to me. I deliberately impart an intended emotion. My goal is that the first impression, or feeling, remains after a complete viewing. I do what I love to do, I paint from my heart, with the intention of bringing happiness into the lives of others. Statistics: MEDIUM: Oil, oil pastel, prisma color, pencil SUBJECTS: Landscapes, children, figurative studies, portraiture, commissions. EDUCATION: Monterey Peninsula College; Art Center College of Design, L.A.; California State University, Fullerton; the rest is called "brush mileage". Professional, full time artist since 1971. EXHIBITIONS: Anaheim Museum California Art Club Gold Medal Exhibit Carmel Art Festival "Plein Air Carmel" Long Beach Museum Mission San Juan Capistrano Annual Plein Air Exhibit Newport Beach City Gallery San Bernardino County Museum, Bowers Museum Plein Air Exhibit, "Sights of Santa Ana" MEMBERSHIP: California Art Club, Pasadena; full Artist Member SEMINARS & JUDGING San Bernardino County Fair and many art leagues in Southern California TEACHING: Chapman College, 1990: Life Drawing, freshman through graduate classes. Private lessons and workshops in Plein Air landscapes, life drawing, and portrait painting. BENEFITS: Community Benefits: Silverado School; Inter Canyon League, disaster relief fund; Tucker Wildlife Sanctuary and Volunteer Fire Station #16. St. Joseph Hospital Foundation, Albuquerque, N.M. Earth Day Educational Fund of orange County. Irvine Valley College Chorale Riley wilderness Park, Orange County California Art Club Scholarship Fund Bowers Museum, Santa Ana; Mission San Juan Capistrano. b.19 - 1940 Bruce Sanford Day Day Bruce Sanford 1940 Alice De Haas was born in Boston and spent the majority of her life in East Gloucester, Massachusetts and in New York City. She studied art with William Merritt Chase, R. Swain Gifford and with the Dutch/American painter Mauritz de Haas. She also studied with Rhoda Holmes Nicholls and at the Academie Julian in Paris. She married de Haas, and after his death in 1895, she married William Carpender. She was listed in the American Art Annuals under both of her married names. Her professional memberships included the New York Water Color Society and the New York Society of Painters. She became known for her miniatures as well as paintings of the sea and its related activities. Her exhibition record is lengthy and includes the St. Louis Exposition of 1904, the Art Institute of Chicago, NY Water Color Society and the NY Society of Miniature Painters. Her works were also shown at the National Academy of Design, American Water Color Society, the Boston Art Club and the Pennsylvania Academy of Fine Art. Many museums incorporated her work in their shows including the Corcoran Gallery of Art in Washington, DC and the Portland Art Museum, Maine. In 1917 she exhibited two works "Drying the Sails" and "Just Dishes" with the Society of Independent Artists. d. 1 - 1920 Alice Preble Tucker De Haas De Haas Alice Preble Tucker 3303 Gustave De Jonghe 1829-1893 Belgian School Gustave De Jonghe was born in Kortrijk, Belgium in 1829 and died in Antwerp, Belgium, 1893. De Jonghe was painter and a watercolorist of figures and genera scenes. He started his artistic training with his father, Jean-Baptist de Jonghe. After his parents died, the young Jongh was granted a small pension by the Corporation of Curtrai to aid him in his study of paintings. He studied under François-Jean Navez at the Academy of Brussels. Jongh’s painting style was strongly influenced by his friend, and a fellow Belgian painter, Louis Gallait, who also advised Jongh on many of his career decisions. Although Gustave De Jonghe started his career painting historical and sacred subject matter, he is famous for his genre paintings with bourgeois themes and rich materials. In 1855, he became in the direct successor of the renowned Belgian painter, Alfred Stevens, in Paris. His painting, “The Birthday Wishes” was exhibited at the Royal Academy of London in 1875. 1829 - 1893 Gustave De Jonghe De Jonghe Gustave 3345 Willem de Kooning was born in Rotterdam, in South Holland in the Netherlands, on April 24, 1904. His parents, Leendert de Kooning and Cornelia Nobel, were divorced in 1907, and de Kooning lived first with his father and then with his mother. He left school in 1916 and became an apprentice in a firm of commercial artists. Until 1924 he attended evening classes at the Academie van Beeldende Kunsten en Technische Wetenschappen, the academy of fine arts and applied sciences of Rotterdam, now the Willem de Kooning Academie. In 1926 de Kooning traveled to the United States as a stowaway on the Shelley, a British freighter bound for Argentina, and on August 15 landed at Newport News, Virginia. He stayed at the Dutch Seamen's Home in Hoboken and found work as a house-painter. In 1927 he moved to Manhattan, where he had a studio on West Forty-fourth Street. He supported himself with jobs in carpentry, house-painting and commercial art. De Kooning began painting in his free time in 1928 he joined the art colony at Woodstock, New York. He also began to meet some of the Modernist artists active in Manhattan. Among them were Stuart Davis, the Armenian Arshile Gorky and the Russian John Graham, who together de Kooning called the "Three Musketeers". Gorky, who de Kooning first met at the home of Misha Reznikoff, became a close friend and, for at least ten years, an important influence. Balcomb Greene said that "de Kooning virtually worshipped Gorky" according to Aristodimos Kaldis, "Gorky was de Kooning's master". De Kooning's drawing Self-portrait with Imaginary Brother, from about 1938, may show him with Gorky the pose of the figures is that of a photograph of Gorky with Peter Busa in about 1936.[4]184 De Kooning joined the Artists Union in 1934, and in 1935 was employed in the Federal Art Project of the Works Progress Administration, for which he designed a number of murals including some for the Williamsburg Federal Housing Project in Brooklyn. None of them were executed, but a sketch for one was included in New Horizons in American Art at the Museum of Modern Art, his first group show. From 1936, when De Kooning had to leave the Federal Art Project because he did not have American citizenship, he began to work full-time as an artist, earning income from commissions and by giving lessons. De Kooning's paintings of the 1930s and early 1940s are abstract still-lifes characterized by geometric or biomorphic shapes and strong colors. They show the influence of his friends Davis, Gorky and Graham, but also of Arp, Joan Mir, Mondrian and Picasso. In the same years de Kooning also painted a series of solitary male figures, either standing or seated, against undefined backgrounds many of these are unfinished. By 1946 de Kooning had begun a series of black and white paintings, which he would continue into 1949. During this period, he had his first one-man show at the Charles Egan Gallery it consisted largely of black and white works, although a few has passages of bright color. De Kooning's black paintings are important to the history of Abstract Expressionism of their densely impacted forms, their mixed media, and their technique. De Kooning's well-known Woman series, begun in 1950 the time after meeting his future wife and culminating in Woman VI, owes much to Picasso, not least in the aggressive, penetrative breaking apart of the figure, and the spaces around it. Picasso's late works show signs that he, in turn, saw images of works by Pollock and de Kooning. De Kooning led the 1950s' art world to a new level known as the American Abstract Expressionism. "From 1940 to the present, Woman has manifested herself in de Kooning's paintings and drawings as at once the focus of desire, frustration, inner conflict, pleasure, and as posing problems of conception and handling as demanding as those of an engineer. "The female figure is an important symbol for de Kooning's art career and his own life. This painting is considered as a significant work of art for the museum through its historical context about the post-World War II history and American feminist movement. Additionally, the medium of this painting makes it different from others of de Kooning's time. Some of De Kooning's paintings have been sold for (near) record prices. In November 2006, David Geffen sold his oil painting Woman III to Steven A. Cohen for $137.5 million, just below the then record $140 million transaction the same people had in the same month for Jackson Pollock's No. 5, 1948. A month earlier Cohen had already paid Geffen $63.5 million for Police Gazette. In September 2015 David Geffen, again, sold De Kooning's oil painting "Interchange" for $300 million to hedge fund billionaire Ken Griffin. As of 2016 this is the highest price paid for a painting, even when inflation is taken into account, perhaps matched by the sale for "close to $300 million" of Paul Gauguin's When Will You Marry? in February 2015. Source From Wikipedia, the free encyclopedia 1904 - 1997 Willem de Kooning 1 de Kooning Willem 1852 Jean De La Hoese was born in Molen-Saint-Jean, Belgium on February 28, 1946 and died in 1917. De La Hoese is considered a landscape and genre painter from the Belgium School. He exhibited extensively at the Paris Salons. Jean de La Hoese was awarded Honorable Mention in the 1888 l'Exposition Universelle in Paris and in the 1889 Exposition, he was awarded a Bronze medal. At the l'Exposition Universelle of 1894, which was held in Munich, Hoese was also awarded a medal. Listed: E. Benezit, vol.6 Popular 19th Century Painting, A Dictionary of Genre Painters 1846 - 1917 Jean De la Hoese De la Hoese Jean 1877 Edouard Debat-Ponsan was born in Toulouse April 25, 1847 and died in Paris January 29, 1913. He is considered an important portrait and landscape painter from the French school. Debat-Ponsan received his formal training at l Ecole des Beau-Arts under Cabanel. In 1874, he was awarded prix Troyon at the Institute and in 1875, second in the prix de Rome. The city of Toulouse maintains a collection of his works. They own Ponsans deuxieme dedaille of 1874, Le Premier and Piete de Saint Louis pour les morts (1879, Rochelle Cathedral). The city also maintains a large collection of his portraits. In 1889, Edouard Debat-Ponsan was invited to exhibit at the Universal Exhibition. He was awarded a bronze medal for Le Portrait equestre du General Boulange which he refused. Ponsan was very dissatisfied with how the exhibition was organized and how the judging was conducted. He very abruptly removed his painting and returned to France. Debat-Ponsan continued to exhibit his wonderful academic landscapes successfully at the Paris Salons. He was later elected President of the Societe des Artistes Francais and to Chevlier de la Legion dhonneur. Museums: Musee Carcassonne Musee Nantes Musee Rouen Musee Toulouse Listed: E. Benezit, vol.III, p.405 1847 - 1913 Edouard Bernard Debat-Ponsan 1 Debat-Ponsan Edouard Bernard 1927 Federico del Campo was the finest painter of Venetian views in the latter half of the nineteenth century. Born in Lima, Peru, del Campo studied in Madrid with Lorenzo Valles (1830-1910), an artist who himself worked in Italy, dying in Rome in 1910. Del Campo exhibited a "View of Venice" in 1881 in Madrid and, since he had painted in Assisi several years before, it is clear that he had traveled extensively through Italy by this time. The main body of del Campo's work like that of his rival Rubens Santoro (b.1859), who also painted in Capri and Naples, consists of Venetian views, highly detailed paintings supplied as luxurious momentous to prosperous European and American visitors. This market extended to Capri and Naples, in addition to Venice, Florence and Rome, essential stops on the late nineteenth century 'Grand Tour'. Throughout the 1880's del Campo painted in Capri and Venice, following the market driven by European and American visitors. In 1887 he ventured as far south as Sicily, in addition to visiting Naples, Capri and Venice. Whether it is his extensive views of the Grand Canal or an intimate view of a side canal in Venice, a street scene in Naples or a beach scene in Capri, del Campo would bring a high degree of technical mastery to the scene. Over and above his competitors, del Campo was a particularly fine figure painter, able to bring a great sense of life to his exquisitely detailed views. His works can be found in museums in: Karlsruhe. fl.1 - 912) Frederico Del Campo Del Campo Frederico 3296 Gerald Curtis Delano 1890-1972 Gerald Curtis Delano was born in Marion, Massachusetts on Cape Cod, Gerard Delano, with a strong New England heritage, became a well-known illustrator and fine-art painter of western scenes, particularly Navajo Indians in landscape. Delano was the son of a sea captain and named for Gerard Curtis, the man who owned the ship that his father commanded. He began his art studies in New Bedford and as a youth sold illustrations to Life Magazine. His first training was at the Swaine Free School of Design near Marion, and in 1910, he enrolled at the Art Students League in New York City, becoming the pupil of George Bridgman, Frank Vincent DuMond, and Edward Dufner. He also worked as a textile designer. At the Grand Central School of Art, Gerard Delano studied with illustrators Dean Cornwell, Harvey Dunn and N.C. Wyeth. He became a successful commercial artist and illustrator, working in New York City until 1919 when he first came West and worked on a Colorado Ranch. In 1920, Gerard Delano homesteaded at Cataract Creek in Summit County, Colorado, and built his own dirt-roof studio. In 1933, he settled there permanently, but found the life hard because of the isolation, lack of art sales from being out of contact with his eastern market, and extreme winters in the high altitude. From there Delano took a trip into Navaho country, where the subject matter set the course of his career. Delano was fascinated by the colorful clothing of the Indians against the spectacular canyons of Arizona, and he painted scenes of Indians herding sheep and goats, emphasizing subtle coloration and mystical, contemplative mood. Needing to be near libraries for authentic research, he commuted to New York for illustration assignments. Delano later established a studio in Denver, having earned enough money from illustrating a weekly magazine feature called "The Story of the West". He spent his summers in Opdike, Illinois, his wife's hometown. Delano's work has been featured in Arizona Highways and American Artist magazines. Sources include: Peggy and Harold Samuels, The Illustrated Encyclopedia of Artists of the American West Peter Hastings Falk, Editor, Who Was Who in American Art Doris Dawdy, Artists of the American West 1890 - 1972 Gerald Curtis Delano Delano Gerald Curtis 2075 François Alfred Delobbe was a successful naturalist painter working in the last half of the nineteenth century. Born in Paris in 1835, Delobbe entered the Ecole des Beaux-Arts at the age of 16; such a young age for admission to the prestigious school suggests that he must have demonstrated significant talent as a young student. He began his instruction with Thomas Couture, the academic painter of historical genre scenes who also taught Edouard Manet from 1850-1856. Certainly the two novice painters, only three years apart in age, would have known each other from this time. Although Delobbe remained within the academic mainstream of contemporary French painting, an early work such as The Young Knitter of 1867, hints at a modest influence from his famous former classmate. Like so many of Manet’s paintings from the 1860s, this work is basically a study in black and white with a touch of bright red in the basket of yarn at the young woman’s feet. Similar too is the influence of seventeenth-century Spanish and Dutch painting as well as the ambiguous expression on the model’s face. The viewer is left to wonder whether she is sad or lonely or simply bored; Delobbe offers no easy sentimental commentary. Delobbe continued his studies in the studio of William-Adolphe Bouguereau, who encouraged him to focus on mythological scenes and portraiture. In 1861, he debuted at the Salon des Artists Français with a portrait of his mother that received positive critical response in the Parisian press. Throughout the 1860s, Delobbe enjoyed continued success at the annual Salon with paintings in the academic style. Because of this, the government commissioned him to paint mural decorations for the town hall in the newly annexed 15th arrondissement in Paris, located in the southwestern corner of the city. The importance of this project for Delobbe’s career cannot be overemphasized. Not only was it a large-scale mural decoration—the most prized of public commissions—but it was also one of only eight such projects available. The City of Paris had annexed eight arrondisements on December 31, 1859, thus instigating the need for eight new town halls, all of which required interior decoration. During these years, Delobbe became a close friend of Alfred Guillou, who had also studied with Bouguereau, and who was well on his way to making his own reputation as a painter of contemporary genre scenes. Guillou was a native of Concarneau, a fishing port in Brittany just southeast of Quimper, and he very naturally invited his friend to visit him there in the 1870s, never realizing that Delobbe’s career would be forever changed by this exposure to the rugged Breton coast and the lingering medieval customs of the people. Beginning in the late 1870s, Delobbe’s subject matter was increasingly centered on Breton life. A painting such as Woman Sifting of 1882 owes a debt to the earlier peasant imagery of both Jean-François Millet and Jules Breton, but Delobbe also incorporated an Impressionistic brightness and sense of immediacy. Here, the figure of an attractive young woman silhouetted against the horizon embodies the dignity of the French peasant, but the treatment of the sky behind her has all the palpable freshness of a Boudin seascape. Having discovered the charm of Brittany, Delobbe returned again and again, bringing his family with him to spend their summers in Concarneau. This ancient settlement was especially appealing because of its medieval fortress ringing the center of town and the many accessible beaches where families could relax while the children played. In addition, Delobbe’s friendship with Guillou formed the foundation for a small group of artists, including Charles-Henry Fromuth, Ernest Germain Vauthrin and Emil-Benediktoh Hirschfeld, who routinely gathered in this modest town. Like so many others, they would tramp the fields and beaches looking for scenes—and models—that captured their attention. Delobbe’s typical process was to sketch directly in front of his motif and then transform those images into finished paintings during the winter months in Paris. Women and children were Delobbe’s preferred subjects during the latter half of his career. Despite the occasional sentimental image, such as The Butterfly exhibited at the Salon of 1892, most of Delobbe’s paintings refrain from offering easy moralizing or, alternatively, satirizing his subjects. Almost without exception, he portrays women or young girls at work; sifting grain, tending cattle, or making the exquisite lace that is associated with Brittany. The 1905 painting, Young Lacemakers from Beuzec-Conq, exemplifies this: Two teenage models, dressed in traditional black dresses with white collars and caps, are posed on sun-warmed rocks at the edge of a deep green forest. It is clearly a staged image, but presented with a sense of detachment that allows the viewer to respond individually. Delobbe’s extensive body of work based on Breton sources found a ready audience at the Paris Salons. Up until his death in 1920, his work was well received at the Salon as well as in the public marketplace. Janet Whitmore, Ph.D. Selected museum collections: Musée de Brême: Baptéme à Venice Musée de Breslau: Filles de l’Océan Musée de Rochefort: Le retour des champs Musée de Bernay: Pyrame et Thisbé Musée départemental Breton, Quimper Musée des beaux-arts et Musée Marey, Beaune Listed: E. Benezit, vol. III, page 474 Links: http://www.mairie-quimper.fr/musee/htcoib/oe_737.htm http://columbus.iit.edu/artgallery/00364126.html 1835 - 1920 Francois Alfred Delobbe Delobbe Francois Alfred 1604 Hippolyte Camille Delpy was born in Joigny in 1842, and died in Paris on June 4, 1910. He was a student of Charles Francois Daubigny. It was Daubigny, a friend of the Delpy family, who took the young Camille along with him on his strolls. The child saw Daubigny paint and admired his creations, and from that point on, his only aspiration as a child was to become a painter. In Paris, Daubigny introduced his young pupil to Corot. It was a moment of intense emotion, when Corot admitted the young Delpy into his studio. In 1869, Delpy began exhibit at the Salon. He extensively traveled throughout the provinces, especially visiting Corot in Ville d' Avray, and Daubigny in Auvers-sur-Oise. In 1874, he married Louise Berthe Cyboulle. During their marriage, she was a source of incomparable happiness to him. The paintings he did during this period reflect this happiness, and many of his works are filled with light and harmony. It was at this time that Delpy met Pissarro and Cezanne at Auvers, and they had a great impact on Delpy's use of color. Although he remained faithful to the technique of Daubigny, Delpy brought a more vigorous touch and a greater intensity of color to his work. His first gallery exhibition was at the 'Galerie des Artistes Modernes,' in Paris and it was surprisingly successful. He also exhibited in the 'Exposition International,' with De Nittis, Whistler, Monet, Sisley, Pissaro, Renoir and Morisot. To find Delpy in this company clearly shows the esteem with which he was held. The Barbizon School had stated that to the classical theory of harmony between tones and values must be added the notion of color. Under the influence of the Impressionists, Delpy realized the important role of color which he used to achieve a brighter truth in his paintings. MUSEUMS: Beziers - Louviers Foret de Fontainebleu 1842 - 1910 Hippolyte Camille Delpy Delpy Hippolyte Camille 1875 Marine and landscape painter. Born in Wilmington, Delaware on July 15, 1830. As a young man, Denny worked as a sailor of small craft on the Chesapeake Bay and his enthusiasm for ships never waned. Arriving in San Francisco with the Gold Rush in 1849, he worked as a teamster on the waterfront and was a member of the Vigilance Committee. After two years in California, he opted for an art career and then traveled to Milwaukee where he was a pupil of Samuel Marsden Brookes (1816-1892). After six years of study there, he returned to San Francisco and established a studio on Bush Street. When Brookes moved to San Francisco in 1862, the two friends shared the studio for many years. Gideon Jacques Denny exhibited at the California Art Union in 1865 and the Mechanics' Institute Fairs of 1864 and 1871 where one of his marines was awarded a silver metal. Although he did do some portrait work his marine and landscapes were his main body of work. It was his paintings of the clippers and shipping activities of the San Francisco Bay that were to bring him success and fame. These views often include ship wrecks along the West Coast executed in a Turneresque manner with vaporous effects of smoke, steam and clouds. Using these effects in his landscapes of the Northern California terrain made his paintings very inspiring, creating views, vistas and movement that were unparalleled for his time. He never married and remained a resident of San Francisco except for his visits to Hawaii, Canada, and South America. Denny died in Cambria, California on October 7, 1886. Upon his death a memorial exhibition of his works was held at the Society of California Pioneers. PUBLIC COLLECTIONS: Oakland Museum Bohemian Club LISTED: Benezit, v 3. p.497 Artists in California 1786-1940, v. 2, by Edan Milton Hughes O' California! Nineteenth and Early Twentieth Century California Landscapes and Observations, p. 259, illustrated, p. 51, by Vincent, Starr, Mills. 1830 - 1886 Gideon Jacques Denny Denny Gideon Jacques 1987 Alexandre Blaise Dumont-Desgoffe was born in Paris on Janruary 17, 1830 and died in Paris on May 2, 1901. He is considered a still life painter from the French school. Desgoffe began his formal training at the Beaux-Arts Academie with Paul Flandrin (1811-1902). He exhibited at the Paris Salons from 1857 to 1868. He was awarded one of Frances’ most coveted honors into the Légion d’honneur in 1878. Alexandre Blaise Desgoffe had an incredible ability to paint elaborate gold jewelry, crystal, military armaments draped in silks and tapestries from the Renaissance. His ego was just as great and he did not waste time telling everyone of his greatness. This was a fault and it made him very difficult to study under. However, as mentioned in numerous books on American still life painters, Desgoffe’ s had an incredible influence on still life painting in the United States. In fact, "Ease, 1878" (a brick-a-brac still life known only from photograph because it was destroyed by fire) by William Michael Harnett (1848-1892), one America’s greatest tromp l’oeil still life painters, was the closest he ever came to answering the critics call for an American Desgoffe. William Merritt Chase’s (1849-1916) bric-a-brac still lifes were also somewhat influenced by Desgoffe. Museums: Baltimore Museum, MA Brooklyn Museum, NY Metropolitan Museum, NY Musée de La Rochelle, France "Vase de porcelaine de Chine et autes natures mortes" Musée de Liége "Coquillage sur un Livre" Musée de Louvre, Paris "Chantilly", "Olifant de saint-Hubert Listed: E. Benezit, vol. III, pg. 518 Dictionnaire des Petits Maîtres 1820-1920, vol. 1, pg.388 American Still-Life Paintings, William Gerts and Russell Burk, pg 135 & 201 After the Hunt: William Harnett and Other American Still Life Painters 1870-1900; Berkeley and Los Angeles: University of California Press 1830 - 1901 Alexandre Blaise Desgoffe Desgoffe Alexandre Blaise 1603 Eugene Deshayes was born in Paris, January 1, 1828 and died in 1890. He is considered a landscape painter from the French school. Deshayes received his formal training under his father, Jean Eleazard Deshayes. Deshayes became a regular exhibitor in the Paris Salons from 1848 to1867. He became known for his small delicate light filled landscape studies, which were compared to the works of Camille-Jean-Baptiste Corot (1796-1875) and Eugene Boudin. Museums: Chartes "Clinq paysages" La Rochelle "Paysage et fabriques" Rouen "Paysages" 1828 - 1890 Eugene Deshayes Deshayes Eugene 1874 Born in Indianapolis, Indiana on January 22, 1861, Dessar studied at the National Academy of Design in New York. In Paris, he studied with William A. Bougereau and Robert Fleury at the French Academy and the Ecole de Beaux-Arts. He became a member of the Society of American Artists in 1898; associate to the National Academy in 1900, National Academy in 1906; Salmagundy in 1895; Lotus Club in 1900. He was awarded the Third Class medal at the Paris Salon of 1891, a medal in the Columbian Exposition in Chicago in 1893. He was awarded honorable mention at the Carnegie Institute of Pittsburg in 1897; he was awarded the second Hallgarten prize at the National Academy in 1899 and the first Hallgarten prize in 1900. He again was awarded a Bronze medal at the Pan-Am Exposition in 1901 and Silver in the Charleston Exposition. Museums: Metropolitan, N.Y. Montclair, NJ Art Museum National Galley, Washington, D.C. City Art Museum, St. Louis, Mo. 1867 - 1952 Louis Paul Dessar Dessar Louis Paul 1873 Cesare Auguste Detti was born on Spolete, Italy December 28, 1847 and died in Paris May 19, 1914. He is considered a historical and genre painter from the Italian school. He developed a worldwide reputation for his brilliant 19th century costume paintings. Detti received his formal education at the l'Academie de Saint-Luc. He developed his talents as a genre painter under Marsal y Fortuny (1838-1874) and Francesco Podesti (1800-1895). Upon completing his education, he began exhibiting throughout Italy. His first exhibition was in Naples in 1872 and then in Rome in 1876. With his success in Italy, Detti began to receive invitations to exhibit worldwide. Cesare Detti then traveled to Paris in 1876 to open his studio and exhibit. Upon his arrival in Paris, he was honored by being nominated into the Salon des artistes Francais. In 1889, Detti was awarded a bronze medal at the l'Exposition Universelle and a silver in 1900. Museum: Modern Museum, Rome Muse de Sidney, Australia Petti Palais, Paris Listed: E. Benezit 1820-1920 Les Pettits Maitres De La Peinture Valeur De Demain Popular 19th Century Painting-A Dictionary of European Genre Painters 1847 - 1914 Cesare Auguste Detti Detti Cesare Auguste 1978 Eugene Auguste Francois Deully was born in Lille (North) on November 16, 1860 and died in Paris (death date unknown). He began his formal training at the Breaux-Arts Academie with historical painter Jean Leon Gerome (1824-1904). He would continue his studies first with d’Auguste Glaize and with his son Leon Pierre Paul Glaize (1842-). Deully debuted at the Paris Salon of 1888 and was awarded honorable mention. At the Salon of 1889, he was awarded Medaille troisieme and premier classe in 1892. Deully also won the Bourse de voyage of 1892. He also was a participant at the 1900 Paris l’Exposition Universelle where he was won the Bronze. Listed: E. Benezit, III, p. 543 Popular 19th Century Painting, A Dictionary of European Genre Painters, Philip Hooke & Mark Polimore, p.311 (illustrated) Thieme Becker b.18 - 1860 Eugene Auguste Francois Deully Deully Eugene Auguste Francois 1872 Henri Déziré was born in Libourne, France February 6, 1878 and died in Paris October 31, 1965. He is considered a still life and portrait painter from the French school. Déziré received his formal training at the Beaux Arts Academie under William A. Bouguereau and Gabriel Ferrier. He debuted in the 1902 Paris Salon and was awarded honorable mention. Déziré continued to exhibit and paint in Paris for the rest of his career. Public Collection: Musée d ‘Art Moderne, Paris "La Baigneuse et Portrait de Mlle D" Listed: E. Benezit, vol.3, pg. 556 Dictionnaire biographigue des artistes comtemporains 1878 - 1965 Henri Dezire Dezire Henri 1602 Painter of portraits and historical genre. Pupil of H.P. Briggs, the portrait painter. Exhibited at the Royal Academy, 1841-1895, British Institute and Society of British Artist. Subjects mostly Shakespearean, some historical, some pure genre. Father of Sir Francis, Herbert Thomas, and Margaret, all painters. Later in T.F. Dicksee life like his oldest son Sir Francis, they came upon the Pre- Raphaeite movement. The movement was based on the belief that all art since Raphael (1483-1520) was detestable. Their credo: to be true to nature. Essentially a lark, astonishing the vague concept took root. Using family and friends as models, the group started turning out paintings of mythical scenes and was championed by the powerful art critic John Ruskin. The Pre-Raphaelite Brotherhood was dispersed by 1860, but the movement remained a strong influence on Victorian painting until about 1900. T.F. Dicksee painted "Cleopatra" in 1876 . It is considered a Pre-Raphaelite picture in the terms of the subject and detail. Member: Dictionary of British Art, Volume IV, The Dictionary of Victorian Painters, 2nd Edition, Christopher Wood, page 127 E. Benezit, p.566 Cyclopedia of Painters and Paintings, Vol. 1, p.405 Thieme / Becker, p. 220 Articles: Art Journal, 1872, pp. 5-7 Art Journal, 1896, p. 31 The Year's Art, 1895 1819 - 1895 Thomas Francis Dicksee Dicksee Thomas Francis 1954 1964-1968 Attended Chouinard Art Institute Los Angeles, BFA 1968 Awards 1975 National Endowment for the Arts, Artists Fellowship 1979 John Simon Guggenheim Fellowship 1982 National Endowment for the Arts, Artists Fellowship 1983 California Arts Council, Art in Public Building Program Grant Museum Collections Corcoran Gallery of Art, Washington, D.C. Chicago Art Institute Greenville County Museum, South Carolina Laguna Beach Museum of Art, California Los Angeles County Museum of Art Museum of Contemporary Art, Los Angeles Museum of Contemporary Art, Sao Paolo, Brazil Museum of Modern Art New York Museum of Modern Art San Francisco Newport Harbor Art Museum Norton Simon Museum, Pasadena Oakland Museum Palm Springs Desert Museum Phoenix Art Museum Santa Barbara Museum Seattle Art Museum Smithsonian Institution, Washington, D.C. William Rockhill Nelson Museum, Kansas City 1943 - 1943 Laddie John Dill Dill Laddie John 2006 Burgoyne Diller is recognized as the first American artist to work in a geometric abstract style. Born in New York, he grew up in Battle Creek, Michigan, and attended Michigan State College on a track scholarship. Visits to the Art Institute of Chicago nurtured his artistic interests and brought him into contact with the work of Paul Cezanne, an artist he deeply admired. Desirous of pursuing an artistic career, Diller studied at the Art Students League in New York from 1929 to 1933, working under Jan Matulka, Hans Hotmann and others. During this period, he explored aspects of Analytic and Synthetic Cubism. However, inspired by examples of Russian Suprematism and Constructivism, and especially by the Neoplasticism of Piet Mondrian, he evolved an abstract mode of painting based on rigorous configurations of lines, angles, and primary colors. Diller championed the cause of nonrepresentational art through his membership in American Abstract Artists, and as managing supervisor of the Mural Division of the WPA Federal Art Project in New York, he secured commissions for many of his fellow abstractionists. Diller also taught at Brooklyn College and the Pratt Institute. His oeuvre includes paintings, sculptures, collages, and drawings. 1906 - 1965 Burgoyne Diller Diller Burgoyne 1601 Charles Temple Dix (1840-1873), son of General John A. Dix, himself a discriminating patron of native art, was born on February 28, 1840 in Albany, New York and died in Rome, Italy in 1873. He is considered an American marine painter. Dix graduated from Union College. Upon his graduation, he became an officer in the army. While serving as a Major in the Union Army, Dix continued to paint historical naval battle scenes. He was elected Associate member of the National Academy at the conclusion of the war. Dix exhibited at the National Academy of Design from 1861 to 1872. Dix also exhibited at the Royal Academy in 1866 an 1877. Museums: Museum of Fine Arts, Karolik Collection, Boston, MA Peabody Museum, Salem, MA Listed: Allgemeines Kunstler Lexicon, Hermann Alexander Muller, Frankfort-on-Main, 1895-1901. Appleton's Cyclopaedia of American Biography, edited by James Grant Wilson and John Fiske, New York, D. Appleton & Company, 1887 Artists of the Nineteenth Century and their Works, Clara Erskine Clement (Waters) and Laurence Hutton, Boston, MA, 1885, and New York, 1907. Cyclopedia of Painter and Paintings, John Denison Champlin, Jr., and Charles C. Perkins, New York, 1913 edition. Dictionary of American Painters, Sculptors, and Engravers, Mantle Fielding, Philadelphia, 1926 Allgemeines Lexikon der Bildenden Kunstler, Ulrich Thieme und Felix Becker, Leipzip, 1907. Book of the Artists, American Artist Life, Henry T. Tuckerman, New York, 1882 1840 - 1873 Charles Temple Dix Dix Charles Temple 1871 No artist captured the vast, sweeping landscape of the American west as dramatically as Maynard Dixon. As one of America's most accomplished illustrators, Dixon's work became known through the widespread exposure of his magazine and newspaper illustrations. Like many American artists of the early twentieth century, Dixon found a career as an illustrator as a way to satisfy his artistic compulsion while managing to earn a living. Born in 1875, in Fresno, California, Maynard Dixon spent the vast majority of his life exploring and documenting the alluring American West. "A shy, sensitive youth, Maynard Dixon listened, looked and remembered, absorbing impressions of simplicity, low-land masses of land, and the farflung decorative sweeps of sky. Such shapes dominate and give signature to the art of his later years. 'No doubt,' he once reflected, 'these flat scenes have influenced my work. I don't like to psycho-analyze myself, but I have always felt my boyhood impressions are responsible for my 'weakness' for horizontal lines." (DJ. Hagerty, Desert Dreams: The Art and Life of Maynard Dixon, Layton, Utah, 1993, p. 5) After a number of years as a successful illustrator, 1912 marked a year of tremendous success for Dixon as a painter. The National Academy of Design accepted three of his works into their winter and summer exhibitions, and early in the year he moved back to San Francisco, where his creative development blossomed. Living as an illustrator on the East Coast did not agree with Dixon who complained, "I am getting paid to lie about the West. I'm going back home to where I can do honest work." (as quoted in W. Burnside, Maynard Dixon, Artist of the West, Provo, Utah, 1974, p. 55). Unlike many of the other illustrators living in New York and selling their work to national magazines, Dixon had firsthand experience of the American West. He "knew that the West was not always in conflict, as eastern myths had too often dictatedthe cowboy was not always on a bucking horse nor was the Indian always on the warpath. Even though in New York he had been able to compete with some of the best illustrators America had produced, Dixon wanted to realistically portray the more ordinary pursuits of people he knew and admired and with whom he had developed an affinity, people who actually inhabited the West." (Maynard Dixon, Artist of the West, p. 55) As he remarked himself: "My return from New York to the old studio on Montgomery Street marked the beginning of my real development. I was getting a new development rather than a new manner, and beginning to find myself I saw and had always seen something wonderful here in America. As a painter, then, I date from 1912." (as quoted in Maynard Dixon, Artist of the West, p. 59) Apart from being a talented illustrator and artist, Maynard Dixon left behind a more enduring legacy, a true record of the American West. It seems that he took to heart the early advice of Frederic Remington who encouraged him to "be always true to yourself to the way and the things you see in nature... See much and observe the things in nature which captivate your fancy and above all-draw, draw, draw, and always from nature." (as quoted in Maynard Dixon: Artist of the West, p. 215) 1875 - 1946 Maynard Dixon 1 Dixon Maynard 3233 Surrounded by the vast flatlands of his birthplace in Fresno, California, Maynard Dixon began sketching at the age of ten. Frail health restricted his childhood amusements to sketching trips with his pony, listening to the local old-timers' tales of the early West, and reading. By the time he was sixteen he had sufficient confidence in his work to send his sketch book to Frederic Remington, his illustrator hero. At eighteen, spurred on by the encouragement and advice of Remington, he enrolled in the San Francisco School of Design. Before he was twenty he was working as a newspaper and magazine illustrator in San Francisco. One of his strongest convictions as an artist was that, if one felt doubtful of his work, he should return to nature and renew his vision. This was advice which he followed diligently all his life. When he was not working on a commission, he spent his time on painting and sketching trips, which eventually encompassed every state in the West. From these extensive field trips and the insights they produced, a mastery of his material and a highly distinctive style evolved. Maynard Dixon's many works attest to the deep understanding he had of his subjects, especially of the desert and its inhabitants, the Indians, early settlers, and cowboys. Dixon's style with its strong, dramatic forms and clear, vivid colors was perfectly suited to murals, and he painted many of them. Two of his outstanding works in the medium were painted in 1939 for the Department of Indian Affairs in Washington, D.C. In 1946 he prepared sketches for a large mural of the Grand Canyon for the Santa Fe Railroad in Los Angeles. Already extremely ill, he nevertheless managed to supervise the execution of this last work at his Tucson studio. Within a month after its completion, he died. Dixon was a member of the Salmagundi Club, New York City; the Architectural League of New York; the Bohemian Club; the Press Club of San Francisco, CA; the Oakland Art Association, CA; the Foundation of Western Art, Los Angeles, CA; Painters of the West, Los Angeles, CA; the American Federation of Arts; and the Southwest Society. Dixon's works are held in many private and public collections including the Brooklyn Museum, New York City; the Oakland Museum and the Pasadena Art Institute, CA; the Amon Carter Museum of Western Art, Fort Worth, TX; the National Cowboy Hall of Fame, Oklahoma City; and the National Museum of American Art, Washington, D.C. Excerpted from: Dorothy Harmsen, Harmsen's Western America (Denver: Harmsen Publishing Company, 1978). 1875 - 1946 Maynard Dixon 1 Dixon Maynard 1870 There is little known about the Marine painter Louis Dodd. His very well executed historical ship paintings are rare. They periodically can be found in auction houses in England. The Subject normally depicts harbor scenes located of both the English and North American continent. He is listed in various references as 19th Century English with little other information. Unknown Louis Dodd Dodd Louis 3184 Andrew Benjamin Donaldson Donaldson painted historical subjects throughout his career and was particularly drawn to medieval and renaissance religious history. He was also a notable watercolor landscape painter and traveled extensively in England and Wales, beginning to travel abroad to Italy from the mid 1860's. He first visited Belgium and Germany in the early 1870's, traveled in Holland in about 1879 and on later occasions and visited Spain in the late 1880's. He worked on the fringe of the Etruscan group and George Howard purchased some of his paintings. He exhibited mainly at the Dudley Gallery and at the Society of British Artists, of which he became a member in 1875. He also showed pictures regularly at the Royal Academy. At the end of the nineteenth century, Rostock, Germany, was a city in the Grand Duchy of Mecklenburg. It lay on the river Warnow, navigable by sea going ships, and had some importance as a Baltic port. This is indicated by the shipping visible in the first of the watercolors. Because it was a member of the Hanseatic League, it was very prosperous and influential in the fourteenth and fifteenth centuries, and is richly endowed with medieval brick gothic churches, many of which are prominent in Donaldson's watercolors. The exaggerated spire visible in three of the works belongs to St. Peter's Church and was added in 1400 to form a seamark. Although they present the town from complimentary aspects, these four views of Rostock were probably not originally conceived as a set in view of the differences in date of two of the works. It is not clear exactly when Donaldson traveled to Rostock. As it is uncertain whether his topographical watercolors were produced in the cities they record or in his studio from studies, the dates of the pictures are not a firm guide. The pattern of locations depicted in his exhibited watercolors suggests that he probably made his journey in 1884 as the extension of a visit to Holland or alternatively as an independent visit in 1885. 1840 - 1919 Andrew Benjamin Donaldson Donaldson Andrew Benjamin 3207 Donati was born in Florence in 1926 and died in 1977. He received his formal art training at the Academy of Fine Arts in Florence where he open his studio and lived for most of his career. Donati would gain the public's attention and critical acclaim for his work at an exhibition 1955. Since that period, he has had countless exhibitions, each meeting greater success and bringing increased recognition through out Europe and the United States. Donati is considered by experts and collectors one of the ears truly outstanding painters. During the period of his early shows in Florence, his success in Chicago, exhibitions at the O'Hara Galleries in London and at the Galerie Drouant in Paris, Donati work was worthy of the attention and appreciation from art connoisseurs worldwide. Donati's colorful palette and modern style rings lyrical poetry to the Italian landscape and its bustling town squares. He also uses women and children mixed with prisms of color on his light-filled canvas. Public collections: National Gallery of Modern Art, Florence Petti Palace, Florence Modern Art Museum, Rio de Janeiro North Carolina Museum, Raleigh, NC Peggy Guggenheim Museum, Venice Israel Embassy, Rome The Virginia Museum of Art, Richmond, VA 1926 - 1977 Lazzaro Donati Donati Lazzaro 1869 Born in Amsterdam, Netherlands on October 12,1876. He studied drawing at the Modelage in Amsterdam and formlly begin his career as a painter in 1898. He got his practical experience with portraiture, figurative and most importantly the still life. He traveled to Norway and the United States. While in the United States he went to San Francisco and Saint Louis to paint. Museum Collections: Amsterdam La Hage Anvers Barcelone Portland Maryland 1876 - 1969 Jaap Jacob Dooyeward Dooyeward Jaap Jacob 2128 Victoria Dubourg was born on December 1, 1840 in Paris and died in 1926. While studying in Paris, it is thought that she met fellow painter and husband-to-be Henri Fantin-Latour at the Louvre in the mid 1860s. While it isn't known whether Dubourg was taught by her husband, two portraits that she exhibited at the Paris Salon in 1869 and 1870 are reminiscent of his style. From then on she exhibited only the still lifes of fruit and flowers for which she is best known, many of which may have been painted during summers spent with Henri at Bure in Orne. Dubourg developed a simple style, lacking in detail, but with lively colours in the background. Museums: Alencon “L’atelier de Fantin-Latour a Buré Chateau-Thierry “Fleurs” Modern Art Museum, Paris 1840 - 1926 Victoria Dubourg Dubourg Victoria 2932 Dufau, Clémentine Hélène (1869-1937) Awards from the Salon, Bashkirtseff prize, 1895; medal third class, 1897; traveling purse, 1898; medal second class, 1902; Hors Concours; silver medal, Paris Exposition, 1900. Picture in the Luxembourg, 1902. Member of the Société des Artistes Français and of the Società Heleno Latina, Rome. Born at Quinsac (Gironde). Studies made at Julian Academy, under Bouguereau and Robert-Fleury. Mlle. Dufau calls her works illustrations and posters, and gives the following as the principal examples: "Fils des Mariniers," in Museum of Cognac; "Rhythme," "Dryades," "Automne," a study, Manzi collection; "Espagne," "Été," Behourd collection; "Automne," Gallery of the Luxembourg. The latter is a decorative work of rare interest. At the Salon of 1903 Mlle. Dufau exhibited two works—"La grande Voix" and "Une Partie de Pelotte, au Pays basque." The latter was purchased by the Government, and will be hung in the Luxembourg. 1869 - 1937 Clementine Helene Dufau Dufau Clementine Helene 3206 From LeHavre and an arts-oriented family of eleven children including the famous Raoul Dufy (1877-1953), Jean Dufy showed artistic ability from childhood. Throughout his future career, his older brother, Raoul, encouraged him. Jean not only did fine-art painting but painted theatre sets. To earn money, he was a clerk for an overseas import business and even served as secretary on a transatlantic liner, La Savoie, which traveled between New York and Le Havre. In these jobs, Dufy did much walking and observing around the port of Le Havre, and also became fascinated with modernist 'tradition breakers' such as Henri Matisse and Pablo Picasso. He became a student in Le Havre at the l'Ecole des Beaux Arts, and his teachers included Raoul and A.E. Othon Friesz. When Raoul moved on to Paris, Jean Dufy dropped out of the Ecole in Le Havre to follow his brother "who remained his true master for the rest of his life." (Kodner) However, between these moves, he also served in the military from 1910 to 1912. For the next two years, living in Paris, he became associated with Cubist painters Picasso as well as Georges Braque and poet Guillame Apollinaire. By 1914, he was exhibiting his early watercolors, "muted tones and somber browns, blues, and reds" mingling "with the hatching technique he inherited from Cézanne by way of his brother Raoul Dufy." The venue was the Berthe Weill Gallery. However, that same year, he was drafted for additional military service and was a soldier on horseback. Being stationed throughout France, he painted many landscape scenes including in the Vosges region where he was treated for war wounds. Because of this close association, Jean Dufy's work, much of it in ink and watercolor, is often compared to that of his brother. Like Raoul, he chose Parisian subjects, "country scenes, circuses, horse races, stages and orchestras. . . . Raoul Dufy often dissected each of the elements that he used in his compositions, often with humor or tenderness, if not with acuteness. Jean, on the other hand, was more sensitive to the entire panorama of the scene represented, i.e. the particularity, the individuality, and the 'hands on'. (Kodner) Jean Dufy in 1916 worked briefly with his brother in a studio doing textile painting, and then began what became a major component of his career for the next 30 years---porcelain decoration for Haviland in Limoges, France. For skillful and creative execution of animal and floral designs, he received the International Exhibition of Decorative Arts gold medal in 1925 for a set he designed titled "Chateau de France". By 1920, he was a member of the Salon d'Automne, where he exhibited in 1920, 1923, 1924, 1927 and 1932. Also bringing him increasing public attention was gallery representation in Paris at the Galerie Bing and in New York at Balzac and Paris Galleries. In 1937, he helped his brother, Raoul, with the completion of his assignment to oversee the decoration of the Electric Pavilion for the World's Fair. Together they did a mural, 600 meters in size, to celebrate electricity. He established residency in Montmartre, living near the artist, Georges Braque. In addition to painting and decorative arts, Jean Dufy was a musician, playing the classical guitar, and was a jazz enthusiast, which some critics have linked to his rhythmic, fluid painting style. The interest in music likely is linked to his father, whose career was accounting for a metallurgy company and who was an amateur musician. The love of music of Dufy transferred to his artwork, and he did many brightly colored depictions of musicians in orchestra scenes and piano players. Among his associates were prominent avant-garde composers whose names remain famous such as Francis Poulenc, Arthur Honegger and Eric Satie. Finding many painting subjects, Jean Dufy traveled extensively in the 1950s, the last decade of his life. He returned often to his hometown of Le Havre and to his mother's birthplace of Honfleur, as well as to many other locations in Europe and to North Africa. However, judging by his many scenes of Paris, it was the location that for him was most fascinating: "the streets, the horse-drawn carriages, the Eiffel Tower, the sky, and the Seine." (Bailly) Jean Dufy died May 12, 1964 in the French village of Boussay. His wife, Ismérie, had died two months earlier. Sources: Jacques Bailly, Catalogue Raisonné of Dufy, 1888 - 1964 Jean Dufy Dufy Jean 3082 DuMond was born on August 20, 1865 in Rochester, N.Y. and died February 6, 1951, New York City. DuMond was in Lyme 1902-41. “-Now while it's nice and quiet here,'' Frank DuMond wrote to his parents from Lyme in August, 1909, -I'm finishing a little picture which I think of sending to our annual Lyme show. It's purely of the imagination and is that cherished land where all is peace and beauty. We all seem to yearn for it and that I suppose is a very good reason for painting it.'' Since the places DuMond painted were those he really knew, the landscape of Lyme figures large in his work, imbued with imagination, certainly, but also with the spirit of place. His palette lightened at Old Lyme, too. DuMond lived in a part of Lyme called Grassy Hill and commuted to New York's Art Students League, where he was a favorite teacher. One of his host of students (that included artists as diverse as John Margin, Kenneth Hayes Miller, and Georgia O'Keeffe) said that ''His dedication to teaching was such that he showed more stamina . . . at 86 than most of us in our 20s. As well as doing his own painting and holding his regular classes, he had an extra late-afternoon session in the League basement once a week. Present and past students would bring in work painted outside of class, and . . . he would go over them one at a time for the benefit of lie taught for inure than fifty years at the Art Students League, maintaining a schedule that often required him to take the night ferry from New London in order to be in New York in time for his classes. The DuMonds also had an apartment in the cooperative building on W. 67th St. DuMond was an original stock¬holder there and helped finance the Hotel des Artistes as well. DuMond was born in Rochester, New York, in 1865. He went to New York in 1884 to study at the Art Students League and became an illustrator, first for the New Daily Graphic, then for Century and for Harpers Weekly. In 1888 he went to Paris to study at the Academe Julian under Boulanger, Constant, and Lefebvre. In 1892 Harper's editor, who was president of the Art Students League, persuaded DuMond to teach there. He was twenty-seven years old. Besides teaching, he continued his illustration career for a time, eventually doing the art work for Mark Train's Joan of Arc. In the 1890s DuMond also taught summer classes in France, first for the Art Students League and then privately. Students in those classes literally worked from dawn to dusk, since they were expected to be outdoors each day to paint both sunrise and sunset and attend drawing and other lessons between. Such schedules were not unusual for students of landscape painting in the period. DuMond for a time did many murals, for places such as The Lotos Club, Central Park Studios, and the Hotel des Artistes in New York City. His fifteen-foot mural for the Court of the Universe at the Panama-Pacific Exposition in San Francisco in 1915 was "Conquest of the Pacific Coast.'' He had already received a number of awards: a gold medal at the 1890 Paris Salon (for a religious painting called "Holy Family-), gold medals at the Boston Exposition of 1892 and the Atlanta Exposition of 1895, two silver medals at the Pan-American Exposition in Buffalo in 1901, and another at the St. Louis Exposition of 1904. He was director of the department of fine arts for the Lewis ands Clark Exposition in Portland, Oregon, in 1905, and a member of the awards jury at the Panama-Pacific Exposition. Vic was a member of the National Academy of Design and the Society of American Artists, as well as of several other professional groups, and he belonged, as well, to the Lotus, Players, Salmagundi, and Century Clubs. DuMond and his family first went to Old Lyme in 1902. With Will Howe Foote as his assistant, DuMond directed the Lyme Summer School of Art, which became known as the foremost in the country. By 1904 the school had forty or fifty students. By 1906 it was feared that the great number of students would spoil the "place where the best American painters congregate,'' and the Art Students League was persuaded to move the school to Woodstock, New York. DuMond and others continued to give private lessons in Lyme. He was so highly thought of as a teacher that Mrs. Woodrow Wilson reputedly had come to Lyme just to study with him. DuMond apparently taught sum¬mer classes in Lyme until at least 1915. He bought his Grassy Hill home several years earlier. Between world wars, he taught summer sessions in Gape Breton, Nova Scotia. In about 1939 he was apparently at Kent and Essex for summer classes, and later he had a popular summer school in Pownal, Vermont. He combined his favorite sport of fly-fishing with painting and was known for a series on salmon fishing in the 1940s. He moved to New York in 1941, at least for the winters. In 1952, a year after DuMond's death, the Art Students League sponsored a memorial exhibition of his work. Further reading: Abrams, Herbert E. "Teachings of Frank Vincent DuMond: Penetrating Light." American Artist, 38 (March 1974), 36-45. Frank Vincent DuMond. Exh. cat., Art Students League, 1949. Frank Vincent DuMond Papers. Archives of American Art microfilm copy. .1 Memorial Exhibition of Paintings by F. DuMond, Exh. cat., Art Students League, 1952. 1865 - 1951 Frank Vincent DuMond 1 DuMond Frank Vincent 2905 Pierre Dumont was born on March 29, 1884, in Paris. He was the fourth and last child; two of his three sisters died around the age of twenty. After finishing his primary education, Dumont enrolled at the Lycée Corneille to study with Philippe Zacharie and where he would meet Robert Antoine Pinchon and Marcel Duchamp. Dumont’s very first paintings were influenced by Delattre. However, he very quickly turned towards color and his own style. Under pressure from his father to become a doctor, he fled to Paris to become an artist. In 1903, Dumont visited the municipal exhibitions at the “Salon d’Automne” and in 1906, he attended, the first exhibitions of Frechon, Delattre and his friend Pinchon at Galerie Legrip where Dumont would debut with six canvases that same year. At the age of 22, he held his first one man exhibition at Galerie Legrip, which would confirm his fiery temperament as a colorist. He later exhibited at the first exhibition of the Society of Rouen Artists. After the exhibition, G. Dubosc wrote in his Journal de Rouen on May 3 “...Pierre Dumont still does not seek his official ratification. With his avant-garde temperament, full of audacity and daring, a little bit the enfant terrible’ in an individual exhibition, he had already shown, not without excess, the qualities of a painter...”. When the fauve movement ran out of steam, Dumont was disappointed by the ambiance of the Salon and took it upon himself to create a parallel salon, much more representative of the pictorial evolution. The “XX” had seen the light in Brussels under the impetus of Octave Maus, attorney, journalist and art critic. Dumont reunited a Group of XXX painters and writers. The first exhibition was held at Galerie Legrip. In the preface of the catalogue is written “...those who evolve deserve attention even if not sympathy. To refuse it to them is to deny a blade of grass the right to grow and a seed the right to germinate...” Four days after this exhibition closed, 63 artists associated with and seeking a provincial “Salon d’Automne” were once again at L’Ami des Arts and Dumont was with his friends of the “XXX”. In February 1908 the original paintings of the 1908 Almanach by the “XXX”, were exhibited at Charlet. Dumont exhibited at the second “Salon of Rouen Artists”, a salon which he then left and did not return to until 1919. At the end of the year he exhibited at the “Salon d’Automne” in Paris and at Galerie Legrip. Accepted two years previously to the Salon d’Autmone, Dumont sent three canvases A. Alexandre, critic of Figaro, would write “The paintings of flowers this year are scarce and not very remarkable, except those of Dumont which are of a rare and powerful seduction...”. While living in Paris at “Bateau-Lavoir”, Dumont frequented the studios of the cities most noted painters. After introducing Francis Picabia to his friend Marcel Duchamp, they would be invited to exhibit at the Gallery of Ancient and Contemporary Art which was organized by Villon and his brother, Duchamp. The exhibition was to include works by Marie Laurencin, Gleizes, Picabia, La Fresnaye, Léger, Metzinger, Dufy, Duchamp and Villon. In August 1912, Dumont explored Montmartre, discovered all its charms. He then transposed this universe onto his canvases. In 1913, Dumont exhibited at the 4th Exhibition of the “Normandy Society of Modern Painting”, at salle Boieldieu. After the exhibition, he would spend the rest of the year preparing for his first individual exhibition in Paris at Galerie Charles Malpel. In 1918, Dumont’s daughter Pierrette was born. A year later, Dumont exhibited with the “Indépendants” at one “Rue de L’Epicerie” and in October, several of Dumont’s canvases were exhibited at the Galerie Maury. In 1922 and 1923, he exhibited at the “Salon of Rouen Artists” which was at Gasny, where he had bought a small house. In 1926, he faithfully returned to Rouen to paint some of his favorite subjects. Unfortunately a journey which had begun so joyously would end with Dumont being hospitalized at St. Antoine in Paris. By January 1928, Dumont had completely recovered. He began painting again and his life seemed to return to normal. He would be honored with an exhibition as the Galerie Durand-Ruel. The exhibition included works which were painted between 1924 and 1927 during his travels to Rouen, Gasny, Honfleur, Les Andelys, Etretat, Cancale, Bordeaux and Paris. The catalogue’s forward was written by Léon of the Comédie Française and a preface by Varenne: “The splendid artist whose canvases owe nothing to anyone, Pierre Dumont resembles no one but Pierre Dumont, he stands by himself, and he is alone, as in his life...” In February 1931, he accepted Armand Drouant’s proposal to hold an exhibition at 35 rue de Seine. Pierre Varenne visited him and found him “changed”. This was the last exhibition held while the artist was alive. In 1933, his mental condition had worsened and once again he was hospitalized at Sainte-Anne. After briefly leaving the hospital in 1934, Dumont would suffer his worst mental setback while on vacation in Gasny. He was taken back to Sainte-Anne on April 17, his right hand permanently paralyzed. Although, Pierre Dumont never recovered completely, he would leave the hospital briefly and to live with his elderly mother. On April 9, 1936, Pierre Dumont would die at the age of 52. 1884 - 1936 1 Pierre Dumont Dumont Pierre 1600 William Herbert Dunton did not live to finish his autobiography, which he intended to be called The Story of a Happy Life, but the title is appropriate. Dunton's career in the late 1890s and early 1900s gave him early prosperity as one of the country's most popular illustrators of Western cowboy and frontier life. He was able to retire at 43 to Taos, New Mexico, where he occupied himself with his greatest pleasures-hunting, camping, painting and writing. Born in 1878 in Augusta, Maine, Dunton was a self-taught artist. As a boy, he roved the woods and fields with gun, sketchbook and pencil. He had already sold some of his drawings and stories to local periodicals by the time he quit school at 16. By 1896, he had begun a successful commercial career in New York City. He illustrated sporting magazines and his own published stories. He produced innumerable covers for many major magazines, including Saturday Evening Post, Woman's Home Companion and Harper's Weekly. He also illustrated 49 books, among them several Zane Grey cowboy classics. Dunton went West every summer, working on ranches, hunting and sketching from Oregon to Mexico. Every winter, he worked feverishly in New York City. He attended some classes at Cowles Art School in Boston and the Art Students League in New York City, where he studied with Fred Yohn, Frank Dumond and Ernest Blumenschein among others. Blumenschein introduced Dunton to Taos. By 1912, at age 43, Dunton had accumulated a comfortable fortune. He left the East and moved to Taos, where, with Blumenschein, he was one of six charter members of the Taos Society of Artists. Dunton's Taos landscapes and cowboy portraits show his thorough training, but added a new technique of strong, patterned brushstrokes. He continued to write and illustrate his own stories, and began to make detailed lithographs of animals. In the 1920s, Dunton made three lunettes for murals in the Missouri State Capitol building in Jefferson City. Dunton died at age 58 in 1936 in Taos. Memberships: American Federation Of Arts Salmagundi Club Society of Independent Artists Springfield Art Association Taos Society of Artists Public Collections: Harwood Foundation of the University of New Mexico Missouri State Capitol, Jefferson City Museum of New Mexico, Santa Fe Wine Memorial, San Antonio, Texas 1878 - 1936 William Herbert Dunton Dunton William Herbert 1867 Jules Dupre was born in Nantes on April 5, 1811. His father was an artist, who decorated porcelain and held the position of director at several porcelain factories. In 1822, Dupre worked for his father as an apprentice porcelain decorator. His early training as an artist was in the industrial arts, as it was for many of his contemporaries. While working with his father, he also executed drawings and paintings from nature. He was influenced by his close association with De Marne and Bertin, and in 1829 Dupre went to Paris, where he further developed as an artist through his friendship with Cabat. He also met the artists Decamps, Jeanron and Huet at this time. He traveled to Great Britain in 1831, where he sketched and studied paintings by the English landscapists. Upon his return, he traveled extensively through the French provinces, which were a great inspiration for him. He began exhibiting in the early 1830s and in 1833 four of his works were accepted at the Salon. His official recognition came in 1835, when he exhibited four landscapes at the Salon, and received a third-class medal. He also included works in regional exhibitions, which were becoming increasingly important, as they supported and promoted local painters and upcoming Parisian artists. It was at this time that Dupre became a key figure in the Barbizon group. He developed close ties with other Barbizon painters, and began to promote relations with independent art dealers. When Dupre showed seven paintings at the 1839 Salon, it was to be his last exhibition until 1852, and a turning point in his career. This was due to the insensitivity of the jury, and the lack of understanding of many of his colleagues. He organized, along with Cabat, Huet, Isabey, Corot and Rousseau, a petition to change the jury system. After the 1848 Revolution, Dupre became a member of the commission created to reorganize the Salon. In 1849, he received the Legion d'honneur, and continued to achieve financial success. At this time, he re-entered the Salon as an exhibitor. In 1867, he exhibited at the Exposition Universelle, and in 1883 at the Exposition Centennale. Jules Dupre had fully developed by the 1870s, and was considered one of the leading landscape painters of the time. He continued to paint until his death in 1889. 1811 - 1889 Jules Dupre 1 Dupre Jules 1868 Julien Dupre represents a second generation of peasant painters depicting rural life in France, already established by such prominent figures as Millet and Breton. His rural landscapes always include peasants working and resting in the fields. Like Millet and Breton, Dupre's figures are usually placed in the foreground of the composition, where he captures them in the rigorous activity of their labors - pitching hay into a cart, leading home the cows and gleaning in the fields, or at rest after a long day of harvesting. Dupre's paintings are characterized by the draftsmanship and quality of a fine academically trained artist. These qualities enabled him to exhibit in the Salon of 1876 and many others that followed during his long career. His rural genre style continued to be an example for future Barbizon painters late into the 19th century. Museums: Carcassonne Grenoble New York, Metropolitan Paris, Art Moderne Petit Palais Prague Saint-Louis 1851 - 1910 Julien Dupre 1 Dupre Julien 3280 An early San Antonio artist, she was born in 1909 in Mexico City. Santa Duran painted San Antonio scenes and the Texas Hill Country for seventy years. Her father was the Italian sculptor Victorio Mombelli, who had come to Mexico City to help complete work on the large public sculpture The Angel Of Independence. After her mother remarried in 1919, she was adopted by her stepfather, her full name being Santa Maria de los Reyes Gina Mombelli Dura. She displayed talent fro drawing early in life and began studying painting with Jose Arpa in 1924, while Arpa's nephew Xavier Gonzalez became her tutor in drawing. She was a student of Arpa's until he returned to Spain, in the mid 1930s. Santa Duran also studied with San Antonio artists Rolla Taylor, Harry Anthony DeYoung, Harold Roney, and others. She exhibited at the Witte Museum in the late 1920s and 1930s, and was a member of the San Antonio Art League; River Art Group; and the Coppini Academy. Duran stopped painting c. 1993 and died in 2002. Sources: www.texaspaintings.com Information provided by Mark Thomas 1909 - 2002 Santa Duran Duran Santa 2911 Asher Brown Durand, the son of a watchmaker and silversmith, served a five year apprenticeship to an engraver, Peter Maverick, in Newark New Jersey. After completing his apprenticeship, he became a partner in the business. His reputation as an engraver was firmly established with the publication of his engraving after John Trumbull's Declaration of Independence in 1823. Between 1821 and 1831 Durand helped found the New York Drawing Association (1825), the National Academy of Design (1826), and the Sketch Club (1827). Also during this period, he formed a partnership with his brother, Cyrus, and Charles C. Wright which specialized in the production of bank notes. In 1832 Durand dissolved his profitable engraving business and entered into a short, successful period as a portrait painter. A financial panic in 1837 combined with encouragement from Thomas Cole led him to try landscape painting. He became the second president of the National Academy of Design in 1845, a position he held until his resignation in 1861. In 1847 he helped found the Century Association. He visited the White Mountains as early as 1839, and again from 1855 to 1857. The Crayon for November 1856 noted, "Mr. Durand's sketches of West Campton scenery, ... are both larger and of a different character than his previous studies, being almost wholly confined to mountain views." The painting of Durand on this page was painted by Daniel Huntington in 1857 based on a trip to Franconia Notch in 1855 where Huntington accompanied Durand (see the Reference below). Durand spent the rest of his life after 1857 painting in New York City. References New Hampshire Scenery The Painted Sketch Credits Portrait of Asher Brown Durand, The Painted Sketch, page 143. 1796 - 1886 Asher Brown Durand 1 Durand Asher Brown 1866 Auguste Durst is little known in the history of French landscape painting. He was born into a very affluent family, and knew at an early age that he wanted to pursue a career as a painter. When he was 24 years old, he entered the studio of Ernest Hebert, and in 1868 was admitted to the Salon. Durst fled to England during the Commune insurrection, and when he returned to France, he was accepted into the studio of Leon Bonnat. Many of Durst's paintings depict the region of the Saint Vaast and Normandy, where his family had a vacation home. Throughout his lifetime, he was inspired by nature and by the people who worked the land. He also had a curious fascination for "les petites cretes rouges", or the chickens and roosters, as well as the turkeys and ducks that populated the farmyards. Like his fellow artist, Charles Emile Jacque, Durst depicted them frequently in his paintings. Museum Collection: Musees de Pau et de Saint Louis Honors: Societaire des Artistes Francais, medal, 1884, bronze, 1889 and d'argent, 1900. Legion d'honneur, 1902 1842 - 1930 Auguste Durst Durst Auguste 1599 Dyf was born in Paris, October 7, 1899. He was considered a figure, still life, and landscape painter from the French School. Frost and Reed of London represented Marcel Dyf for most of his entire career. It was during their 1987 exhibition that Marcel Dyf's untimely death was announced. His death brought ever closer the end of an era. Dyf was one of the few true post-impressionist still living. The 1987 exhibition was closed until the estate could be properly sorted. In 1990 Frost and Reed organized a Retrospective Exhibition which was overwhelmingly received. Dyf like many other young French artist, was heavily influenced by Pierre A. Renoir. Dyf took the influence of Renoir and developed his own definite style. During his early career, Marcel Dyf started exhibiting at the Salon des Artists Francois, Salon d'Automore and Salon Des Tulleries (at the Louvre). His acceptance was immediate and his career became more than ever expected. It was during these exhibitions that Marcel Dyf was introduced to Frost and Reed of London. Frost and Reed's interest may have been the single most important event in his career. It was through them and their contacts that Marcel Dyf began exhibiting in London, New York, Dallas, San Francisco, and many other international cities. It was through them and their efforts and Marcel's popularity that prints of all his work were being produced and sold throughout the world. Listed: E.Benezit,Volume IV, pg. 85. 1899 - 1985 Marcel Dyf 1 Dyf Marcel 2052 Eakins is regarded as one of America's greatest painters. In his time, Eakins was frequently at the center of artistic controversy. His determined championship of science and scientific observation did not sit well with a public attuned to the natural splendors of landscape painting - especially that of the Hudson River School. His work was consistently deplored for its excessive realism. Thomas Eakins was born in Philadelphia on July 25, 1844. He entered the Pennsylvania Academy of the Fine Arts in 1862, and in 1866 went to Paris to study under the painter Jean-Léon Gérôme and sculptor Alexandre Dumont. Before returning to the United States in 1870, Eakins traveled to Spain, where he encountered the work of Veldzquez and Ribera, whose trenchant realism and dramatic use of light were major influences on the young American. His concurrent study of anatomy at Jefferson Medical College led to a lifelong interest in scientific realism. Eakins spent three years in Paris from 1866 to 1869, where he studied at the École des Beaux-Arts. He was strongly influenced by 17th-century masters, particularly the Dutch artist Rembrandt and the Spanish painters Josepe de Ribera and Diego Velazquez. These masters impressed him with their realism and psychological penetration. He returned to Philadelphia in 1870 and lived there the rest of his life. Eakins's paintings depict scenes and people observed in the life around him in Philadelphia, particularly domestic scenes of his family and friends. He exercised his scientific inclination in paintings of sailing, rowing, and hunting, where he delineated the anatomy of the human body in motion. He painted several large and powerful hospital scenes, most notably The Gross Clinic (1875, Jefferson Medical College, Philadelphia), which combined sharp realism–a depiction of an operation in progress–with psychological acuity in the portrayal of the surgeon, Doctor Gross. As director of the Pennsylvania Academy of the Fine Arts, Eakins introduced an innovative curriculum, including thorough study of anatomy and dissection as well as scientific perspective, which revolutionized the teaching of art in America. His insistence on study from the nude scandalized the school's authorities, however, and he was forced to resign in 1886. During the later part of his career, Eakins's scientific interests were overshadowed by his preoccupation with psychology and personality, and in his art he concentrated principally on portraiture–studies of friends, scientists, musicians, artists, and clergymen. In addition to their masterly evocation of personality, these portraits are characterized by uncompromising realism and by a sculptural sense of form, which is evident in the strong modeling of the sitters' heads, bodies, and hands. Typical of his full-length portraits is The Pathetic Song (1881, Corcoran Gallery of Art, Washington, D.C.), with the standing figure of a singer in a rich silk gown silhouetted against a dimly lighted music room. Although none of his paintings brought him financial or popular success, Eakins had a profound influence, both as a painter and as a teacher, on the course of American naturalism. His realistic approach to painting was ahead of his time. He died in Philadelphia on June 25, 1916. 1844 - 1916 Thomas Cowperthewait Eakins 1 Eakins Thomas Cowperthewait 1966 American painter, Charles Harry Easton, was born December 13, 1850. His first exhibition was at National Academy of Design, New York. He won a gold medal at the Philadelphia Art Club in 1900, exhibiting "The Willows". The same work was exhibited at the Paris Exposition in 1889, and at the World's Fair in Chicago, in 1893. Eaton was elected an Associate member of the National Academy of Design in 1893. He died August 4, 1901. 1850 - 1901 Charles Harry Easton Easton Charles Harry 2005 A major figure in the American Tonalist movement, Charles Warren Eaton painted evocative landscapes in New Jersey, New England, and Europe. Guided by his desire to convey the underlying moods of nature, he eschewed grandiose vistas in favor of quieter, more intimate views, which he depicted at dawn or dusk. Born in Albany, New York, Eaton stud-ied at the National Academy of Design and the Art Students League in New York. A trip to Europe in 1886 provided him with the opportunity to study contemporary art. However, the most important influence on his aesthetic was George Inness a painter of poetic land-scapes in the Barbizon mode, whom he met in 1889. Eaton established a summer residence in Bloomfield, New Jersey, in 1887 and spent the next decade depicting the local country-side during the late autumn and winter. After 1900, he made seasonal visits to Thompson and Colebrook, Connecticut, where he developed his signature theme–a grove of pine trees silhouetted against sunset or moonlit skies. Eaton was also active in Belgium, Italy, and Glacier Park, Montana. 1857 - 1937 Charles Warren Eaton 1 Eaton Charles Warren 3083 Ebert was born on July 21, 1873 in Milwaukee, Wisconsin and died on October 2, 1959, in Preston. He was in Greenwich, c. 1900-19; and in Old Lyme, 1919-59. Charles Ebert moved from New York to Greenwich around 1900 and thereafter made Connecticut his home. While in Greenwich, Ebert studied under John Twachtman and stayed seasonally at the Holley House, where he was introduced to Julian Alden Weir and Childe Hassam. Under their influence, especially that of Twachtman, Ebert painted the local countryside, experimenting with bold brushwork and unusual atmospheric effects. In 1903, Ebert married another of Twachtman's pupils, Mary Roberts, and in 1919 the couple moved to Old Lyme. By this time the art colony had long since made its conversion to Impressionism and its importance as a center of American art was already diminishing. While in Old Lyme, both of the Eberts exhibited regularly at the Lyme Art Association. Beginning in 1909, the Eberts spent most of their summers on Monhegan Island, off the coast of Maine, meeting there at times other Old Lyme Impressionists, including Walter Griffin and Frank Bicknell. The rocky seacoast, engulfed in mist and dotted with fishermen's huts, especially suited Charles Ebert's interest in capturing brilliant color, picturesque scenery, and fleeting atmospheric conditions. Ebert's early art training began in 1892-93 at the Art Academy of Cincinnati. He then spent a year in New York at the Art Students League and moved in 1894 to Paris, where he studied at the Academie Julian under Benjamin Constant and Jean-Paul Laurens. Upon his return to the United States in 1896, Ebert opened a studio in New York City and tried to earn a living as a free-lance illustrator. He eventually landed a full-time position as political cartoonist for Life magazine. Mary Roberts Ebert, whose own finances were secure, persuaded her husband to abandon illustration in order to devote his full attention to painting. Ebert first exhibited at the National Academy of Design in 1907. Following this recognition, his paintings were included in exhibitions at such major museums as the Art Institute of Chicago, the Pennsylvania Academy of Fine Arts, and the Carnegie Institute. Additionally, Ebert was awarded a bronze medal at the Buenos Aires Exposition of 1910 and a silver medal at the San Francisco Panama-Pacific Exposition in 1915. He was a member of the Lyme Art Association, Salmagundi Club, and Allied Art Association, and he was a founder of the Greenwich Art Society. A retrospective exhibition of his work was organized by the Lyman Allyn Museum, New London, in 1979. Further reading: Charles II. Ebert 1873-1959. Exh. cat., Lyman Allyn Museum, 1979. Raynor, Vivien, ''Rediscovering an Impressionist.'' New York Times, November 4, 1979, Sec. 2, p. 20. Three American Impressionists: From Paris to Old Lyme; Lucien Abrams, George Burr, Charles Ebert. Exh. cat., A. M. Adler Fine Art, Inc., New York City, 1978. 1873 - 1959 Charles H. Ebert 1 Ebert Charles H. 3084 Eby was born on October 19, 1889 in Tokyo, Japan and died on November 18, 1946, in Norwalk. Eby was in Cos Cob, c. 1913-1917; and later settled in Westport after World War I. Born in Japan of Canadian Methodist missionaries, Kerr Eby did not come to the United States until 1907, when he was eighteen years old. The maternal grandson of print dealer Frederick Keppel, Eby (who never used his first name, Harold) studied at Pratt Institute and the Art Students League. In the summer of 1915, and probably for two years before and after that time, he had a studio in a waterfront warehouse just across the road from the Holley House. In Cos Cob the young printmaker not only produced such etchings as Backyards but — perhaps more important — offered Childe Hassam the technical advice that helped make the older artist's first serious venture into etching so successful. The twenty-five prints Hassam produced in Cos Cob in 1915 include a portrait of Eby in his studio, a self-portrait of Hassam there, and two views of the building's exterior. Eby was also a source of first-hand information about Japan. The Cos Cob colony had admired Japanese art ever since the years of Twachtman's and Weir's summer classes. A Japanese artist had been a member of the colony at the turn of the century, and Hassam's Cos Cob models had dressed in kimonos as early as 1902. Eby's dinner-table accounts of Japanese life undoubtedly renewed the Holley House group's interest in Oriental art. Two of Hassam's 1915 etchings depict a young Cos Cob woman dressed in a white kimono. Eby enlisted in the Army in 1917, serving as a sergeant in the Corps of Engineers. He returned to the front lines in the Second World War as an artist-war correspondent with the Marines in the Pacific. Ironically, the pacifist artist was to become as well known for his grimly realistic depictions of war as for his peaceful Connecticut landscapes. Between the wars Eby lived in Westport, where he captured on the etching plate views of that area when it was still largely farmland. Like many of the Gus Cob artists, Eby seemed to prefer winter landscapes, but unlike the painters, who were challenged by white, he was concerned with line: the intricate mesh of bare branches against the sky, the zigzag of a rail fence across a snowy field. His Connecticut landscapes often include houses, as do Hassam's, but whereas Hassam enjoyed architecture for itself, Eby often used buildings to evoke a mood just short of sentimentality. He was a popular artist during his lifetime. His prints commanded as high a price the year after his death as they do today. Further reading: The Stamp of Whistler Exh. cat., Allen Memorial Art Museum, Oberlin College, 1977. 1889 - 1946 Kerr Eby Eby Kerr 3290 Edward Gustav Eisenlohr is known as a lithographer, writer and lecturer, but most importantly, as a painter of subjects and scenes in Texas, and Taos and Santa Fe, New Mexico. He was born in Cincinnati, Ohio in 1872 and moved with his family to Oak Cliff, Texas in 1874. At the age of 14, he and his family moved to Europe where he studied in Karlsruhe, Grand Duchy of Baden, and Zurich, Switzerland. Approximately two years later, Eisenlohr returned to Dallas, Texas to work in a bank. During this time he studied under Frank Reaugh and Robert Jenkins Onderdonk, and he also spent time in Woodstock, New York as a student of Birge Harrison. Eisenlohr left the bank in 1907 to devote himself to paint full time and attended summer school at the Art Students League of New York and returned to Europe to study with Gustave Schonleber in Germany followed by studies at the Granducal Academy Fine Arts. Eisenlohr toured and painted in the United Kingdom, France, Italy, Germany, Belgium, Switzerland, and the Netherlands. Upon returning to Dallas, Texas, Eisenlohr established himself as a painter, and he also lectured on art topics. He died in Dallas, Texas. Memberships for Eisenlohr include American Artists Professional League; American Federation of Arts; Art Association of New Orleans; Dallas Art Association; Dallas Artists League; Dallas Artists Union; New York Watercolor Club; Salmagundi Club, New York; Southern States Art League and the Texas Fine Arts Association. Exhibitions include Annual Exhibition of the State Fair of Texas, Dallas; Cincinnati Art Museum; Annual Texas Artists Exhibition, Fort Worth; Art Institute of Chicago; Panama-Pacific Exposition, San Francisco; Annual Exhibition of Texas Artists, Annual Exhibition, National Academy of Design; Southern States Art League Annual Exhibition; Texas Artists Exhibition, San Antonio Art League; Annual Allied Arts Exhibition, Dallas; Museum of Modern Art, New York; Texas Centennial Exposition, Dallas; National Exhibition of American Art, Rockefeller Center, New York and International Exhibition, Paris; Venice Biennale, Italy. Source: John and Deborah Powers, "Texas Painters, Sculptors, and Graphic Artists" Peter Falk, "Who Was Who in American Art" 1872 - 1961 Edward Gustav Eisenlohr Eisenlohr Edward Gustav 1616 Lydia Field Emmet, born in New Rochelle, New York and Died in August 16, 1952. She was a student of William M. Chase, H.S. Mowbray, Kenyon Cox and Robert Reid, all in New York. While in France, she studied with Colin, Bougereau, Mac Monnies and Fleury.While in France, she joined the summer colony of American artists near Monet's home in Girverny. Also in the 1890's, she worked as William M. Chase's assistant, teaching his preparatory classes at his summer school at Shinnecock Hills, Long Island. Along with Mary Cassett and others, she was invited to paint murals in the Women's Building at the World's Fair Columbian Exhibition in 1893; she also designed stained glass windows for Tiffany & Co., and did illustrations for Harper's. Ms. Emmet became very well known for her figure and portrait work. Her portrait work of well known people made a handsome living for her during the depression years. Lydia, her sister Rosina Emmet Sherwood and their cousin, Ellen Emmet Rand, were the movers and shakers of the artistic world of Stockbridge, Mass. art community. Member: National Academy of Design, 1912 Stockbridge Art Association Connecticut academy of Fine Arts National Association of Women Artist American Federation of the Arts New York Watercolor Club National Association of Portrait Painters Institutions with Her Work: New York Historical Society Parrish Art Museum, Southampton, New York National Society of Colonial Dames of America, State of Vermont Groton School, Groton Massachusetts National Academy of Design United States Military Academy Museum, West Point, New York Museum of the City of New York Metropolitan Museum of Art, New York City White House, Washington, D.C. National Gallery of Art, Washington, D.C.Lyme Academy of Fine Arts, Lyme Academy Gallery, Old Lyme, Connecticut 1866 - 1952 Lydia Field Emmet Emmet Lydia Field 1865 John Emms is considered one of England's most important sporting and animal painters. He was born in London in 1843 and died in Lyndhurst, Hants in 1912, where he had established his studio. Emms exhibited at the British Institute, Suffolk Street and at the National Watercolor Society. Listed: The Dictionary of Victorian Painters, 2nd edition The Royal Society of British Artists, 1824-1873 E. Benezit Thieme-Becker Lexicon 1843 - 1912 John Emms Emms John 1926 Axel Hjalmar Ender was born in Asker near Oslo on 14th September 1853. He studied at the School of Fine Art and at the School of Arts and Crafts in Christiania, and with Johan Frederik Eckersberg (1822-1870), the Norwegian landscape painter, who set up a school of painting, also in Christiania. Ender continued his studies at the Academy in Stockholm and then in Munich, a city that attracted considerable numbers of foreign artists. Ender exhibited in Christiania at the Artists Association from 1872 to 1889 and was known for his religious commissions, his sculpture, but above all, his genre paintings, in many of which exist references to Norwegian nationalism. This was at a time when Norway existed as a semi-autonomous state but under the Swedish Crown, Christiania the capital being renamed Oslo on Norway gaining independence in 1905. Many of Ender's works reflect the rural life and society of Norway; shooting parties, farming scenes, skiing subjects and, of course, children. Ender was highly regarded in his lifetime and works by him were reproduced by photogravure, confirming this popularity. His works can be found in museums in: Oslo and Bergen. 1853 - 1920 Axel Hjalmar Ender Ender Axel Hjalmar 1864 Joseph Eliot Enneking (1881-1942) was born in Hyde Park, Massachusetts. He is the son of American landscape painter John Joseph Enneking (1841-1916). He received his formal training in Boston with Joseph De Camp (1858-1923), Frank Weston Benson (1862-1951) and Edmond Charles Tarbell (1862-1938). After completing his education, Enneking opened his studio in Brookline, Massachusetts. As a back drop for his wonderful impressionist paintings, Enneking would use Mill Pond, a quiet wildlife refuge nestled in Brookline just minutes from Boston. He then discovered Rockport on the Cape. With miles of lovely beaches, boulder-strewn paths through woods and glades, Rockport provided endless subjects. It also has an uncommonly magical light at sundown, which inspired painters since Winslow Homer. Enneking exhibited at the Pennsylvania Academy of Fine Art. He was a member and exhibited at the Salmagundi Club, Copley Society, North Shore Art Association and the New Haven Paint and Clay Club. Listed: E. Benezit Who was Who in American Art, Falk Index of Artists, Mallett 1881 - 1942 Joseph Eliot Enneking Enneking Joseph Eliot 3366 Roland Delbert Enright(1921-1983) Roland D. Enright was born in Elkhorn, Wisconsin on November 26, 1921. Being one of eleven children with modest means, he lived in a rural setting, which inspired his love of nature. Much of his boyhood time was spent drawing and sketching, and his love of art eventually led him to a commercial art course. After graduation, he pursued commercial art until World War II took him overseas where he spent two and one-half years in an armored unit. After the war, Enright resumed his art career as a free-lance artist, traveling at every opportunity, during which time he married and moved to Texas. Landscape painting became an interesting challenge and with growing encouragement soon became a full time and profitable endeavor. Enright believes painting and sketching to be best inspired by nature itself, so with the aid of a studio camper, he spent much time in the countryside, often accompanied by his son and daughter. A shy modest man, Enright shuns publicity and contact even with the ever-widening circle of his collectors. Many of these collectors first became familiar with his work through the efforts of a longtime friend and associate, Fred H Ellis. The versatility of composition, color, and subject matter are the trademarks of Enright's landscapes. When you see an Enright painting, you know he has been there. Sources NRFineARTGallery Submitted by John Cope, Collector 1921 - 1983 1 Roland Delbert Enright Enright Roland Delbert 3315 Angel Espoy (1879-1963) Known for paintings that evidence his great love of the sea, Angel Espoy did work that includes seascapes and maritime subjects; however, he was also an accomplished painter of California's rolling hills of poppies and lupines. He was born in Villa Nueva, Spain on October 2, 1879. He left home at age eighteen to work as a first mate in the Spanish merchant marines. While in that capacity, he acquainted himself with every detail of the clipper ships he later painted. His desire to paint took him to Barcelona where he studied with Joaquin Sorolla. Following his father's tobacco interests in the Philippines, he made many trips there at the turn of the century. Two years were spent in Havana where he began to earn his living as an artist by painting designs on furniture. Destitute, he made his way to New York City in 1904. After a return to his native land, he moved to San Francisco in 1914. There he supported himself for seven years making cartoons for movies while painting on weekends with Manuel Valencia, Carl Jonnevold, and John Califano. In 1922 he moved to southern California and from that time was able to subsist by the sale of his paintings. Occasionally painting in the style of Sorolla, Espoy is best known for his landscapes of California's rolling landscapes with wildflowers and atmospheric desert landscape. Espoy died in Seal Beach, CA on January 31, 1963. He was a member of the Los Angeles Art Association and exhibited at Barker Bros Galleries in Los Angeles. Museums: Museums: Oakland Museum of California: California history and art; environmental subjects, Oakland, CA The Jonathan Art Foundation: Acquisition and exhibition of outstanding artworks and rare books which focus primarily on Southern California artists, especially plein-air painters, and history of the region. Los Angeles, CA Loyola University. Source: ''Artists in California, 1786-1940'' by Edan Milton Hughes 1879 - 1963 1 Angel Espoy Espoy Angel 1863 Pierre-Nicolas Euler was born in Lyon. His teacher, Jean Marie Reignier, was also born in Lyon, the two meeting at the Lyon l'Ecole des Beaux-Arts after Reignier had become a full professor and successfully exhibited at the Paris Salon, winning medals in 1842 and 1848. The student, Euler, quickly exceeded his teacher after his first entry to the Lyon Societe des Am is-des-Arts in 1864 and then again in 1868, continuing his work with entry's into the following exhibitions: LYON SALON from 1872: Fleurs des champs, 1875; Fleurs de printemps, 1897; Bouquet de roses, Giro flees et violettes, 1898, Cyclamens, 1903; Hoses, Chardons, 1913; THE GRENOBLE SALON: 1909, Roses ,Chardons. THE DIJON SALON: La Saison des violettes, 1897 Euler also exhibited in Paris from 1895, always specializing in the flowers and fruits which he so masterfully reproduced on his canvases. Works by Pierre-Nicolas Euler can be found in museums in Lyon, D'Angers, Clermont-Ferrand and Monpellier. 1846 - 1913 Pierre-Nicolas Euler Euler Pierre-Nicolas 3204 De Scott Evans (1847-1898) De Scott Evans was a painter of portraits and still-lifes and was primarily known in his era for his vertical images on canvas of women in interiors. However, his trompe l'oeil still lifes of luscious fruit brought him more attention after he died. Interestingly, it appears that he did not take his still-life work seriously as few of the pieces have a formal signature nor a date, and many have pseudonyms. Though he was born in 1847 in Wayne County, Indiana as David Scott Evans, he changed his name after a trip in the 1870s to France. Whether he suffered from an identity crisis, wished to paint under a pseudonym, or was trying to avoid creditors, Evans may have used signatures as varied as Scott David, Stanley S. David and simply David on his pictures. There is further uncertainty about his youthful art training, but it is known that he studied at Miami University, Oxford, Ohio, and later with Alfred Beaugureau in Cincinnati. In the early to mid-1870s, he taught art, as well as music, in Logansport, Indiana at Smithson College, and at Mount Union College, Alliance, Ohio. Evans moved to Cleveland in 1874. Around 1877, he went to Paris and studied under Adolphe William Bouguereau. When he came back to Cleveland, he became known for his portraits of stylish women. In our day, Evans is known for his trompe l'oeil still-lifes of apples and pears suspended by strings in front of the meticulously detailed grain of wooden boards. In keeping with what may be the eccentricity of his use of multiple names, Evans included in his still-lifes painted labels, again with variations on his name. In Cleveland, he established the first art club, and taught at the Cleveland Academy of Fine Arts, where he later became co-director, holding that position from 1883 until he moved to New York. Evans life ended particularly tragically. He and his family were drowned in 1898 in the Atlantic Ocean when his ship, the S.S. Burgoyne, sank after a collision with another ship. A patron from Cleveland had commissioned Evans to decorate his music room in Paris. Museums: Allen Memorial Art Museum, Oberlin College, Oberlin, OH Amon Carter Museum, Fort Worth, TX Brandywine River Museum, Chadds Ford, PA Carnegie Museums of Pittsburgh/Carnegie Institute, Pittsburgh, PA Georgia Museum of Art, The University Of Georgia, Athens, GA Orlando Museum of Art, Orlando, FL Portland Art Museum, Portland, OR Richmond Art Museum, Richmond, IN Snite Museum of Art University Of Notre Dame, Notre Dame, IN The Columbus Museum of Art-Ohio, Columbus, OH The Columbus Museum-Georgia, Columbus, GA The Nelson-Atkins Museum of Art, Kansas City, MO Yale University Art Gallery, New Haven, CT Source: Michael David Zellman, "300 Years of American Art" 1847 - 1898 De Scott Evans Evans De Scott 2002 Born Philip Blashki in New York City, Philip Evergood was educated in England, at Eton College and Cambridge University. He studied sculpture at the Slade School of Art in London from 1921 to 1923, after which time he briefly attended the Art Students League of New York, working under George Luks. He continued his training at the Academie Julian in Paris during 1924-25, visited southern France and Italy in 1926, and then returned to New York, where he had his first solo exhibition composed of religious and allegorical works in 1927. He traveled abroad again in 1929, spending the next three years in France and Spain. After settling in New York in 1931, he was strongly influenced by the depression and its effects on the American people. As a result, he turned his attention to social themes, such as political oppression and racism, as well as depictions of the daily life of the common man. While essentially realistic, his style had strong Expressionist overtones created through line and color. A leading Social Realist, he belonged to the American Artists Congress, the Arrests Union, the Works Progress Administration, and other related organizations. During the 1940s, Evergood incorporated a greater degree of Surrealist fantasy into his paintings, drawings, and prints, while retaining the graphic linearity that remained so important to his work. 1901 - 1973 Philip Evergood Evergood Philip 3350 Henri Jean Theodore Fantin-Latour (1836 1904) Henri Fantin-Latour was a French painter and lithographer best known for his flower paintings and group portraits of Parisian artists and writers. He was born Ignace Henri Jean Thodore Fantin-Latour in Grenoble, Isre. As a youth, he received drawing lessons from his father, who was an artist. In 1850 he entered the Ecole de Dessin, where he studied with Lecoq de Boisbaudran. After studying at the cole des Beaux-Arts in Paris from 1854, he devoted much time to copying the works of the old masters in the Muse du Louvre. Although Fantin-Latour befriended several of the young artists who would later be associated with Impressionism, including Whistler and Manet, Fantin's own work remained conservative in style. Whistler brought attention to Fantin in England, where his still-lifes sold so well that they were "practically unknown in France during his lifetime". In addition to his realistic paintings, Fantin-Latour created imaginative lithographs inspired by the music of some of the great classical composers. Marcel Proust mentions Fantin-Latour's work in In Search of Lost Time Many young women's hands would be incapable of doing what I see there, said the Prince, pointing to Mme de Villeparisis's unfinished watercolours. And he has asked her whether she had seen the flower painting by Fantin-Latour which had recently been exhibited. (The Guermantes Way) His first major UK gallery exhibition in 40 years took place at the Bowes Museum in April 2011. Muse du Luxembourg presented a retrospective exhibition of his work in 2016-7 entitled "fleur de peau". The painting "A basket of roses" was used as the cover of New Order's album Power, Corruption & Lies by Peter Saville in 1983. In 1875, Henri Fantin-Latour married a fellow painter, Victoria Dubourg, after which he spent his summers on the country estate of his wife's family at Bur, Orne in Lower Normandy, where he died on 25 August 1904. He was interred in the Cimetire du Montparnasse, Paris, France. Public collections Aberdeen Art Gallery (Scotland) Armand Hammer Museum of Art (California) Art Gallery of New South Wales (Sydney, Australia) Art Gallery of the University of Rochester (New York) Art Institute of Chicago Arthur Ross Gallery (University of Pennsylvania) Ashmolean Museum (University of Oxford) Birmingham Museums & Art Gallery (UK) Bowes Museum (County Durham, England) Carnegie Museum of Art (Pittsburgh, Pennsylvania) Clark Art Institute (Williamstown, Massachusetts) Cleveland Museum of Art Detroit Institute of Arts Dixon Gallery and Gardens (Tennessee) Fine Arts Museums of San Francisco Fitzwilliam Museum (University of Cambridge) Fondation Bemberg Museum (Toulouse, France) Foundation E.G. Bhrle (Zurich) Harvard University Art Museums Hermitage Museum Honolulu Museum of Art Indiana University Art Museum Krller-Mller Museum (Otterlo, Netherlands) Lady Lever Art Gallery (UK) La Piscine (museum of art and industry) (Roubaix, France) Los Angeles County Museum of Art MacKenzie Art Gallery (Regina, Saskatchewan) Manchester City Art Gallery (UK) Metropolitan Museum of Art Museum of Grenoble (France) Muse de Picardie (Amiens, France) Muse des Beaux-Arts de Bordeaux (France) Muse des Beaux-Arts de Lyon (France) Muse des beaux-arts de Pau (fr) (Pau, France) Muse des Beaux-Arts (Reims, France) Muse des Beaux-Arts de Rouen (France) Muse d'Orsay (Paris) Muse du Louvre (Paris) Muse des Ursulines (fr) (Mcon, France) Museo Nacional de Bellas Artes (Buenos Aires, Argentina) Museu Calouste Gulbenkian (Lisbon) Museum of Fine Arts, Boston National Gallery of Art (Washington D.C.) National Gallery of Canada National Gallery, London National Museum Cardiff Nelson-Atkins Museum of Art (Kansas City, Missouri) Norton Simon Museum (Pasadena, California) Old Jail Art Center (Albany, Texas) Philadelphia Museum of Art Rijksmuseum (Amsterdam) Saint Louis Art Museum San Diego Museum of Art Smart Museum of Art (University of Chicago) Tate Gallery (London) Toledo Museum of Art (Ohio) Universit de Lige Collections (Belgium) Victoria and Albert Museum Wadsworth Atheneum (Hartford) Winnipeg Art Gallery References Gibson, Frank F., The art of Henri Fantin-Latour, his life and work, London, Drane's ltd., 1924. Lucie-Smith, Edward, Henri Fantin-Latour, New York, Rizzoli, 1977. Poulet, Anne L., & Murphy, A. R., Corot to Braque French Paintings from the Museum of Fine Arts, Boston, Boston The Museum, 1979. ISBN 0-87846-134-5 Rosenblum, Robert, Paintings in the Muse d'Orsay, New York Stewart, Tabori & Chang, 1989. ISBN 1836 - 1904 1 Henri Jean Theodore Fantin-Latour 1 Fantin-Latour Henri Jean Theodore 3192 Edgard Farasyn was born in Antwerp in 1858 and died in 1938. Although, he is best known for his paintings and engraver of children and animals; Farasyn is also known as for his landscapes and city scenes of Antwerp. He also painted the local fishermen of Oostduinkerke, where visited and maintained a studio. Farasyn was a pupil of De Keyser at the Academy of the Fine Arts in Antwerp, where in 1885, he became a professor. In 1891, Farasyn founded of the “Group of XIII” in Antwerp. He was also member of the “Group Wees Uzelf. Farasyn’s first exhibition was in Brussels in 1878. He was awarded medals at the International Exposition, Sydney (1879), Antwerp (1894), Universal Exposition (1889) and Brussels (1897). In 1899, Farasyn was commissioned to paint the frescos for the town hall of Antwerp. Public Collections: Musée Anvers Berlin Museum Brussels Museum Musée Courtrai Musée Namur Listed: E. Benezit, vol V, pg 272 1858 - 1938 Edgard Farasyn Farasyn Edgard 1993 One of the most creative artists of his day, John La Farge enjoyed a rich and varied career, active as a painter, stained-glass designer, muralist, and illustrator. Born to affluent parents in New York City, he attended Mount St. Mary's College in Maryland and then studied law. In 1856, while visiting Paris, he associated with leading French artists, copied Old Masters in the Louvre, and familiarized himself with modern color theories. He also studied briefly with the painter Thomas Couture, after which time he went to England, where he saw examples of Romantic and Pre-Raphaelite painting. In 1858 he gave up law to pursue an artistic career. He subsequently went to Newport, Rhode Island, where he received instruction from the American Barbizon painter William Morris Hunt, a former Couture student. He also began drawing and painting directly from nature, focusing on landscapes and floral still lifes that in their fluent handling and simplicity of form had a distinctly modern look. During the 1870s and 1880s, he produced oils, watercolors, and book illustrations and executed murals and stained glass designs for religious institutions such as Trinity Church in Boston, as well as for residences belonging to William H. and Cornelius Vanderbilt. On extended trips to the Orient and the South Seas during the 1880s and 1890s, he painted exquisite watercolors. La Farge's Considerations on Painting, based on a series of talks given at the Metropolitan Museum of Art in New York, was published in 1895. 1835 - 1910 John La Farge Farge John La 2094 Landscape and still-life painter Helen Alton Sawyer was the daughter of a prominent Washington, D.C. family. She spent much of her childhood in Spain where she was exposed to fine art and other elements of culture. Her father was painter Wells M. Sawyer with whom she studied as well as in New York City at the National Academy of Design and the Art Students League, and with painter Charles Hawthorne on Cape Cod, Massachusetts. Her talent manifested itself early, and she and her father exhibited in a two-person show in 1921 in New York City at the Babcock Galleries. Sawyer married artist Jerry Farnsworth from Dalton, Georgia, whom she met when they both studied with Hawthorne. He referred to his wife as a "born artist, while terming himself a made artist" (Sternberg, 107). She continued to use her maiden name of Sawyer throughout her career. Her painting career is primarily associated with Cape Cod where from 1933; she and her husband founded an art school, which in 1940, they had near their home at North Truro. In 1943, they also founded an art school in Sarasota, Florida where the Ringling Brothers Circus had their headquarters. Both Helen and her husband painted circus scenes. Sawyer evidenced a very personal style with elements of the primitive combined with impressionism. She used both oil and watercolor. Her oil, "Road to Shankpainter Pond, Provincetown," is a landscape depiction with two tiny figures on a road between clustered foreground cottages that contrast with one isolated in the middle distance. This lonely house appears to be their physical destination, but thanks to the artist's handling, is also the symbolic goal of their emotional or spiritual journey. The artist's seascapes also tend to be rich in mood, often expressing certain loneliness. Another example of her talent is her 1950 painting, "Circus Wagon," an image of a worn-out wagon whose blocky forms are strongly painted in intense, moody, dark colors, and almost savagely expressive of loss and abandonment. She was elected an Associate of the National Academy of Design in 1937 and an Academician in 1950. She was also a member of the National Association of Women Artists, the National Arts Club, Washington Society of Artists, the Hudson Valley Art Association, Washington Art Club; Yonkers Art Association, New York; and Provincetown Art Association, Massachusetts. She regularly exhibited with those groups as well as venues including the Pennsylvania Academy, Art Institute of Chicago, Corcoran Gallery, Ringling Museum and Atlanta Museum. Her work was included in the "American Art Today" New York World's Fair exhibit in 1939 and the 1933-34 Century of Progress International Exposition in Chicago. Helen Alton Sawyer died in 1999. From Jules and Nancy Heller, "North American Women Artists of the 20th Century" Paul Sternberg Sr., "Art by American Women" 1900 - 1999 Helen Anton Farnsworth Farnsworth Helen Anton 2095 A native of Dalton, Georgia, Jerry Farnsworth received his art training at the Corcoran Art School in Washington, D.C. (1917-19), later studying with Charles Hawthorne in Provincetown, Massachusetts. A highly respected painter and art instructor, Farnsworth was elected a full academician of the National Academy of Design in 1935. His work was widely exhibited, appearing in such institutions as the Pennsylvania Academy of the Fine Arts, Carnegie Institute, Toledo Museum of Art and the Museum of Fine Arts, Houston. In 1933, he founded the Farnsworth School of Art in both Sarasota, Florida and North Truro, Massachusetts. 1895 - 1982 Jerry Farnsworth Farnsworth Jerry 1862 Born in France, Henry Farny immigrated to Warren, Pennsylvania with his parents and shortly thereafter settled in Cincinnati, Ohio, where he spent the remainder of his life. Following the path of earlier Cincinnati artists, Farny traveled to Europe studying first in Dusseldorf and then in Munich. In Dusseldorf, Farny not only acquired the technical skills of the local masters but also made the acquaintance of Albert Bierstadt who encouraged him to travel to the American West. Farny's stay in Munich introduced him to the bravura brushwork and dark, moody palette of Frank Duveneck, the preeminent American artist working in southern Germany at that time. The training Farny received in Europe provided him with the most advanced and sophisticated ideas of the late nineteenth century and separated him from many of his contemporaries who chose to depict the West and the Native American as their subject. After returning from travel and study abroad, Farny made his first trip to the West in 1881, presumably to witness the capture of Sitting Bull. Arriving after the removal of Sitting Bull from Fort Yates along the Missouri River, Farny stayed on and became an active participant in the social life of the Plains Indians who lived near the fort. (D.M. Carter, Henry Farny, New York, 1978, p. 21) Farny returned to the West in 1883 and 1884 in order to witness the final laying of the Northern Pacific Transcontinental Railroad and to illustrate an article for Century Magazine. During repeated visits to the West in the early 1890s, Farny gathered materials for the oil paintings and gouaches he would later complete in his Cincinnati studio. Collecting artifacts and props from the Indians he came to know affectionately, Farny recreated, and often repeated, scenes and events he witnessed on the Plains and in the mountains. Aided by onsite sketches and photographs both taken and purchased, Farny had gathered sufficient material and firsthand experience to paint the Native Americans of the American West in a sympathetic and lasting fashion. In contrast to many of Farny's contemporaries who employed unnatural effects of light and atmosphere, with explosions of action and spirit to create drama and emotion, Farny succeeded in portraying these sentiments with a unusual subtlety and harmony, ultimately more in keeping with reality. 1847 - 1916 Henry E. Farny Farny Henry E. 1938 Katherine Levin Farrell was born in Philadelphia, PA on March 15, 1857. She graduated from the Philadelphia School of Design for Women, where she had studied with Peter Moran and Stephen Ferris. From 1880 to 1887 she was a student of Thomas Eakins at the Pennsylvania Academy of Fine Arts. She also studied at the Philadelphia Museum School of Art and at the Drexel Institute from 1903 to 1905. During her career she received additional instruction from a number of established artists including Emil Bisttram in Taos, New Mexico. Early in her art training she had developed into an accomplished etcher. Her works, both paintings and etchings, were exhibited in the Ladies' Parlor of the Pennsylvania Building and in the Women's Building of the World's Columbian Exposition, held in Chicago in 1893. She had already spent time at Gloucester, Massachusetts, where she had studied with John Twachtman and Augustus Buhler. At the exposition an etching and a painting, both titled "Five Pound Island, Gloucester," and an etching "Gloucester Wharf," were shown. Her exhibition record is extensive. Her works were shown in Philadelphia at the School of Design for Women, the Academy of Fine Art and with the Society of Artists. She won the Drexel Prize for Watercolor in 1903-04 and Gimbel's Philadelphia Women's Achievement Competition prize in 1934. She also exhibited at the New England Mechanic's Institute, the National Academy of Design, Brooklyn Art Association, Boston Art Club and with the New York Etching Club. Her works were shown with many groups and organizations and the Philadelphia Art Alliance held a solo exhibition of her work in 1938. 1857 - 1951 Katherine Levin Farrell Farrell Katherine Levin 2038 Henry Farrer was an important American Pre-Raphaelite artist, well known for landscapes and still lifes in watercolor, oil, and etching. He was the younger brother of Thomas Charles Farrer, the foremost champion of the aesthetic dogma of John Ruskin in America at mid-century. Following the lead of his brother, who first came to the United States in the late 1850s, Henry Farrer immigrated to this country at age nineteen and established a studio in New York. By the late 1860s he was espousing Ruskinian principles, which are evident in his meticulous watercolor studies of fruits and flowers. Part of a wave of American artists dedicated to exploring the watercolor medium in the 1860s, Farrer was a founder in 1866 of the American Society of Painters in Water Color. In 1877 he participated in the founding of the New York Etching Club and became the president of this organization in 1881. Farrer established a studio in New York's Tenth Street Studio Building in the 1880s. The influence of other residents of this prominent artists' building, such as William Merritt Chase, may have encouraged him to develop a more painterly style. From about 1887 until his death in 1903, Farrer lived in Brooklyn. 1843 - 1903 Henry Farrer Farrer Henry 3355 Kelly Fearing (1918-2011) The following information is from the artist's obituary, University of Texas Education News AUSTIN, Texas Artist, art educator and University of Texas at Austin Professor Emeritus Kelly Fearing died on March 13 at his home in Austin, at the age of 92 due to congestive heart failure. Fearing was a professor emeritus in university's Department of Art and Art History. He taught at the university from 1947-87, and was presented the College of Fine Arts' E. William Doty Award in 2007, the college's highest honor recognizing him as an individual of distinction in his field who has demonstrated extraordinary interest in the college. "Kelly Fearing was the quintessential Renaissance man," said College of Fine Arts Associate Dean Ken Hale. "He was an artist, an author and an educator. His talent was extraordinary. He worked in almost all traditional mediums and excelled in oil painting and collage. Fearing was very well educated in all of the arts and enthusiastically passed that knowledge on to literally thousands of students. The University of Texas and the state of Texas have benefited greatly from the creativity and generosity of Kelly Fearing. His passing is a loss for us all." Born in Fordyce, Ark., Fearing was raised in Louisiana, studied art at Louisiana Tech University, earned a master's degree from Columbia University and went to Fort Worth during World War II to serve his country in a defense job. While being trained in graphic drafting for a company that was making bombers for the U.S. military, Fearing was introduced to other aspiring artists in the Fort Worth area. This group of avant-guard printmakers and artists became known as the Fort Worth Circle, and Fearing was one of its core members. Collectively, they were instrumental in introducing modernist ideas to Texas art. After teaching at Texas Wesleyan College from 1945-47, he came to The University of Texas at Austin as the Ashbel Smith Professor in Art in 1947. He retired from the university in 1987 and continued to work as a professional artist. His art has been referred to as magical realist, mystical naturalist and Romantic surrealist. As a pioneer in art education in America, Fearing founded The University of Texas Junior Art Project, the first visual arts outreach program of its kind in Texas. The program offered children of all ages and from all economic backgrounds free, university-based instruction and exposure to the arts. Source http//www.utexas.edu/news/2011/03/15/fineartskellyfearing/ 1918 - 2011 1 Kelly Fearing 1 Fearing Kelly 1861 Born in Kazan, Russia in 1881, Nicolai Fechin arrived in New York City with his family in 1923. His career as a portrait painter flourished there, but after three years, Fechin contracted tuberculosis and was ordered by his doctor to move to a dry climate. John Young Hunter, an artist acquaintance had enthusiastically recommended Taos, and in 1927, Fechin accepted Mabel Dodge Luhan's invitation to visit the art colony. Fechin immediately connected with the landscape and the people of New Mexico and his six years in Taos proved to be one of the most productive periods in his career. The landscape and architecture of the southwest fascinated Fechin, and although he had rarely painted landscapes in Russia, he was inspired to paint them continually during his time in Taos. Fechin identified with the simple lifestyle of the Pueblo Indians and the mountains and rivers of New Mexico, all of which reminded him of his childhood in rural Kazan. The vivid colors of the Pueblo Indians' dress and the bright sunlight of New Mexico inspired the artist to experiment with a bolder style and palette. After he left Taos in 1934, Fechin moved back to New York, then to California, where he continued to paint. The body of work produced during his years in Taos is considered to be Fechin's outstanding achievement in America. 1881 - 1955 Nicolai Fechin 1 Fechin Nicolai 2004 Lyonel Feininger was born in New York, the son of concert musicians. In 1887 he went to Germany to refine his skills as a violinist but decided to study painting instead, attending the Kunstgewerbeschule in Hamburg, the Berlin Academy, and the Academie Colarossi in Paris. From 1893 to 1907 he spent most of his time working as an illustrator for German and American periodicals, an activity that influenced the decorative, two-dimensional style of his early work. He lived in Paris from 1906 to 1908, during which time he met the progressive painters Robert Delaunay and Jules Pascin and looked closely at their work, as well as at that of Paul Cezanne and Vincent van Gogh. He also began painting full-time, incorporating vanguard aesthetics into his work. He developed a Iyrical style based on Cubist fragmentation and Expressionist distortion and a concern for the emotive qualities of light and color. He exhibited with Der Blaue Reiter group in 1913. Six years later, at the invitation of the architect Walter Gropius, he was appointed to the faculty of the Bauhaus as Master of Form in the Printing Shop, a position he retained until 1933. In l924 Feininger joined the Blue Four and, along with his cohorts Wassily Kandinsky, Alexej von Jawlensky, and Paul Klee, exhibited in New York, Chicago, and elsewhere. Feininger returned to United States during the mid-1930s. In 1937, when his paintings were shown as "degenerative art" in Munich, he settled in New York, where he explored Manhattan themes and introduced a greater degree of color and spontaneity into his 1871 - 1956 Lyonel Feininger Feininger Lyonel 3316 Max Ferguson was born in New York City in 1959. EDUCATION 1980: New York University, B.S. 1979: Gerrit Rietveld Academie, Amsterdam FEATURED ARTICLES The New York Times, Marie Elena Martinez, April 15, 2012 The Wall Street Journal, Sameer Reddy, April 16, 2012 Fine Art Connoisseur Magazine, Peter Trippi, April, 2012 Crystal Bridges Museum Magazine, Linda DeBerry, September, 2012 NBC, Today in New York, June 17 ARTnews, Gerard Haggerty, February, 2011 New York University Alumni Magazine, Megan Doll, Spring, 2011 Strings Magazine, Rory Williams, May, 2014 ARTnews, Milton Esterow, April 1998 The Robb Report, December, 2002 American Psychologist, Kate F. Hays, December 2013 The Huffington Post, Jesse Kornbluth, November 12, 2010 Art & Antiques - Collectors Sourcebook, Joseph Jacobs, December, 2007 The Daily News, Patrick Huguenin, November 8, 2010 WKCR FM New York, Mahima Chablani, January, 2013 The Artist's Magazine, BJ Foreman, September, 2011 Professional Artist Magazine, Louise Buyo, September, 2011 SELECTED COLLECTIONS The Metropolitan Museum of Art, New York The British Museum, London Crystal Bridges Museum of American Art, Arkansas Israel Museum, Jerusalem Michael Jesselson Laurence Mark Chris Columbus The Toledo Museum of Art, Ohio Richard Brown Baker Collection, Yale The New York Historical Society The City of Amsterdam Martin Margulies Edward Asner The Dubi Shiff Art Collection Michigan Bell Telephone Spencer Museum, University of Kansas Mr. and Mrs. Eric Javits Richard McKenzie, Seven Bridges Foundation Richard Massey Yeshiva University Museum, New York The New York Public Library Hebrew Union College Museum, New York The Museum of the City of New York Staatliche Museen Zu Berlin, Kupferstichkabinett Staatliche Graphische Sammlung, Munich Albertina, Graphische Sammlung Albertina, Vienna Forbes Magazine Collection, New York MTA, New York Robert Shaye Mr. and Mrs. John Gordon Hofstra University Museum, New York Margo Feiden The Brooklyn Historical Society U.S. State Department Lawrence Van Gelder King's College, New York Racine Museum of Art, Wisconsin Gail Levin Estate of H.W. Janson Carol Feinberg and Ken Gilman Reflex Museum of Miniature Art, Netherlands SELECTED EXHIBITIONS: 2014: Touring Solo Exhibition, New York, San Francisco, Los Angeles Tough and Tender, P8 Gallery, Tel Aviv 2012: By the Book, The Israel Museum, Jerusalem, curated by Shlomit Steinberg Painting My Father, Hebrew Union College Museum, New York (solo) 2011: Crystal Bridges Museum of American Art, Arkansas: E.G. Conference (presenter), Monterey, California: Reflex Museum of Miniature Art, Netherlands: From the Hand: Drawings from the Collection, Hofstra University Museum, New York: Dallas Art Fair, Texas 2010 Paintings of Urban Intimacy, Gallery Henoch, New York (solo) Dallas Art Fair, Texas 2009 Art of the Twentieth Century, New York Los Angeles Art Fair, California 2008 Art of the Twentieth Century, New York 2006 The Eye of the Collector, Hebrew Union College, curator Laura Kruger, New York 2005 Yeshiva University Museum (solo), curator Reba Wulkan, New York Impressions of New York, New-York Historical Society, curator Marilyn Symmes, New York Beauty and the Book, The Israel Museum, curator Hagit Alon, Jerusalem 2004 The Art of Sport, The Israel Museum, curator Efrat Natan, Jerusalem The Art of Aging, (national tour) Hebrew Union College, curator Laura Kruger, New York 92nd Street Y, New York (solo) 2003 ACA Galleries, New York (solo) 2002 Summer in the City, ACA Galleries, New York Madison Art Partners, New York (solo) 2000 Cow Parade, New York Art for Embassies Program U.S. State Department 1999 First Annual Realism Invitational, Jenkins-Johnson Gallery, San Francisco 1998 Realism, Amarillo Museum of Fine Arts, curator Jay Fletcher, Amarillo TDI Bus Poster, International public awareness campaign 1997 20th Century Realism, Ogunquit Museum of American Art, Qgunquit Contemporary Realism, Van Der Griff Gallery, Santa Fe 1996 Gallery Henoch, New York (solo) 1995 Virtual Reality, The Armory, New York Picturing New York, The Museum of the City of New York 1994 New York Realism—Touring exhibition, curator Douglass Dreishpoon, Japan 1993 Gallery Henoch, New York (solo) 1992 Urban Realities, Fairfield University, curator Amy Simon 1991 Monochrome/Polychrome, Florida State University Museum, curator Allys Palladino-Craig, Tallahassee Artists Love New York, City Arts, New York Art Cologne, Galerie Ulrich Gering, Cologne Basel Art Fair, Galerie Igne Baecker 1990 Coney Island, Gallery Henoch, New York (solo) Self-Portraits, John Szoke Graphics, New York 1988 Art at the Armory, New York 1987 Contemporary New York Urban Visions, Adelphi University, curator Amy Simon, Garden City, New York Nocturnes and Nightmares, Florida State University Museum, curator Allys Palladino-Craig, Tallahassee Prints in Motion, Associated American Artists, New York Mainstream America: The Collection of Phil Dessing, The Butler Institute of American Art, Youngstown, Ohio Mural Project, Canal Street Post Office, New York 1986 Littlejohn-Smith Gallery, New York (solo) Musee D’Arte Contemporain de Dunkurque, France Pratt/Silvermine International Print Competition, curator William S. Lieberman, Purchase Award, New Canaan, Connecticut 1985 Starved for Art, School of Visual Arts Museum, curator Lowery Sims, New York 1984 Gallery Henoch, New York (solo) 1983 Audubon Artists Annual Stefan Hirsch Award, New York 1981 Gallery Mokum, Amsterdam 1980 Small Works, New York University Washington Square East Galleries, New York 1979 Koopt Kunst, Museum Fodor, Amsterdam SELECTED PERIODICALS: 2014 Strings Magazine, Rory Williams, May Llei D'art, Luisa Noriega, January 2013 American Psychologist, Kate F. Hays, December Empty Magazine (Australia), January 2012 Gula (Brazil), Luara Skrzek, August London Times, Times Literary Supplement, August 31 The New York Times, Marie Elena Martinez, April 15 The Wall Street Journal, Sameer Reddy, April 16 Fine Art Connoisseur, Peter Trippi, April Crystal Bridges Museum Magazine, Linda DeBerry, September American Artist, June City Arts, Valerie Gladstone, April 18 Robb Report (online) May 8 Fathers and Sons: Max Ferguson's "Paintings of My Father," 1982-2011, June 17 Huffington Post, Jeanine Barone, June 17 Worth Magazine, June The Jewish Press Magazine, Menachem Wecker, March 23 2011 ARTnews, Gerard Haggerty, February New York University Alumni Magazine, Megan Doll, Spring The Artist's Magazine, BJ Foreman, September Professional Artist Magazine (cover story), Louise Buyo, September 2010 The Daily News, Patrick Huguenin, November 8 Huffington Post, Jesse Kornbluth, November 12 2009 Logos, (Italy), June 2008 Super Interessante, (Brazil), December New York Spaces, June Focus, (Italy), May 2007 Art & Antiques, Collector’s Sourcebook, Joseph Jacobs, December 2004 In New York, July 2002 The Robb Report, December 2000 Harper’s Magazine, January 1999 The New York Times, May 18 1998 ARTnews, Milton Esterow, April The New York Post, Neil Travis, April 12 The New York Post, Cindy Adams, January 28 Artspeak, Ed McCormack, January The Villager, Jerry Tallmer, January 21 The Dublin Examiner, (Ireland), Sean McCarthaigh, January 8 The Evening Herald, (Great Britain), Smantha McCaughren, January 6 1997 The Forward, May 16 1996 New York Magazine, John Connolly, September 9 The Daily News, Salvatore Arena, September 2 The Forward, Douglas Century, May 17 Where Magazine, Paulette Weiss, May The New York Post, Matt Tader, May 14 The New York Post, Philip Messing, May 8 The Daily News, George Rush, Joanna Molloy, May 3 Our Town, April 25 1994 Hadassah Magazine, Joan Schwartz-Michel, March 1993 Yiddish Forverts, Miriam Schmulevitz-Hoffman, May 28 The Jewish Week, May 21 The New York Post, Jerry Tallmer, April 30 1992 Manhattan Spirit, Tim Cavanaugh, September The New York Times, (Westchester Edition), Vivien Raynor, March 15 1991 The New York Times, (Westchester Edition), William Zimmer, August 4 Art & Antiques, Patrick Pacheco, May 1990 The New York Post, Jerry Tallmer, June 15 Downtown, June 6 The New York Times, Lonnie Schlein, May 27 1987 The New York Times, Richard Levine, December 9 The New York Times, (Connecticut Edition), Phyllis Braff, October 25 The New York Times, Vivien Raynor, August 14 New York Newsday, Scott Ladd, May 11 X Man Magazine, (Japan), Hajima Koyama, March 1986 Arts Magazine, John Loughery, November The New Yorker, September 29 New York Newsday, Stuart Troup, September 3 The New York Times, (Connecticut Edition), William Zimmer, February 16 1981 New Israelitisch Weekblad, (Netherlands), June 26 SELECTED PUBLICATIONS: 2012 Marquis Who's Who in American Art 2011 Art Journey America: Landscapes, North Light Books, Cincinnati From the Hand, Hofstra University Museum, Karen T. Albert, New York Richard Brown Baker Collection, Yale University Art and Freedom VI, Arte Libro Gallery, Spain, 290 pp. Reflex Museum of Miniature Art, Catalogue, Netherlands 2010 Paintings of Urban Intimacy, Introduction by Christian Viveros-Fauné, New York, 32 pp. Yeshiva University Museum: The First 35 Years, Sylvia Herskowitz, New York, 256 pp. 2008 Seven Bridges Collection: The First 15 Years, 389 pp. Intorno Alla Pittura, Dario Lodi, Piccola Bilioteca, Italy, 106 pp. 2006 Going, Going, Gone Paintings of a Vanishing New York, 48 pp. The Eye of the Collector: The Jewish Vision of Sigmund R. Balka Hebrew Union College, Laura Kruger, New York, 220 pp. 40 Years: A Dealer’s Collection, Gallery Henoch, New York, 32 pp. 2005 Impressions of New York, New York Historical Society, Marilyn Symmes, New York, 304 pp. Beauty and the Book, Israel Museum, Hagit Alon, Jerusalem, 24 pp. 2003 The Art of Aging Hebrew, Union College, Laura Kruger, New York, 102 pp Max Ferguson, exhibition catalogue ACA Galleries, New York, 32 pp. 2001 Love: A Celebration in Art and Literature, Edited by Jane Lahr Stewart, Tabori & Chang, New York, 240 pp. 2000 Painting the Town, Paintings from the Museum of the City of New York, Yale University Press, 374 pp. 1999 Monochrome/Polychrome, exhibition catalogue, Jerome Sternn, Florida State University Gallery and Museum, 48 pp. 1996 Great Jewish Quotations, edited by Alfred J. Kolatch, Jonathan David, Inc., New York, 612 pp. Max Ferguson, exhibition catalogue, Gallery Henoch, New York, 24 pp. 1994 New York Realism-Past and Present, exhibition catalogue, Douglas Dreishpoon, Ph.D., 166 pp. (touring exhibition of five museums in Japan and the United States). 1993 Yiddish II, textbook, Mordekhe Schaechter, Yiddish Language Resource Center, New York, 561 pp. 1987 Nocturnes and Nightmares, exhibition catalogue, Allys Palladino-Craig, Florida State University Gallery and Museum, 56 pp. Prints in Motion, exhibition catalogue, Robert P. Conway, Associated American Artists, New York, 12 pp. 1986 International Prints, exhibition catalogue, Pratt Graphics Center and the Silvermine Guild Center for the Arts, William S. Lieberman, Silvermine, Connecticut, 2 1983 Audubon Artists Annual, exhibition catalogue, New York, 16 pp. 1978 Koopt Kunst, exhibition catalogue, Gemeentekunstaankopen, Amsterdam, 264 pp. TELEVISION / RADIO 2013 WKCR FM New York, Mahima Chablani 2012 NBC, Today in New York, June 17 NBC Evening News with Chuck Scarborough, June 5 1996 ABC, New York Views with Roz Abrams, July 1992 ARD Television, (Germany), Brighton Beach, April 1991 National Geographic Explorer Series, The Subways, September Max Ferguson Ferguson Max 3301 B. Eugène Fichel was born on August 30th, 1826 in Paris. A talented young artist, he entered the École des Beaux-Arts at the young age of fifteen, where he eventually became a student of Martin Drolling and Paul Delaroche, the latter a winner of the Prix de Rome and whom he would most consistently cite as his master. Given his very young age and the rigorous training necessary as a student of the École des Beaux-Arts, Fichel did not exhibit his first painting until the 1849 Parisian Salon, where he showed Sainte Famille (Holy Family), Portrait de Hadji-Add-Hamid-Bey (Portrait of Hadji-Add-Hamid-Bey), and Portrait de M.L. (Portrait of M.L.). Fichel became a prolific Salon artist, beginning with many portraits, but later exhibiting, consistently and unwaveringly, historical and genre scenes inspired by the eighteenth century. Fichel chose to submit many historically-oriented works to the Salon, at that point considered the most elevated subject matter, such as his 1867 Salon entry “Ouvrez au Nom du Roi” (“Open in the Name of the King”). As his Salon career progressed, Fichel began submitting more often the types of intimate genre scenes influenced by Dutch painting, such as his 1883 Joueurs des Cartes (Card Players) and his 1888 Le Dejeuner (The Luncheon). While critics took notice of Fichel’s contributions to the annual Salons, it was Fichel’s similarities to another artist of high stature, Ernest Meissonier, that drew the majority of the comparisons. Since Meissonier was considered by some to be “the first French artist to become celebrated in miniature genre,” and “the most conspicuous artist of the entire French school,” (C.H. Stranahan, A History of French Paintings, New York: Scribner’s & Sons, 1888, pg. 335), it is natural that many later artists with similar stylistic propensities would fall under the banner of the “school” of this master. Many contemporary accounts of Fichel’s work do not concentrate exclusively on Fichel’s production, but more so at his relation to the work of this artist. The two men often treated very similar themes, notably the artist in his studio, a prominent inclusion in both artists’ production, in addition to historical scenes, each looking back to the eighteenth-century historical and genre scenes. During his career at the Parisian Salon, Fichel was awarded several awards and continued to exhibit there until his death in 1895. He was awarded a third class medal in 1857 for Une Matinée Dramatique (A Dramatic Morning), a portrait painting, and two other works; a mention in 1861 for several works including La Première Leçon d’Armes (The First Weapon Lesson), Chanteurs Ambulants Dans un Cabaret (Traveling Singers in a Cabaret), and Baptême de Mlle Clairon (Baptism of Mlle Clairon); a medal in 1869 for La Nuit de 24 août 1572, avant les massacres (The Night of August 24th, 1572, before the massacres), and Le Fou qui Vend la Sagesse (The Insane who sells Wisdom) – based on a fable by La Fontaine; and a silver medal at the 1889 Exposition Universelle. He finalized his exhibition career with Au Café (At the Café) and Partie des Dames (Ladies’ Departure). Fichel achieved one of his highest honors in 1870 when he was named a Knight of the Legion of Honor. At the end of his career he had achieved, “an envied place among the genre painters of the French school of the nineteenth century.” (Zafran, 42). He died in 1895 in Paris. Fichel’s work is a reflection of many of the values in academic art of the nineteenth-century: reliance on the tutelage received at the École des Beaux-Arts, adherence to the principles of flawless execution, treatment of varied historical themes, and an interest in both eighteenth-century themes and those reminiscent of Dutch masters – found in both historical and genre scenes. Fichel’s work can be found in many of France’s museums, including the Musée Magnin and the Musée des Beaux-Arts in Dijon, and the Musées des Beaux-Arts in the cities of Lille, Rennes, Rouen, and Bordeaux. 1826 - 1895 Benjamin Eugene Fichel Fichel Benjamin Eugene 1937 Hazel Finck is listed as having studied with Guy Wiggins and with Sigismund Ivanowski, a Russian born artist, who was active in Mountainside, New Jersey. Finck lived in Westfield, NJ and was very active in that state's art activities. She held membership in and exhibited with the Newark Art Club, Irvington Art and Museum Association, Plainfield Art Association, New Jersey Gallery of Art and the Westfield Art Association. On a national level she was a member of the American Artists Professional League and the Art Student League of New York. Her works were included in the exhibition of American art at the 1939 World's Fair and in exhibits at the Connecticut Academy of Fine Arts, the National Arts Club and with many other organizations. During her career she was a teacher at the State Teachers College in DeKalb, Illinois and examples of her work are included in their collection. 1894 - 1977 Hazel Finck Finck Hazel 3179 Augusta Finkelnburg was born in Fountain City, Wisconsin in 1863 of Prussian parents. She would spend most of life in St Louis, Missouri where she died in 1942. Finkelnburg studied at the AIC, Pratt Institute, with Robert Reid, Willard Metcalf, Herbert Snell, Henry Adams, Arthur Dow, and in Paris at Académie Colarossi, Italy, Holland, and England. An Impressionist, she used small brushstrokes and a colorful palette to create landscapes and still-lifes. In 1915, Finkelnburg exhibited at the St Louis Art Museum; at the Missouri State Fairs. She also exhibited at the St Louis Art League in 1930 and 1933 (solo). Museum and Public collections: Washington University; State Teachers’ College (Winona, MS) Chicago Art Institute, Chicago DeYoung Museum, San Francisco Listed: Edan Hughes, "Artists in California, 1786-1940" Census; Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs (Bénézit, E); American Art Annual 1919-33; St Louis Globe Democrat, 7-31-1932; Women Artists in America (Collins & Opitz) 1936-41. Dictionary of Painters, Sculptors and Engravers Who's Who in American Art 1938-39. The photo is of Augusta in her studio with her daughter. 1863 - 1942 Augusta Finkelnburg 1 Finkelnburg Augusta 3073 Harry Finney (19th century American) There is little known about Philadelphia painter Harry Finney. Like John Singer Sargent, Daniel Ridgway Knight and James Mc Neil Whistler, Finney is considered an American-expatriate a portrait, landscape and genre painter. He exhibited at "The Lunch" no. 125 in 1888; "L'aprés-midi au Bois, Paris, no 64 in 1890 and "Mademoiselle BéBé, no. 98 in 1896/97 at the Pennsylvania Academy if Fine Art. Finney studied at the Beaux-Arts Academe under Jules Lefebvre. He also exhibited "Reverie" at the Paris Salon of 1890, cat no. 916 (see American Art at the Paris Salons, by Lois Maire Fink, Publisher, Cambridge University Press, 1990, pg. 342 Listed: The Annual Exhibition Record of the Pennsylvania Academy of Fine Arts 1876-1913 American Art at the Paris Salons, by Lois Maire Fink, Publisher, Cambridge University Press, 1990, pg. 342 19th Century - unknown Harry Finney Finney Harry 1960 Marie Francois Firmin-Girard was born in Ponsin (Ain) 0n May 29, 1838 and died in Montiçon on January 8, 1921. Firmin-Girard's arrival in Paris on October 1854 to enroll at the Ecole des Beaux-Arts could not have been at a better time. At a surprisingly early age, Firmin-Girard became a frequent the ateliers of Gleyre and Gérôme. The acceptance of academic genre, landscapes, historical subjects and portraits were at their all time height when, Firmin-Girard debuted at the Paris Salon of 1859 with Saint Sébastian. Firmin-Girard would continue to exhibit at the Salons with incredible praise for his fine genre, historical landscapes and portraits. He would win the prix de Rome in 1861 and was awarded medals at the Salon of 1863 for Apres de bal, Mort de la princess de Lamballe (1865), Marchande de fleurs (1872), Toilette japonaise (1873), Réverie, Les fiancé, la peche (1874, second class medal). Additional notable paintings and successes were; Noce au XVIII siécle, (1879), Baptéme au XVIII siécle (1883), Boeufs charolais au ferrage (1886), Un puits mitoyen (1890), Sur la terrasse, á Onival (1896), Le carreau des halles (1901), Cháteau de Gatelier, autumne (1905), Boulangerie charolaise, Intérieur picard (1908) and Les gaufres (1909). He was awarded a bronze medal at the l'Exposition Universelle of 1900 with Le Quai aux Fleurs and Berger d'Onival. Firmin-Girard became one of the most noted and successful painters in Paris during his life. Museums: Avignon Paul Vayson (portrait) Bourges Un marriage in extreis Helingsfors Une rue de Paris Mayenne Un soir au bord de la mar Listed: E. Benezit Etc. 1838 - 1921 Marie Francois Firmin-Girard Firmin-Girard Marie Francois 1936 Born in New York, Fisher studied art at the Pratt Institute in Brooklyn. Specializing in watercolor she became an accomplished and well-known artist. Her professional memberships included the American Water Color Society, New York Watercolor Club, National Arts Club and the Louis Comfort Tiffany Foundation where she served as a member of the board. She was elected an Associate Member of the National Academy of Design in 1920 and elevated to full membership in 1932. She exhibited extensively with many of these organizations receiving numerous prizes for her work. In addition she regularly participated in exhibitions of the Baltimore Water Color Club and at Grand Central Galleries in New York. For over 40 years Fisher taught in the Pratt Institute Art School where she had received her professional education. 1873 - 1942 Anna S. Fisher Fisher Anna S. 1615 William Crother Fitler was born in Cincinnati, Ohio in 1857. He specialized in American landscapes. His wife Mrs. W.C. Fitler, was the famous painter who used the name of a man (Claude Raguet Hirst) to sign her pictures. She did this so she would not have the female stigma that followed women painters of her time. C.W. Fitler painted though out the Northeast and became very fluid in the Watercolor medium. His studio was located in New York City. Listed: Thieme-Becker Mantle Fieldings Who was Who in American Art Exhibited: National Academy of Design, 1880-1907 Pennsylvania Academy of the Fine Arts, 1879-1898 Art Institute of Chicago, 1889-1911 Albright Art Gallery, Buffalo, NY, 1908 Member: Salmagundi Club, 1881 New York Watercolor Club Kit-Kat Club Brooklyn Art Association Artist Fund Society, NYC New York Municipal Art School 1857 - 1915 William Crother Fitler Fitler William Crother 3135 Lionel Fitzgerald was best known as the "Painter of the Prairies," even though he painted mostly in his immediate surroundings. A member of the Group of Seven, Fitzgerald was born in Winnipeg in 1890. He spent his summers on his grandmother's farm in the south of Manitoba where he developed his love of prairies. He left school at fourteen and worked for a wholesale druggist before feeling the urge to draw and become a full-time artist. He studied art in Winnipeg, New York and Pittsburgh and later taught at the Winnipeg School of Art in 1924. The National Gallery purchased a scene of "Late Fall, Manitoba" in 1918, and his work was mostly known from being in shows. Fitzgerald was invited to join the Group of Seven in the summer of 1932 as the only western Canadian painter of the seven artists that comprised the group. His location and his different approach to landscape painting put Fitzgerald on the periphery of the Group. He never exhibited as a member of the Group of Seven, but in 1934 he became a founding member of the Canadian Group of Painters. 1890 - 1956 Lionel LeMoine FitzGerald 1 FitzGerald Lionel LeMoine 3127 John Fulton Folinsbee was a landscape painter and leading member of the circle of artists known as the New Hope School of American Impressionism. Born in Buffalo, New York, in 1892, Folinsbee began his artistic training with Jonas Lie in 1907. From 1912 through 1914, he attended the Art Students League summer sessions in Woodstock, New York, where he studied landscape painting with Birge Harrison and John Carlson. In 1914, he attended the school's main campus in New York City where he studied with Frank Dumond. Folinsbee was the recipient of many prestigious awards, including the Isadore Prize, Salmagundi Club, 1920; the Bronze Medal and Third Clark Prize, Corcoran Gallery of Art, 1912; the First Hallgarten Prize, National Academy of Design, 1923; Philadelphia Sketch Club Medal, 1923; Charles Noel Flagg Prize, Connecticut Academy of Fine Art; Bronze Medal, Sesquicentennial International Exposition, Philadelphia, 1926; the Jennie Sesnan Gold Medal, the Pennsylvania Academy of the Fine Arts, 1931; the First Altman Prize, National Academy of Design, 1941 and 1950; the Grand Central Gallery Landscape Prize, 1944; and the Century Association Medal in 1951 and 1963. He became a full member of the National Academy of Design in 1928 and also held memberships in the Allied Artists of America, the Salmagundi Club, and the Connecticut Academy of Fine Arts. John Folinsbee's paintings are in the permanent collections of the Corcoran Gallery of Art and the Phillips Collection, Washington D.C.; the Pennsylvania Academy of the Fine Arts, Philadelphia, PA; the National Academy of Design, New York, NY; the Everson Museum of Art, Syracuse, NY; and the Art Museum of Princeton University, Princeton, NJ, among many others. The artist died in 1972. 1892 - 1972 John Fulton Folinsbee 1 Folinsbee John Fulton 3085 Foote was born on June 29, 1874 in Grand Rapids, Michigan, and died on January 27, 1965, in Sarasota, Florida. He was in Old Lyme, 1901-65; and in Cos Cob, 1903. Will Howe Foote was one of the earliest artists at Old Lyme and one who adopted the town as home. He first went there the summer of 1901 with his uncle, William H. Howe, a painter of cattle, who had been told about the beauties of the countryside by Henry Ward Ranger. Foote had himself heard of Old Lyme when he had met Clark Voorhees in France. He and his uncle were both from Grand Rapids, Michigan, where Foote's father was an executive in the furniture industry that made the city famous. Encouraged to be an artist by his father, he began his professional training at the Art Institute of Chicago in 1894. He became friends there with a fellow Michigan student, Frederick Frieseke, who would study with him again at the Art Students League in New York, where Foote worked in 1895-96 under H. Siddons Mowbray and Kenyon Cox. In 1897 he and Frieseke went to the Academic Julian in Paris, where Foote studied under Jean-Paul Laurens and Benjamin Constant. He was at Julian's until 1900, except for an Italian trip, summers at Laren, Holland, or Etaples, France, and a short period at Whistler's school in Paris. He exhibited twice at the Old Salon, and when he returned to the United States in 1900, he had a one-man exhibition in his hometown. Will Howe Foote's paintings were well received on his return from abroad. He exhibited frequently at the National Academy of Design and became an associate member in 1910. His awards included a bronze medal at the St. Louis Exposition in 1904 and a silver medal at the Panama-Pacific Exposition in San Francisco in 1915. Once he visited Old Lyme, Foote returned every summer. In 1902 he was hired as assistant to Frank DuMond at the Lyme Summer School of Art, which was sponsored by the Art Students League of New York. Sometime in 1903 he also taught a session in Cos Cob. After 1906, when the League moved its Lyme classes to Woodstock, New York, Foote continued in Old Lyme as a private instructor. In 1907 he was married to Helen Kirtland Freeman, whom he had met a year or two earlier when she had come to the Lyme art colony as a student of Henry Rankin Poore. Fellow artist William Chadwick was best man at the wedding. The Footes began building a house on Sill Lane in Old Lyme and upon its completion in 1909 spent every spring, summer and fall there, where Foote devoted full time to painting. The Gregory Smiths, old friends from Grand Rapids, arrived in Old Lyme in 1910 and became neighbors. Foote's early works in Connecticut, such as A Summer's Night reflect the artist's interest in soft, atmospheric scenes dominated by a single, overriding tone. The arrival of Childe Hassam and Walter Griffin influenced Foote as it did many other Old Lyme artists, and his palette consequently lightened, becoming at times as high key as in Summer. Throughout his experimentation with light and color, however, Foote's interest in form, mass, and simple geometric arrangements continued. Considering that he lived there so long, Foote painted the Old Lyme countryside relatively little. He was not fond of working with green, a color omnipresent in Connecticut in summer. Furthermore, he disliked New England winters so much that he avoided nearly all of them, favoring the Caribbean, Mexico, or the American Southwest. Though his work had been included in a Macbeth Gallery exhibition in 1914, Foote, who had money of his own, never had nor wanted a dealer. When sales of his pictures fell off badly during the 1920s, Foote declined invitations to exhibit in museums and galleries, feeling it not worth the trouble and expense of crating and shipping. After 1933 he exhibited only at the annual exhibitions of the Lyme Art Association. He continued to experiment with subject matter and technique, but he destroyed all but what he judged to be his best work. Foote was the last survivor of the original Old Lyme group. He had been active in the town's civic affairs as well as in its art colony. He was a charter member of the local volunteer fire department. He died in 1965 at ninety years of age and is buried next to his wife in the Duck River Cemetery in Old Lyme. After his death, memorial exhibitions of his work were held both in Grand Rapids and in Old Lyme. In 1978 S.K.T. Galleries of New York organized a Foote retrospective that travelled to the Lyme Historical Society the following year. Further reading: Foote, Will Howe. Personal interview. Old Lyme, September, 1934. Transcript, Lyme Historical Society Archives. Smith, Ann Youngdahl. "Will Howe Foote, American Impressionist.- American Art Review, (forthcoming in 1989). Will Howe Foote 1874-1965. Exh. cat., S.K.T. Galleries, New York 1874 - 1965 Will Howe Foote 1 Foote Will Howe 2802 Fortuney was born Leon Ernest Fortune on October 14, 1875 in Argeliers (Aude), France and died on March 3, 1951 in Cannes. He is considered a painter and pastellist from the French School. Fortuney lived most of his life in the South of France. He was a close friend and student of Pierre Auguste Renoir (1841-1919). According to the artist’s grandson, most of Leon Ernest Fortune's pastels are signed Fortuney. However, adding to the confusion, he also used the name Andrieux for reasons unknown. Museums: Musee de Metz, “portrait of Valaine” Listed: E. Benezit, vol. 4, pg. 446 Comanducci, Dizionario Universale 1875 - 1951 1 Leon Ernest Fortuney Fortuney Leon Ernest 1983 Emile-Louis Foubert was born in Bayonne in 1848 and died in 1911. He is considered a landscape, portrait and allegorical painter from the French school. Foubert began his formal art training at the l’Ecole Municipale in Bayonne with figure painter Leon Joseph Florentin Bonnat (1833/44-1922). He continued his studies with Charles Busson and then with landscape painter Henri Leopold Levy (1840-1904). Levy's influence, balanced with that of Corot and Millet, would mold Foubert’s landscape style forever. Emile-Louis Foubert exhibited at the Paris Salons from 1875 to 1880. At the Salon of 1879, Foubert was awarded honorable mention and was awarded third class in 1880. He initially exhibited Portraits, religious allegories and mythological nymphs. Foubert’s more noted works at those exhibitions were "Le chatiment de Caiphe", "Hesiode et la Muse", "Le Christ à la Colonne, and Nymphes et faune." Foubert debuted at the Societe des Artistes Francais in 1884 and was awarded a second class metal at the exhibition of 1885, a bronze metal in 1889 and silver metal in 1900. Listed: E. Benezit,vol. iv, pg. 454 Dictionary of National Biography, London Thieme, U., and Becker,F. Allegemeines Lexicon Dictionaire des Petit Maitres de la pienture 1820-1920, vol. 1, pg.439, illustrated Dictionaire des peintres paysagistes Francais au XIXe siècle,Linda Harambourg, pg. 151. Museums: Musee Compiegne "Un bras de la Seine" Musee Bayeux Portraits: Corot and Millet Musee Vivenel "Bras de la Seine a Verheuil" Musee Saint-Etienne "Saint-Jean dans le desert" 1848 - 1911 Emile Louis Foubert Foubert Emile Louis 2076 John Bond Francisco was born in Cincinnati, Ohio on Dec. 14, 1863 and died January 8, 1931 in Los Angeles, California. He was a serious student of both the violin and painting. To begin his formal training, Francisco would travel to Munich to continue his studies in music and begin painting under Nauen Schule at the Berlin Academy. He would then spend several years in Paris studying painting. Francisco was accepted to study at the Academie Julian under French masters William A. Bouguereau, Gustave Courtois, and Robert-Fleury. He was then accepted at the Academie Colarossi to study under Thomas Couture and Jean Andé Rixens. The disciplines he developed during this important period of his young career would aid him becoming one of California’s most important artists. In 1887, after completing his European studies J. Bond Francisco would travel to California and settle in Los Angeles. He became a major cultural figure, performing as a violinist, painting, teaching and entertaining in his home ans studio, which he build at 1401 Albany Street. Combining an art and music career, Francisco helped form the Los Angeles Symphony Orchestra in 1897 and served as their first concertmaster. His first exhibition in Los Angeles in 1892 was almost exclusively figural studies reminiscent of his Julian Academie days in Paris. An outstanding painting "The Sick Child" (See Smithsonian’s National Gallery "The Critics Choice") and "In the Garden" (below - Bell Wright Museum) were "notable for clear drawing, beautiful textures and skillful painting…" In 1899, he opened his academy of art and while continuing studio painting (figural and portraits) he began to experience the lure of California’s countryside. Initially, Francisco incorporated his Munich technique with that of the Barbizon’s influence to produce paintings of California deserts and mountains that held dramatic light and shade contrasts. He and his pupil Elmer Wachtel would hitch up a team and drive out for a day’s painting, often accompanied by students or colleagues. His love of the mountains led him into membership in the Squirrel Inn Club, which owned considerable acreage in the virgin timberland of San Bernardino ranges. Here members built their own cabins and here Francisco hunted, fished and painted. As he concentrated more and more on California landscape, the Barbizon style brightened into the lighter palette of impressionism. Critical comment published in 1935 claimed, "He introduced into Southern California something of the grandiose manner and the panoramic subject matter of the early San Francisco group." In 1906, the Santa Fe Railroad recognized his talents as a landscape painter and commissioned Francisco to paint a series of scenes of the Grand Canyon to be used to promote the region and the railroad. Millier wrote that in his later years, Francisco "…felt more strongly the spell of the desert, painting its blue distances and warm yellow light in New Mexico, Arizona and California, enjoying the opportunity it gives to work in clear, limpid color and atmosphere." Published notices show that he exhibited frequently for three decades, and his paintings sold well, commanding high prices. J. Bond Francisco was a participant in art community both locally and internationally. He was a member of most of the California’s art organizations, served on the Chicago World’s Fair jury in 1893, and was invited as a guest to visit the American Artists’ Club in Munich and in return he hosted their visit at his Albany Street home and studio. Francisco’s home became the social, artistic, and theatrical mecca for all of Los Angeles. Every notable musician, artist, editor and actor who came to Los Angeles was entertained in the spacious warm Francisco home and studio. Celebrities like Sarah Berhardt, Victor Herbert, and Lillian Russell were frequent guests at the grand parties hosted by the artist and his wife. Member: Laguna Beach Art Association; Los Angeles Art Association; Painters & Sculptors of Los Angeles, Southern California Art Association. Exhibited: California Building, World’s Columbian Exposition and Chicago, 1893. Museum: Los Angeles County Museum; University of California at Los Angeles Listed: American Art Annual; Who’s Who in California; Who’s Who in the Pacific Southwest; Plein Air Painters of the Southland, by Ruth Westphal; Artists in California 1786-1940, by Edan Milton Hughes, vol. II, page 190; Dictionary of American Painters, Engravers & Sculptors, Mantle Fielding; Southern California Artists, by Nancy Moore; E. Benezit ; Art Across America, Two centuries of Regional Painting, by William H. Gerdts, Vol. III. 1863 - 1931 John Bond Francisco Francisco John Bond 2085 The following is from Christy Campbell whose source is Grace Quinlan Frankl Campbell, step daughter of the artist: Walter H. Frankl was born March 23, 1888 in New York, NY, during the famous "great blizzard", to an Austrian and German Jewish immigrant family. He studied drama and art in Paris in the early 1900's. After completing his studies in Paris, Frankl would return to New York where he initially pursued theater and acting. -The first artistic rebellion of the 20th century was the emergence of “The Eight”, a group of eight artists who showed their work together in 1908 in New York City’s Macbeth Gallery. Their rebellion against the subjects considered proper both excited and inspired Walter Frankl to pursue painting more seriously. In 1914, he rented a studio at 126 Washington Place which was practically next door to the famed studio of Gertrude Vanderbilt Whitney in MacDougal Alley. Frankl, who was one of the original “Washington Square Players”, continued with his acting but his painting was taking up more and more of his time. He began experimenting with portraits of characters he met in the Bowery and in Harlem like “Portrait of a Young Man” and “Harlem Blues”. However, the greatest influence would come in 1913 at 69th Regiment Armory Show featuring 1300 paintings by American and European artist and from that point on painting became Frankl’s passion.- The inspiration for Walter Frankl’s painting “In the Garden” came from two paintings that were being exhibited in 1914 at the National Academy of Design by American Impressionist Frederick Frieseke. Frieseke’s influence would help young Frankl become more of a colorist which would remain with him for the rest of his career. Just prior to the outbreak of World War I, Walter Frankl would meet the love of his life, Antoinette "Janet" White. Unfortunately, his romance and his painting career would be interrupted by WWI. He enlisted in the army and spent most of the war in France where he fought in one of the war’s fiercest engagements with the Germans at Chateau Thierry, a battle that lasted for forty-one days of continuous action (May 31st to July 10th). Walter Frankl returned to the United States broken hearted because Janet White, the love of his life, had married another man. He would soon meet Katherine Townsend Chapman, a wealthy Cooperstown socialite who took him in as her friend and protégé. In 1922, after hearing that Janet White’s husband had passed away, Frankl renewed their relationship and they were married in 1923. Janet and Walter remained close to Katie Townsend spending their summers on her Brookwood Farm in Cooperstown, where Walter maintained studio. Struggling to make ends meet, the Frankls briefly lived in Westport, Connecticut and then moved to Greenwich Village in New York City. Since they couldn’t afford to pay rent, their friends loaned them their apartments while they were away. However, this arrangement of constantly moving made things worse because he didn't have a place to paint. The Frankls finally rented their own apartment on a 5th floor walk-up of 217 W. 10th Street, where they would live for several years. Walter Frankl began exhibiting at the National Academy of Design with limited success. He also began exhibiting at Milch Gallery, which was one of the few galleries in New York specializing in American art. This prestigious gallery represented America’s most important and successful artists (Chile Hassam, Ernest Lawson, Louis Ritman, Thomas Moran, John H. Twachtman, etc.), but times were difficult for most artists living in the city and for an unknown, it was impossible. With the ending of WWI, the world and its appreciation for art had changed. Life as an artist had become even more challenging and confusing then ever. Walter Frankl had survived WWI, the Stock Market crash of 1929 and the depression. Finally, his hard work was beginning to pay off. He and his paintings that were hanging at Milch Gallery and his exhibits at the National Academy were being mentioned in the American Art Annual (1898-1933). He had received several commissions from his admirers in Cooperstown to paint portraits of their children. This wasn’t the success he had strived for but it was a start. Rather then moving to Cooperstown, the Frankls would remain in the city determined to maintain a studio in New York to take advantage of recent appreciation for his work. Walter traveled to his studio on Brookwood Farm alone to complete his commissions leaving Janet in New York with his mother. She didn’t like traveling or staying in hotels which was fine with him because he was able to move around Cooperstown society as a bachelor. He usually stayed at the Tunicliff Inn which put him in the center of town. He loved Cooperstown and its families, their stories, their history and their relationships. He was also a real charmer and he loved the ladies, who also loved him. As he grew older, his portrait commissions of the Cooperstown’s children were done from photographs rather than life. Although, Walter Frankl never achieved the success he wanted or deserved, he was able to fulfill his passion and dream of becoming a respected artist. On May 17, 1963, Walter Frankl would die of cancer in New York City. Afterwards, four of his lady admirers came to call on Janet, who was then living at 1486 Second Avenue, over a fish market. 1888 - 1968 Walter H. Frankl 1 Frankl Walter H. 2900 Alexander Fraser, son of painter Alexander George Fraser, Sr., was born January 12, 1828 in Woodcockdale near Linlithgow, England and died May 24, 1899 in Mussel burgh. Fraser is considered a premier Scottish landscape painter. Fraser received his initial art training at the Trustees Academy. Until 1857, his subjects were mainly of Scottish landscapes. In 1858, he became an associate member of the Royal Academy (ARA) and a member of the Royal Academy (RA) in 1862. During this period, Fraser would visit Wales, where he focused mainly on landscapes of the Welch countryside. Upon his return to Scotland a few years later, Alexander Fraser, Jr. would begin to paint some of his greatest works using the Cadzow Forest and the Lock Lomond as a backdrop for his landscapes. During the period between 1869 and 1885, he painted in Surrey and for the last fifteen years of his life, he painted is Scotland. Fraser especially liked to use warmth of a Scottish summer as the season and with high noon as the time of the day for his landscapes. Alexander Fraser exhibited at the Royal Academy from 1869 to 1885. Museums: Victoria and Albert Museum, London Edinburgh Museum Listed E. Benezit, volume V, page 507 The Royal Society of British Artists 1824-1893 and The New English Art Club 1888-1917 The Dictionary of Victorian Painters, 2nd Edition, Christopher Wood 1828 - 1899 Alexander Fraser Fraser Alexander 2049 Léon Frédéric was one of Belgium’s most famous Symbolist painters. He was born in Bruxelles on August 26, 1846 and died in 1940. As a highly precocious student, he would begin his formal art studies the renowned Belgian teachers Jules van Kersbilck and J. F. Portaels at the Beaux-Arts Academie. In 1866, he would have his debut exhibition and was awarded the Prix de Rome. Frédéric would then leave Bruxelles to study. He would travel through out Italy for the next two years visiting and studying in the ateliers and museums in Rome, Florence Venice and Naples. On his return to Bruxelles, Frédéric would first be invited to exhibit at the Salon de Bruxelles and then at Cercle d’art l’Essor. He was also invited to participate in salon exhibitions in Gand, Liege, Munich, Nice and Paris. In the beginning, Frédéric’s style was broadly naturalistic but by the end of the 1880s, he had come under the influence of the French Symbolists. His landscapes of this period showed their influence and a definite change toward a new direction. The influence of English Pre-Raphaelites was also evident in new works because they were filled with symbolistic themes and subjects. He would use titles such as ‘La source de vie’ (1890) now in the Musée Royaux des Beaux-Arts, Bruxelles. However, he still painted in the detailed manner of his first master’s teachings. By the end of the 19th century, Léon Frédéric’s themes and style had turned away from such overtly symbolist topics and his handling of paint had loosened. He had adopted a more Post-Impressionistic palette and began to concentrate on painting interior scenes, landscapes and flower subjects. In 1891, Léon Frédéric was appointed to be Chevalier l’Ordre de Léopold and won medal at an exhibition in Berlin. He would be awarded a bronze metal at the 1889 and 1890 Universal Exposition. The French State purchased his 1885 painting ‘La vieille servante’. Museums: Anvers: "Les Boechelles" Bruxelles: "Le Clair de lune" (triptych) "Les Ages du paysan" "Retour de la processon" Gand: "Le repas des funérailles Liége "Enterrement d’un paysan" Listed: E. Bénézit, vol. IV, page 510 Thieme-Becker Lexicon 1846 - 1940 Leon Henri-Marie Frederic Frederic Leon Henri-Marie 3368 John French (1936-) Although born in Waco, Texas, in 1936, most of John French's boyhood years were spent in West Texas and New Mexico. There he grew to appreciate the rustic, weather-beaten cowboys and Navajo Indians that lived there. He learned about their native lands, traditional ways of life, and their animals. French's only art training was self-taught as a child, starting with colored chalk, then water colors, oils, and acrylics. He graduated from Waco Tech High School in 1954, and then married his high school sweetheart, Wanda Burns. When Uncle Sam sent his "greetings," French joined the Air Force for four years, stationed in Laredo, Texas. They returned to Waco in 1958 with their two-year-old son, Jeff, and the following year their daughter, Deana, was born. Throughout the '60s, French worked as an auto mechanic during the day, and painted in his spare time. In 1960, both Jeff and Deana were diagnosed with A-T (a genetic disease) Deana passed way in 1968, and Jeff in 1971. It was around this time that French decided to become a full-time artist. Six years later, after twenty-three years of marriage, Wanda died of asthma. French now lives in Ross, Texas, with his second wife, Donna, whom he married in 1978, their daughter Jennifer, and their mule, horses, dogs, cats, sheep, and cattle. French's subject matter varies from fine colonial mansions to crude settlers' cabins, from all types of wildlife to peaceful Texas landscapes. The same themes and variety appear in his bronzes. All his work has had many hours spent on research to assure historical accuracy. Many of his paintings are from his experience as a ranch worker and working teams of horses and mules. French's work is known throughout the United States and most of Europe and Asia. Some of his paintings that are on permanent display can be seen in the International Bank of Japan in Tokyo and the Texas Rangers Museum in Waco. He illustrated the book Women of Texas and he painted the picture from which the poster and bookmark for the National Library Week were made. One of French's paintings is on the cover of the Texas Rangers Museum Catalog book. He also painted the commemorative painting of the original meeting house of the Texas Farmers Union hanging in the National Office. One of his bluebonnet paintings was presented to the First Lady Rosalynn Carter by the Texas Chapter of MHMR. He was featured in the gallery section of the Western Horseman magazine. French was one of thirty-five western artists chosen nationwide to participate at the Pendleton Round-up Art Show in Oregon. Collectors of his works include well-known politicians, movie stars, professional athletes, coaches, and Arabian dignitaries. John French French John 1959 William Karel Anthonius Frerichs (he was to Anglicize his names later upon moving to the United States) was born in Ghent, then part of The Netherlands, on March 2, 1829. From the ages of six through fourteen, he attended the Royal Academy at The Hague, studying art as part of his regular curriculum with Andreas Schelfhout and Bartholomeus J. van Hove, two forerunners of the "Hague School." For the next three years he attended the University of Leyden in preparation for a medical career, but he returned to the art school at The Hague in 1846, graduating with honors the following year. From 1847 to 1849, he continued his professional art training at the Royal Academy of Brussels, and then spent a year traveling in Europe, until Major August Davasae, the American Charge d' Affaires at The Hague, suggested that Frerichs begin his career in the United States and provided him with letters of introduction to that end. Thus, in 1850 Frerichs arrived in New York, fully trained as an artist in the Dutch tradition. For four years, he live in Manhattan, exhibiting once at the National Academy of Design in 1877, the same year he was elected to the New York Sketch Club (thereby demonstrating an affiliation with the Hudson River School landscape painters). In 1854, he married and accepted a teaching post as Professor of Arts and Languages at Greensboro Female College (now Greensboro College) in North Carolina, a post he assumed in 1855. While portraits were among Frerichs' earliest recorded paintings, he soon discovered an untapped trove of landscape subjects in the North Carolina Mountains. Despite the difficulties of access and occasional thefts by Indians of his paintings and supplies, Frerichs thus became the first painter to explore and give pictorial definition to the gorges, waterfalls, and foliage of the Blue Ridge around the French Broad and the Sauratown Range. His early preference, particularly, for waterfall scenery, while comparable to the interests of Thomas Cole and John F. Kensett, also reflects Frerichs knowledge of Ruisdael and other Dutch masters of the seventeenth century. In 1863, Greensboro College was destroyed by fire, and along with it, Frerichs' entire art collection. He was then invited to teach at Edgewood Seminary and, when the seminary was taken over as a hospital for Confederate troops, at Quaker College in New Garden, North Carolina. While at New Garden, he was appointed to special duty as an artist with a Confederate corps of engineers inspecting the iron mines and works of the Sauratown range. After being taken, prisoner-and released-three times, Frerichs decided to evacuate himself and his family to the North. They arrived ill and penniless in New York in the late winter of 1865. From 1865 to 1869, Frerichs maintained a studio in Manhattan, while living first in Jersey City and then in Morrisania. They then moved to Tottenville, on Staten Island, where they became neighbors of Jasper Cropsey, William Page and Christopher P. Cranch. Frerichs continued traveling in search of landscape subjects, for his paintings record he features of the Connecticut River Valley, the White fountains of New Hampshire, the Hudson River, and even Quebec. He also painted marines, animal (especially cattle) subjects, and winter skating scenes, in all three strongly reflecting his Dutch precedents and training. In 1880, Frerichs moved with his second wife (his first had lied in 1814) to Newark, New Jersey, where he was to remain a resident for twenty years. In 1900, he returned to Tottenville to live with his eldest son, although he maintained a mailing address in Newark until 1902. He died in Tottenville on March 16, 1905. Literature: Art And Artists of the South, Bruce W. Chambers, Ph.D. Exhibitions: "A Retrospective Exhibition", North Carolina Museum of Art, Raleigh, N.C., 1974 1829 - 1905 William Carl Anthony Frerichs Frerichs William Carl Anthony 3173 Carl H. Frezell was born in 1901 in Hurley, Wisconsin. He was largely self-taught, having attended commercial art classes in Chicago for only three months and a correspondence art school in Washington, D.C. The WPA Bessemer Courthouse boardroom mural is his only known commission and there is no indication that he participated in any gallery exhibitions; however, small easel paintings – family portraits, landscapes, waterscapes and floral arrangements – were in his family’s possession at the time of his death. A working class man, Frezell delivered boxes for the Railway Express in Ironwood, Michigan and operated a 1,000 foot cable in the iron mines in Hurley, Wisconsin. In 1954 he and his wife moved to Detroit where he worked as the maintenance engineer in the apartment building in which they lived. Frezell died of cancer in 1970. 1901 - 1970 Carl H. Frezell Frezell Carl H. 2044 (In Hungarian: FRIED PAL) was born in Budapest 50 years ago. Pal Fried studied in Paris under Lucien Simone and was greatly influenced by the French impressionist School of August Renoir and Edgar Degas. This is clearly recognizable in the bold loose style that he developed and used in his paintings. After many years of traveling in Spain and Africa, Pal Fried had widened and enriched his palette. He had developed a very original style and mastered the use of light and movement in his wonderful impressionistic canvases. He eventually returned to Paris and focused his studies toward portraiture and figure painting. Fried Pal debuted at the Paris Salon with portraits and nude studies. After several very successful exhibitions, he began receiving commissions for his very painterly portraits. Fried Pal was incredibly versatile and prolific. His commissions included ballerinas, the streets of Paris and exotic nudes. Fried Pal would give each model he used a name. Names like Carmen, Isabelle, Annabelle and Francine also became the painting title and described the models personality. Later in his career, he would include Spanish, South American, and American cowboy subjects in his oeuvre. These became extremely popular in America, where he and his wife would eventually move. He especially loved these western action subjects because they worked so well with his unique style. Fried Pal would finish a very prolific career taking commissions for western subjects laced with his lovely ballerinas, nudes and young Parisian women. Pal Fried Fried Pal 1614 F.C. Frieseke was one of the leading American impressionists. Until the early 1930's, the expatriate's international reputation was such that he was called "America's best known contemporary painter." His relative anonymity today is due to the prettiness and sentimentality of his canvases; his subject matter was considered cloying by post W.W. 1 sensibilities. Born in Owasso, Michigan in 1874, Frieseke went to France in 1898. He remained there until his death in 1939. Through Frieseke preferred to say that he was self taught, he actually studied at the Art Institute of Chicago and the Art Students League in New York City before entering the French Academie Julien. It was the study of other artists that enriched Frieseke, rather than the academic routine. He spent time in the atelier of Constant and Laurens, and in Paris received criticism from James McNeill Whistler. Whistler's influence can be seen in Frieseke's dark early work. In 1906, Frieseke moved to Giverny, where Monet was his neighbor. Under the influence of Monet, Frieseke began to use the prismatic, rich color spectrum of the impressionists in garden and interior scenes. His adopted impressionistic style never compromised his solid sense of composition. He always thought of himself a realist, reproducing on canvas what he saw in nature. Frieseke enjoyed acclaim during his life. His paintings were purchased for the French National Collection, and he was represented at the Venice Bienniale with 17 pictures. He was commissioned to paint several large murals for buildings in New York City and Atlantic City. At the Panama-Pacific International Exposition of 1915 in San Francisco, He received the grand prize. Memberships: National Academy of Design Societe National des Beaux Arts, Paris Paris Art Association New York Watercolor Club Chevalier of the Legion of Honor Public Collections: Art Institute of Chicago Cincinnati Art Museum Corcoran Gallery of the Art, Washington, D.C. Los Angeles County Museum of Art Metropolitan Museum of Art, New York City Minneapolis Institute of Arts, Minnesota Musee d'Orsay, Paris Museum of Odessa, Soviet Union Telfair Academy of Arts and Sciences, Savannah, Georgia 1874 - 1939 Frederick Carl Frieseke Frieseke Frederick Carl 1925 Harriet Frishmuth was born in Philadelphia, PA in 1880. She moved to Europe at an early age with her mother and two sisters. She received most of her early schooling in Switzerland and was introduced to sculpture at the age of 19. Moving to Paris she inquired about art classes and the only one she could find open to women was a class taught by Auguste Rodin. She also studied under Gauguie and Injalbert and spent two years in Berlin as an assistant to Professor Cuno von Enchtritz. She returned to the United States and studied with Hermon MacNeil and Gutzon Borglum at the New York Art Students League and worked for a year in Weehawken, New Jersey, with Karl Bitter. For an understanding of anatomy, she studied dissection at the college of Physicians and Surgeons in New York for two years. Her career was an outstanding success. Her bronze sculptures were exhibited extensively and were in great demand by collectors. She was a member of the National Sculpture Society, Allied Artists of America, New York Municipal Art Society, American Federation of Arts, the Architectural League of New York and the National Arts Club. She was elected an Associate Member of the National Academy of Design in 1925 and a Member in 1929. Her sculpture was exhibited at the Paris Salon, the National Sculpture Society, Architectural League of New York and the Pennsylvania Academy of Fine Arts. Her work was shown at the Panama-Pacific Exposition of 1915 in San Francisco, at the National Academy, with the Allied Artists of American and with the American Garden Club in Philadelphia. The list of the awards and metals she received for her work is extensive. In 1913 Frishmuth and her mother bought a converted stable at Sniffen Court in New York City. The area had been a large farm, owned by a family named Sniffen, and the huge stables were converted into dwellings. It is located at 152 East 36th Street and has been designated a historical landmark. Frishmuth is quoted as having said "I did my best work in my studio -home in Sniffin Court. l was there until 1937. " She moved to Philadelphia and only one commercially popular sculpture, "Daydreams," was done after the move. She died in 1980, her centennial year. 1880 - 1980 Harriet Whitney Frishmuth Frishmuth Harriet Whitney 2058 Hermann Fuechsel is considered an German/American landscape painter and engraver. He was born in Brunswick (Germany) August 8, 1833 and died December 30, 1915. He began his formal art studies with landscape painter Hans Heinrich Jurgen Brandes (1803-1868) and with landscape painter and engraver Karl Friedrich Lessing (1808-1880) at the Dusseldorf Academy. While attending the Academy he would meet American artists Albert Bierstadt (1830-1902), Worthington Whittredge (1820-1910) and Emanuel Leutze (1816-1868). In 1858, Hermann Fuechsel would travel to the United States, accompanying Albert Bierstadt on his return trip to New Bedford. Upon arrival in New York City, Fuechsel opened a studio in Appleton’s Building at 839 Broadway. In 1882, Fuechsel would move his studio to The Studio Building at 15 Tenth Street where Bierstadt, Whittredge, Gifford and several other artists had their studios. He would begin exhibiting at the Pennsylvania Academy in 1860 and continued to exhibit there until 1888. He exhibited at the Boston Athenaeum from 1860 to 1869 and in New York at the National Academy of Design from 1861-1900. As a print maker and engraver, Fuechsel produced steel engravings his Hudson River, White Mountain, Lake George, Catskill and Adirondack landscapes. He produced engravings for Albert Bierstadt and several other American landscape painters thus becoming one of the America’s most published artists. Listed: American Art Annual, Xll, obit E. Benezit, Vol. IV, pg. 551. The Boston Athenaeum, Art Exhibition Index 1827-1784, R F. Perkins Jr. & Wm. Gavin Index of Artist, Mallet Exhibition National Academy of Design 1861-1900, Vol. I, Maria Naylor The Annual Exhibition Record of the PPFA, 1807-1870, Vol. II, Anna Wells Rutledge The Annual Exhibition Record of the PAFA 1876-1913, Vol. II, Peter Hastings Faulk Thieme-Becker Antiques (June 1935), 229, repro Dictionary of Marine Artists, Dorothy E.R. Brewington Museum: Walker Art Gallery, Minneapolis, MN Wadsworth Athenaeum Museum of Art, Hartford, CT Hudson River Museum, Yonkers, NY New York Historical Society, New York, NY 1833 - 1915 1 Hermann Fuechsel Fuechsel Hermann 2182 Eugene Galien-Laloue (1854-1941) is considered to be one of the foremost Parisian street scene masters in the field of impressionism. For over five decades his art has dominated those of his contemporaries in both quality and price. His paintings stand as a landmark in art history. Born in Paris, France in December 1854 to French-Italian parents, with the name Eugene Galiany. He later changed it as a tribute to his teacher Charles Laloue whom he studied with in 1877. He received his first training as an architect, which helped Galien-Laloue with popularizing the subject matter of Paris street scenes and his very natural rural landscapes. Since the camera could not accurately record motion, and perceived only black and white, Laloue's paintings were in a sense picture postcards for the public, and they were highly prized by both tourists and the townspeople. His attention to detail accuracy of perception, reproduction of architecture, clearly set him above other street scene painters. The country of France also selected Laloue to work as a military illustrator, capturing both the Franco-Prussian and the First World War in watercolor. These very rare paintings exhibit Eugene Galien-laloue's true genius. Laloue rendered the uncompromising beauty of life in France, depicting popular monuments, structures, villages and Harbors recognized throughout Europe. Preferring the medium of gouache for the great body of his work, although there are several oil paintings and watercolors recorded, his pieces took on a painterly quality that few have come to perfecting. Today Galien-Laloue's gouaches and oils are treasured as artistic jewels. He is listed in the Benezit, Vol. 4 pg. 589. Galien-Laloue used the signature J. Lievin as a tribute to a soldier friend named Jacque who he lived in Lievin, France. 1854 - 1941 1 Eugene Galien-Laloue 1 Galien-Laloue Eugene 1613 Francois Gall, Hungarian by birth, became an impressionist painter in the pure French tradition after he moved to Paris in 1936. He was born in Kolozsvar in the former region of Transylvania on March 22, 1912. He began his artistic studies at the Royal Academy of Fine Arts in Rome while working in menial jobs to secure a living. Support came in 1930 when the Hungarian government awarded Gall with a scholarship. Six years later: Francois Gall established himself in Paris and became a student of Devambez at the National Academy of Fine Arts. The artist greatly admired the first generation impressionist and adopted their concepts for his own interpretations. Parisian scenes and portrayals of women engaged in typically feminine activities were among his preferred subjects, but his repertoire also included landscapes and still-life composition that were the trademarks of his works. The artist participated in various Salon exhibitions in Paris and became a favorite with the public. In 1963, he was honored with the Francis Smith Prize. He died in 1987. Reference: E. Benezit, Dictionnaire des Peintres 1912 - 1987 Francois Gall Gall Francois 2003 Recognized as one of America's leading watercolorists and etchers during the early twentieth century, Sears Gallagher depicted a variety of themes, ranging from European subjects to New England scenery. A native of Boston, he studied drawing with the Italian artist Tomasso Juglaris and watercolor techniques with the British painter, Samuel P R. Triscott. After further study at the Academie Julian in Paris (1894-96), he returned to Boston, working as an artist-reporter for a local newspaper and illustrating textbooks for the firm of Ginn and Company. By the early 1900s he had established himself as a professional artist specializing in works on paper. He was active in Italy and England and in the northeastern United States, including Cape Cod, Massachusetts, and Jackson, New Hampshire. Fond of "things coastal," he also made numerous visits to Monhegan Island, Maine, where he painted sparkling watercolors of rugged cliffs and local fisherfolk, working in a broad, fluid style. Admirers of his work included Loring Dodd Holmes, who noted in A Generation of Illustrators and Etchers (1960): Gallagher's "signature [wasl inscribed all over his paper, in his selection of subject, in his manner of drawing, in his choice of color and his way of applying it." 1869 - 1955 Sears Gallagher Gallagher Sears 1973 Gallard-Lépinay was born in Aulnay (Charente-Maritime) on May 23, 1842 and died in Paris, March 1885. He is considered more a marine artist than a landscape painter. Lépinay debuted at the Paris Salon of 1864 with “La Grand Côte près Royan au matin” and “Soleil couchant sur l’Adriatic. Many of his early works were of the ports throughout Normandy and the West (La Rochelle). However, his most popular subjects were of Venice. In these scenes, Lépinay was able to express his fascination with the luminosity and magic of Venice and it’s lagoons and canals. Lépinay was also known for his authentic compositions depicting of the historical naval battles. His most notable battle scenes were “Combat du 13 prairial” and “II” which were exhibited at the Salon of 1880. The Cherbourg Museum has three additional works of note; “ Jules Grèvy, Léon Say et Gambetta redant visite à l’escadre de Cherbourg.” Gallard-Lépinay's wonderful canvases remain a testimony to an incredible talent of capturing the delicate ever-changing light reflected in nature and the lagoons of Venice. Museums: Amsterdam Museum Muse de Cherbourg Listed: E. Benezit, vol.4, pgs 591-92 Dictionaire des Petits Maîtres de la peinture 1820-1920, Vol.1, pgs 456-57, illustrated 1842 - 1885 Paul Charles Emmanuel Gallard-Lepinay Gallard-Lepinay Paul Charles Emmanuel 3128 Indiana born Daniel Garber became a leading Pennsylvania Impressionist in the late 19th and early 20th centuries. His pursuit of a career as a professional artist began at age 16, and from 1897 to 1898, he studied at the Art Academy of Cincinnati. From a Mennonite family, he moved to Philadelphia in 1897 and enrolled at the Pennsylvania Academy of the Fine Arts in 1899, and during the summers of 1899 and 1900 also took classes in Fort Washington, Pennsylvania, at the Darby School of Painting, studying under Hugh Breckenridge and Thomas Anshutz. He opened a studio in Philadelphia in 1901, working as a portraitist and commercial artist. In 1905, he won a Pennsylvania Academy award, The Cresson Traveling Scholarship, which allowed him to go to Italy, England and France for two years. As a result, he became inspired by the works of the French Impressionists, particularly those of Camille Pissarro and Claude Monet. The European masters lent their influence, and he developed a signature style representing sunlight using a broad spectrum of pastel and bright colors, combining fantasy and realism. He returned to Lumberville, Pennsylvania, in 1907, and his mature works done in that area are perhaps some of his best. He painted in a straightforward, luminous manner, depicting the great quarries across the river in Byram, New Jersey, as well as in a more decorative, high-key mode, rendering foliage and branch patterns, as in Wilderness (1912, oil on canvas). This painting includes an element of fantasy that had begun to characterize much of the late Impressionist work in America. During the period 1908 and 1924, Garber included skillfully painted figures in most of his paintings, unlike many of his contemporaries. To a smaller extent Garber was a portraitist, but his landscapes of the woods and quarries of Buck's County, Pennsylvania gained him his greatest notoriety. His talents as a teacher were also evident, and he became the outstanding teacher among the group living at New Hope. He was a member of the faculty at the Philadelphia School of Design for Women in 1904, and then began in 1909 began a career of teaching at the Pennsylvania Academy of the Fine Arts that lasted forty-one years. Not far from the Delaware River in Lumberville, Bucks County, Garber settled on a tranquil farm in 1907, and that provided him the inspiration for many of his works. Retiring in 1950, Garber was one of the Academy's most admired and respected teachers. Garber's paintings are represented in the collections of many museums across the United States, including the Allentown Art Museum, the Corcoran Gallery of Art, the Art Institute of Chicago, and the Metropolitan Museum of Art. The nearly thirty awards that have been bestowed upon Garber include the National Academy of Design's Hallgarten Prize in 1909, and the 1924 Bronze Medal from the Carnegie Institute. Perhaps his most coveted was received in 1915, when he was awarded a Gold Medal from the Panama-Pacific International Exposition in San Francisco. Daniel Garber died on his farm, 'Cuttalossa', on July 5, 1958. Source: Michael David Zellman, 300 Years of American Art 1880 - 1958 Daniel Garber 1 Garber Daniel 2157 One of the first American women artists who dared to invade the all male establishment of the French art academies. According to her obituary in the New York Times, she &quot;literally opened Paris ateliers to the women of the world.&quot; She also became the first American woman to exhibit and later to win a medal, at the Paris Salon Born in Exeter, New Hampshire, Gardner graduated in 1856 from Lasell Seminary in Auburndale, Mass. There she received the proper young lady's training-drawing from outline cards and dabbling in watercolors. At Lasell she became friends with her teacher Imogene Robinson, a bold spirit who went off to study in Dusseldorf and seems to have had a strong influence on her pupil. While coping old masters in Boston, trying to supplement her &quot;polite&quot; art education, Gardner became convinced that her drawing was inadequate and that she, too, needed thorough European training. In 1864 she sailed for Paris with Robinson. Gardner became an accomplished painter, the first American woman to exhibit in the Paris Salon, in 1866, and the first to win a gold medal (from her painting, Impudence in 1877). Her studio on the Rue Notre Dame des Champs became a mecca for visiting Americans traveling abroad. She clearly adopted the style and technique of her mentor and husband,William Adolpe Bouguereau. In an oft-quoted remark, she frankly revealed, “;I would rather be known as the best imitator of Bouguereau than be nobody”; Certainly, her technical skill and draftsmanship are notable. Elizabeth Gardner Bouguereau was a woman who knew she wanted success in the main arena of the male art establishment of her day, and went after it with unwavering force of character. After her husbands death in 1905, she once again produced four major paintings a year until she was hampered by rheumatism. Exhibited: Paris Salon, from 1872 (first woman to win gold medal Exposition Universelle, Paris 1889 (bronze medal Philadelphia Centennial, 1876 (awards) Columbian Exposition, Chicago, 1893 Listed: E. Benezit Thieme/Becker Clement, 138 Mantle/Fielding 1837 - 1922 Elizabeth Jane Gardner Gardner Elizabeth Jane 1860 Edmund Henry Garrett was born in Albany, New York on October 19,1853 and died in Nedham, Mass. on April 2, 1929. There is no reference to his initial art education, which for a young artist, in the United States, was limited. He did receive some training while a member of the Boston Art Club. It was during the late 1870's that Garrett and Childe Hassam became a friend. He was the influence in Childe Hassam first study trip to Europe. "In July 1883, the Studio Magazine reported that Hassam had gone abroad for several months with his good friend, the painter and illustrator, Edmund Garrett..." American Impressionism, byWilliam Gerdts.pg.92 While in Europe, they traveled to Great Britain, France, Italy and Spain. They studied the paintings of the old masters and did watercolors of the European countryside. They both returned to Boston. Hassam to his studio at 12 West Street, Boston. In the latter part of the year of 1883, Hassam exhibited sixty-seven watercolors in his first one-man show at Williams and Everett Gallery. It was a success and Hassam would continue using watercolor throughout his career. Edmund Garrett returned to his illustrations for various publishers. His work as an illustrator was very much in demand, keeping him from spending energy on his first love. In 1884, Edmund Garrett exhibited two watercolors at he Pennsylvania Academy. #274, "A Street in Granada" and #275, "El Mirador de la Reina, Alhambra". Garrett was a member of the Boston Art Club, which started in 1840, and the Copley Society. He studied at the Academie Julian under Gustave Boulanger, Jules 1853 - 1929 Edmund Henry Garrett Garrett Edmund Henry 1859 Leon Gaspard was born and raised in Russia where he began his artistic education. He later studied under W.A. Bouguereau at the Academie Julian in Paris. The artist first traveled to Taos, New Mexico in the summer of 1916 on the advice of a friend, who suggested that the clean and quiet environment would be the ideal place for Gaspard to recover from injuries suffered during World War I. The artist apparently agreed, settling permanently in Taos in 1918. Though he never joined the Taos Society of Artists, Gaspard was an active member of the art colony based around the Pueblo. Rick Stewart writes of Gaspard's reaction to Taos, "he was captivated by the area. He felt a kinship with this wild colorful place, vibrant with traditions. It reminded him of his boyhood region in his native Russia" (Leon Gaspard, p. 5). Gaspard traveled extensively throughout his career and returned to Taos with artifacts and memories of his journeys that he translated into vibrant, colorful images on canvas. The artist wove his subjects into tapestries of color with sweeping brushstrokes surrounding their faces. His intention was to capture the spirit of the places he visited rather than the specific likenesses of his figures. His memories of the exotic cultures he encountered on his trips to Asia and the Far East influenced his image of the Indians he painted in Taos. Rick Stewart writes: "The varied ceremonies, processions, and pageantry of the Indians fascinated him. The animated vibrancy of a small work like Indian Headdress, painted in 1930, is indicative of his affection for their costume and decoration, which reminded him of the Eurasian places he had visited" (Leon Gaspard, p. 7). 1882 - 1964 Leon Gaspard Gaspard Leon 3232 Eugène Henri Paul Gauguin was born in Paris on 7 June, 1848, the son of Clovis Gauguin, a Republican editor, and his wife Aline Marie Chazal. In 1849, after Louis Napoléon came to power, the family emigrated to Peru. Clovis Gauguin died on the way. His widow and 2 children (Paul and his elder sister Mari) stayed in Lima with their rich relatives and did not return to France until 1855. On coming back they settled with the uncle Isidore Gauguin in Orléans. In 1865, Paul became a sailor and spent the next three years voyaging between France and South America, and made a voyage around the world. In 1868, Paul joined the navy, which he left after the Franco-Prussian War. Instead, he started to work as a broker’s agent in Paris. The first known drawings by Gauguin dated 1871, when he was in his late twenties. In the broker’s agency Gauguin met and befriended Claude-Emile Schuffenecker (1851-1934), a shy clerk, who shared Gauguin’s interest in painting, they both started to study painting at the Colarossi Academy, worked together en plein-air and in the Louvre and met Parisian artists. In 1873, Gauguin married a Dane, Mette Sophie Gad (1850-1920), who gave birth to his 5 children: Emile (1874 - ), Aline (1877-1897), Clovis (1879-1900), Jean René (1881-1961) and Pola (1883-1961). In 1874, Gauguin met Pissaro and other Impressionists. He traded at the stock exchange, which provided a comfortable income and he bought many of the Impressionists' paintings and had a handsome collection. His début in the Salon took place in 1876. He also exhibited paintings and sculptures with Impressionists and the Indépendents in 1879, 1880 and 1882. The works of the period are close to Impressionism; he was greatly influenced by Pissaro, who gave his advice generously, and later by Cezanne. But gradually Gauguin broke away from Impressionism and adopted a bolder style - radical simplifications of drawing, brilliant, pure, bright colors, an ornamental character of composition, and deliberate flatness of planes, the style, which he called ‘synthetic symbolism’. In 1883, Gauguin quit the stock exchange; financial troubles weren't long in waiting. In 1885, he left his family in Copenhagen with his parents-in-law, and returned to Paris. In 1886 and 1888, he worked in Brittany, beside Emile Bernard, Laval and Meyer de Haan, he executed some of his most expressive works, such as Breton Girls Dancing, Pont-Aven. (1888), The Yellow Christ. (1889) and Vision after the Sermon; Jacob Wrestling with the Angel. (1888). In October-December 1888, following the persistent suggestions of his art-dealer, Theo van Gogh, Gauguin visited the man's brother, Vincent, in Arles. His stay with the sick artist, whom he disliked and even despised as a painter, and never bothered to conceal this, finished after a Van Gogh cut off his own ear. In 1891, he managed to organize a trip to Tahiti at the expense of the French government; there he started his autobiographical Noa Noa (published in 1897). He fell seriously ill, but despite this much and sent pictures to Paris, where he did not return until 1893. In 1894 he took a farewell visit to Copenhagen and in 1895 left for Tahiti a second time. Plagued by illness (his health was ruined by alcohol and syphilis), depression and financial worries, in 1898 he even attempted suicide, Gauguin still painted numerous masterpieces D'où venons nous? Que sommes-nous? Où allons-nous? (Where Do We come from? What Are We? Where Are We Going?) (1897), And the Gold of Their Bodies (Et l'or de leurs corps). (1901). In 1900, after a contract with Vollard, a Parisian dealer, his financial position improved, but his health was irreparably ruined. In 1901 he moved from Tahiti to Atuana on the Island of Dominique in the Marquesas, where his colors grew even more abundant and lush, and where he executed such pink and mauve paintings as Horsemen on the Beach. (1902) and The Call. (1902). In 1903, Gauguin was sentences to three-months in prison and fined 1,000 francs because of problems with the church and the colonial administration. Before he could begin his sentence he died, on the 8th of May at his home in Atuana. Besides legitimate children Gauguin had several illegitimate ones. A daughter Germaine Chardon (born 13 August, 1891 - ?), herself an artist, from Juliette Huais, who was Gauguin’s model and lover in 1890, he painted her in several pictures: The Loss of Virginity. Son Emile (born 1899 - ? ) from Tahitian Pau’ura. And another daughter, born 14 September 1902, by Tahitian Mari-Rose Vaa’oho. 1848 - 1903 Eugene Paul Gauguin 1 Gauguin Eugene Paul 1924 Arrah Lee Gaul was born in Philadelphia in 1883. In a 1964 interview she revealed that she had started painting when she was eight years old, and painting her last portrait at the age of 89, made her active career span a period of 81 years. She graduated with a degree in art from the Moore Institute of Art, Science and Industry in Philadelphia. She went on to graduate studies at the University of Pennsylvania and then returned to Moore to join the faculty and become head of its art education department. For more than 50 years she traveled the world, studying and painting as she went. On an early trip to Europe she studied with Charles Guerin in Paris. Her works were included in many European exhibits including the Beaux Arts Gallery, The Paris Salon of 1931 and the Grand Palais des Champs Elysees in Paris. She has painted the portraits of many world figures including, members of many prominent families in India and Japan. These were completed during an extensive trip in the Far East. She had departed from Philadelphia in 1950, expecting to spend two years on a trip, which extended into seven. During the time she spent four months doing charcoal portrait sketches of hospitalized Korean War veterans at the Tokyo Army Hospital. She received a government citation for this work. In addition to Japan she spent time in Hong Kong, Thailand, and India. She has exhibited at the Art Institute of Chicago, the Pennsylvania Academy of Fine Art and the National Academy of Design in New York. During the Philadelphia Sesqui-Centennial she was designated the official artist of the event and painted 60 works depicting High Street, the reconstruction of that colonial street, made possible by the women of Philadelphia. Maybe it was family pride that drew her to this project as her great-great grandfather, Johannes Schmidt, had fought in the Revolution. Her great grandfather, Christian Gaul, was a hero in the War of 1812 and her grandfather, John Parkinson Gaul, was born in the house adjoining the Besty Ross house. The following years these High street paintings were exhibited in the all male Philadelphia Art Club and she became the first woman to hold a solo exhibition in its gallery. A painter of landscapes, seascapes and still lifes in addition to portraits, she was a strong and guiding force in the Philadelphia art community for many years. 1883 - 1980 Arrah Lee Gaul Gaul Arrah Lee 2045 William Gilbert Gaul was known for his portrayals of Civil War army life and his later paintings and illustrations of Western Indian themes. He was born March 31, 1855 in Jersey City, New Jersey and died in New York City on December 21, 1919. Gaul attended Newark schools and Claverack Military Academy. Poor health prevented him from pursuing the Navy as a career. Showing an early talent for drawing, Gaul decided to study art. He started his formal art training in 1870’s at the National Academy of Design with L. E. Wilmarth (1835-2918) and the Art Students League with J.G. Brown (1831-1913) in New York City. Gaul spent four years on a farm he inherited in Van Buren, Tennessee, painting the remnants of the Union and Confederate armies, as well as some rural scenes. His career as an artist and illustrator for magazines, notably Harper’s Monthly, was successful. He traveled West many times, living on Army posts and among Indians, photographing and sketching frontier scenes to complete later at his New York City studio or Tennessee home. Gaul was elected A.N.A in 1879 and N.A. in 1882. His most popular works show soldierly action, notably Charging the Battery (date and location unknown), an 1889 Paris Exposition gold medal winner, and Wounded to the Rear (date and location unknown). Gaul’s most impressive single work is Issuing Government Beef (date unknown, Gilcrease Institute), depicting the final lot of once-proud Plains Indians. The Indians, in the clothing of their conquerors, sit and stand stolidly on a hillside in their former hunting lands, while soldiers distribute beef. Painted with Gaul’s characteristic accurate, spare, painterly style and compositional insight, it avoids demeaning melodrama. The contrast of the broad open landscape and sky with the scattering of passive Indians conveys the stark message. In 1890, he was among artists commissioned by the federal government conduct a census of American Indians. Gaul not only drew and painted the Indians, he added his observations to a Report on Indians Taxed and Indians Not Taxed, a now-rare 683-page work. Gaul traveled widely to cover subjects in Mexico, the West Indies, Panama and Nicaragua. An illustrated account of his travels was exhibited at the 1893 World Columbian in Chicago. MEMBERSHIPS: National Academy of Design Public Collections: Toledo Museum, Ohio Birmingham Museum of Art, Alabama Thomas Gilcrease of American History and Art, Tulsa, Ok. Awards: 1882 American Art Association, prize 1886 Prize Fund, gold Medal 1889 Paris Exposition, medal 1893Columbian Exposition, Chicago medal 1901 Pan-American Exposition, Buffalo, medal 1910 Appalachian Exposition, Knoxville, gold metal 1855 - 1919 William Gilbert Gaul Gaul William Gilbert 1611 Edward Gay was a landscape painter who really didn't fit into any particular category or school, although early in his career he followed in the footsteps of the Hudson River School artists, sketching in upstate New York and creating paintings in his studio. He learned technique from several artists with whom he studied, but was not markedly influenced by them. His paintings depicted what he saw - no more, no less. He did not romanticize or idealize. Born in Ireland in 1837, Edward Gay came to America with his parents in 1848 in the wake of the Potato Famine. They settled in Albany, New York. He had to go to work as a boy, but showed a talent for drawing. Encouraged by the Hart brothers, James and William, and George Boughton--all successful local painters, he began to study with them. In 1862, at the urging of the Harts, he went to Karlsruhe, Germany to continue his studies under Johann Schirmer and Karl Friedrich Lessing, both conventional historical painters. Although he learned much, Gay felt he was wasting his time. When he returned to the United States in 1864, he began painting the large landscapes that were in vogue. Three years later, with his wife and growing family, he moved to Mount Vernon, just north of New York City. The area was open farmland, with sunny meadows and orchards stretching along Long Island Sound. These were the scenes that Gay painted for much of his life. He also painted in South Carolina, where his daughter had married into a family. In 1905, he built a summer home at Cragsmoor in upstate New York and painted there, as well as on frequent trips to Europe. It was for his paintings of the rivers, fields and shores near Mount Vernon, where he died in 1928, however, that he was best known. He did fine art painting on the side until the early 1920s and had his first solo exhibition in 1936. Memberships: Lotos Club National Academy of Design New York Water Color Club Public Collections: Layton School of Art, Milwaukee Metropolitan Museum of Art, New York City Minnesota Museum of Art, St. Paul Mount Vernon Public Library, New York 1837 - 1928 Edward B Gay Gay Edward B 3214 Born in Hingham, Massachusetts, Walter Gay became a painter who specialized in interiors, particularly those of eighteenth-century French buildings. His style was traditional, and he ignored the influences of modernist paintings he saw while studying in Paris beginning 1876. He remained in Europe the rest of his life. In his compositions, the rooms are nearly always devoid of human presence but suggest that someone has been there. Many of his interiors are museum settings, and although he was not an impressionist, his work often had atmospheric effects. When Gay died in 1937, he was described in "The New York Times" as the "Dean of American Painters in France," where he and his Matilda moved in 1876. His first paintings there were genre subjects and realistic views of peasant life in Britanny, but he tired of these works, which he called "pot boilers." In the 1890s, he began his signature interiors, mostly rooms in fashionable houses of the Gays and their friends. Reproductions of many of these paintings were published in 1920 by Albert Gallatin, also a painter. The Gays, with a retinue of about twenty servants, loved old houses, and lived in an eighteenth-century apartment on the Left Bank in Paris from January through April and beginning 1904, in a chateau in the countryside at le Breau, near Fontainebleau. There they had 300 acres of grounds to roam. In 1907, they purchased this chateau which became quite a showplace and where they entertained extensively. However, during World War II, when Matilda was living there as a widow, German soldiers occupied the chateau, ruining much of the structure and plotting the destruction of the country the Gays loved so much. She was virtually a prisoner there, and the chateau was torn down in 1971. The Gays also collected antiques extensively and stayed away from America because they did not like what they perceived as harsh newness of the country. Source: "Magazine Antiques", 12/2000, 'Walter and Matilda Gay in Paris' by William Rieder 1856 - 1937 Walter Gay Gay Walter 1610 During her lifetime, Lillian M. Genth was considered to be the most successful painter of the female nudes in America. Noted for her studies of nudes in poetic, pastoral settings, Genth was also a very successful portrait painter. Born in Philadelphia in 1876, Genth studied at home and abroad. She received a scholarship to the Philadelphia School of Design for Women. There she studied under Elliott Daingerfield, graduating in 1900. Genth went to Europe and studied in Paris under James McNeill Whistler; while there, she painted his portrait. Whistler's influence can be seen in Genth's work. Like Whistler, Genth chose to paint rather academic subjects such as beautiful women with subtle, exotic accents in their dress and surroundings. Both Whistler and Genth painted in a somewhat traditional style, using many of the techniques and some of the innovations of the impressionists. Genth was well received in the art world and achieved great success during her lifetime. Genth was the recipient of many awards during her career. These included the Mary Smith Prize from the Pennsylvania Academy of Fine Arts in 1904 and the Shaw Memorial from the National Academy of Design in 1908. Also in 1908, Genth was elected an associate member of the Academy. She died in 1953. Memberships: Allied Art Association International Society artists' League National Academy of Design National Arts Club Pennsylvania Academy of Fine Arts Royal Society of Arts Public Collections: Carnegie Institute, Pittsburgh Metropolitan Museum of Art, New York City National Gallery of Art, Washington, D.C. Newark Museum, New Jersey 1876 - 1953 Lillian Matilde Genth Genth Lillian Matilde 2184 Pascal Gérard was born in French in 1941. He is considered an post-impressionist from the French school. Using the pointillist style, Gérard is known for his colorful scenes of Paris, beaches in Normandy and landscapes in both oil and watercolor. Museum: Art Moderne et Contemporian, Paris unknown - 1941 Pascal Gerard Gerard Pascal 1609 In the 1840s, Samuel Lancaster Gerry was known as the leader of the White Mountain School. This area in New Hampshire is the setting for a large number of the landscapes for which he is most widely known, although he also painted portraits, genre pictures and animal studies. Gerry was born in Boston in 1813. Although he had no formal instruction in art, he is believed to have been somewhat influenced by Asher Durand and Thomas Cole in the United States, and by Constant, Troyon and Lambinet in Paris. He spent three years in Lingland, France, Switzerland and Italy, studying and associating with some of America's most respected expatriate artists. He sometimes copied others' works. Two copies of George Harvey pictures are reproduced in The Old Print Shop Portfolio: A New Gallery of "Honest American " Paintings. They are Summer (a scene of a road accident in which a cart has lost a wheel) and Winter (a scene of travelers in the Canadian woods topped by a fallen pine). Gerry's West Point, Kosciusko Monument (1838, private collection), is based on a composition by W.H. Bartlett. The tomb of the Lithuanian patriot rises tall a the upper left-hand corner, standing like a sentinel along the Hudson River and overlooking a view of ships and holiday group of gentlemen and women with parasols. The color in Gerry's version of this scene is stronger than Bartlett's. Gerry's attention to detail and his expertise in bringing the work to a professional finish are apparent. Franconia Mountains Near Thornton, New Hampshire (1857, location unknown), not a copy, is a serene composition of sky and hills in soft browns and lavenders; two horsemen water their horses in the shallow bend of a river. Gerry was one of the founders of the Boston Art Club, organized in 1854. In 1858, he served as its president. He died in 1891 in Roxbury, Massachusetts. Membership: Boston Art Club 1813 - 1891 Samuel Lancaster Gerry Gerry Samuel Lancaster 3365 Judy Gibson (20/21st Century) A native Texan, Judy Gibson is a multitalented artist working in a wide range of media involving oils, watercolors, and prisma colored pencils. Her subject matter is equally diverse, covering everything from local scenes of Texas bluebonnets, to exquisitely detailed wildlife, exotic, and equine portraiture. Upon earning her art degree from East Texas State University, Judy began a nineteen-year career in painting for an art company. She produced original paintings that were sold in art galleries throughout the United States. She also worked with an art publisher for seventeen years who published her art prints in limited and open editions collections. Judy enjoyed a very successful licensing career during that time, with many manufacturers using her beautiful artwork on different products for the home decor market. As well as private commissions, Judy has produced many artworks for many well-known corporations, and has produced featured covers for the Texas Quarter Horse Association Annual, Arabian Visions, Equine Images, United Directories, Inc., and The Appaloosa Journal. https//www.tuttartpitturasculturapoesiamusica.com/2011/09/judy-gibson-texas.html 1 Judy Gibson Gibson Judy 1608 Joseph Gies was a significant connection to the Detroit painting scene. Born in Detroit in 1860, he spent most of his life in and around the area. Except for his studies aboard with William A. Bouguereau and Robert-Fleury in Paris; Royal Academy in Munich. His contributions to the local art community were meaningful. In 1890 the Detroit Museum School was formed. That year Joseph Gies became an important member of the painting faculty. In 1895, the Art Club of Detroit was formed and held it's first annual exhibition. Robert Hopkin, Joseph Gies and Francis Petrus Paulus were involved in the exhibition, which consisted of a display of contemporary American artists, including a substantial local contingent plus American and European paintings lent by private collectors. Also, in 1895, Gies and Paulus opened the Detroit Fine Arts Academy. When Paulus returned to Europe, the portraitist John Palmer Wicker, who taught with Gies at the Museum School took his place as co-director. The Fine Arts Academy was renamed the Wicker School of Fine Arts, after Gies retired in 1911 to resume full-time painting. Member: Scarab Club Public Collections: Detroit Institute of Fine Art Listed: Who Was Who In American Art Mantle Fielding's Art Across America, Vol.2 1860 - 1935 Joseph W. Gies Gies Joseph W. 1626 Charles H. Gifford was born in New Bedford, Massachusetts July 13, 1839 died on January 20, 1904. He was a late second-generation Hudson River School painter. His canvases show a distinct preference for quiet scenes in which a luminous atmosphere veils roughness, light shines with clarity and stillness is achieved by means of even brushstrokes. The luminist quality of his paintings was an effect that became a movement in art history in the late 1850's. This affect was obtained by painting a light or reflective undercoat that is visible through a thin or transparent outer layer. He likened himself to John F. Kensett (1816-1872) who led the second generation to the forefront of American Painting (1850 through the 60's). An important artistic development in the 1850's was the invention of chemical pigments, which replaced the earlier mineral-based paints. These new and brilliant colors gave Gifford more flexibility and range, especially in the effects of light. Keeping with the philosophy of the Hudson River doctrine, being true to nature, was always at the vanguard of his pictures. Although the facts are somewhat sketchy, he was active in San Francisco in 1860. It looks like he moved back to New Bedford around 1877 and painted throughout the Northeast for the remainder of his life. His fine landscape views were published by several lithographic firms in the 1860's, including his own, Gray & Gifford, in 1868, 1869 and 1872. Public Collections: Peabody Museum, Salem Listed: Who Was Who in American Art Artists of the American West Index of Artist 1839 - 1904 Charles H. Gifford Gifford Charles H. 2080 Francois Regis Gignoux was born in Lyon, France, in 1816. Interested in art at an early age, he began is formal education in Fribourg, Switzerland and then at the St. Pierre Académie in Lyon, France, which was celebrated for teaching floral still-life painting. With an annual stipend and with an interest in historical genre, Gignoux traveled to Paris to study at the Beaux-Arts Académie with historical painter Hippolyle Paul Delaroche (1897-1856) and with Emile Jean Horace Vernet (1789-1863). Delaroche and his teaching were a perfect fit and an inspiration. He encouraged Gignoux to turn his talents toward landscape painting. Having traveled with fellow students during the summer on sketching excursions to Switzerland, Gignoux returned to Paris with sketches of the mountain countryside and Swiss villages. When Delaroche saw them, he exclaimed; "Your are strong here; -be a landscape-painter." Hence, Gignoux devoted his energy entirely toward becoming a landscape painter. Becoming interested in a young American lady, Régis Gignoux would cross the Atlantic with his brother in 1840. He would soon marry and he was immediately struck by the beauty and wonder of the American landscape. He and his wife would make Brooklyn their home. Gignoux’s first paintings were winter landscapes, which he executed with truth to nature rarely achieved by American painters of the time. Collectors, as limited as they were during this period, began considering a Gignoux’s winter landscapes essential to their collections and commissions followed beyond his ability to produce. His versatile skill enabled him to experiment with additional seasonal landscapes and these became just as popular. These early successes establish Gignoux as an important member of the Hudson River School, which was a movement that began in 1825 when artists, including Asher Durand, discovered Thomas Cole's landscapes whose loftiness and sense of high drama suggested communication with God through nature. In 1843, Régis Gignoux’s painting Interior of Mammoth Cave, Kentucky, (oil on canvas measuring 48 x 37 _, New York Historical Society, Henry Luce III Center for the Study of American Culture) was a critical success when exhibited in 1844 at the Boston Athenaeum (#44). In the painting, he captured the dramatically lit interior view of Mammoth Cave looking deep in the cave into the "Rotunda" toward the entrance and illuminated by an almost mystical light from the outside. In Gignoux's canvas a large, roaring fire has been built, whose artificial light contrasts with the natural light of the entrance, creating a the contrast between heavenly versus infernal, natural versus artificial elements. The canvas contains a blend of French and American traits that characterize many of the Gignoux's early works. His popularity as a landscape painter and teacher began to attract numerous students and his most noted was George Inness, who briefly studied with him in 1843. By 1844, Gignoux had opened a studio in New York City becoming one the first to join the illustrious group (Bierstadt, Church, Cropsey, Kensett, Whittridge, etc.) at the famous Tenth Street Studio. His successes continued and his clients grew to include the likes of Charles Gould, Esq. New York, Baron Rothschild and the Earl of Ellesmere, who commissioned Dismal Swamp, North Carolina (Museum of Fine Art, Boston) in 1850. Régis Gignoux’s most celebrated painting Niagara Falls in Winter, 1848 (U.S. Capitol, Senate wing, third floor, south corridor) exemplified American landscape painting and it illustrated the experience of the common man in a sublime natural setting, a change in subject matter, which marks a critical point in the changing perceptions of the American wilderness. Niagara Falls also successfully attracted European attention and critical acclaim when it was exhibited at the Paris Salon of 1858. Additional paintings of note are Virginia in Indian Summer; The First Snow, which belonged to collector S. Hallet, Esq.; Four Seasons in America; Moonlight on the Saguenay; Mount Washington, which was exhibited at the Paris Salon of 1867, and Spring, which was exhibited at the Philadelphia Exposition of 1876. Gignoux exhibited regularly at the National Academy of Design and at the Pennsylvania Academy of Fine Art. In 1851, Gignoux was elected a member of the National Academy of Design, and he was the first president of the Brooklyn Art Academy. Régis Gignoux painted the Catskills, Niagara Falls, and the mountains of Virginia, North Carolina, Kentucky and Vermont. During the 1850’s, he accompanied fellow artists Frederick Church and John F. Kensett on several sketching trips. He was considered by his piers to be one of the most accomplished painters of period to faithfully capture nature’s truth in American scenery. The explorers in painting such as Regis Gignoux's are common men, not aristocrats or European dignitaries; they had embarked on journeys and they were driven by a taste for adventure and a curiosity about the land. However, they also needed to be able survive alone in the wilderness, which fostered the beloved American traits of independence, ingenuity, pragmatism, and resourcefulness. After a rewarding and successful career in American as a landscape painter, Régis Gignoux returned to Paris in 1870, where he resided until his death, August 6, 1882 Public Collections: The Corcoran Gallery, Washington, D.C Georgia Museum of Art, Athens. GA High Museum, Atlanta, GA Museum of Fine Art, Boston, MA Smith College Museum of Art, Northampton, MA Watson Gallery, Wheaton College, Norton, MA Walters Art Museum, Baltimore, MD The Nelson-Atkins Museum of Art, Kansas City, MO The Brooklyn Museum of Art, Brooklyn, NY New York Historical Society, NY, NY The Parrish Art Museum, Southampton, NY Museum at Brigham Young University, Provo, UT 1816 - 1882 Regis Francois Gignoux Gignoux Regis Francois 2903 Victor Gilbert was born in Paris in 1847 and died in 1935. He established himself as a painter of French genre scenes. His natural ability for drawing was acknowledged at an early age but due to financial circumstances he was required to work as an artisan. The only formal art education he received was at the hands of Pierre Levasseur at the Ecole de La Ville de Paris. Despite his lack of training, he quickly came to the attention of the Parisian public. Gilbert first exhibited in the 1873 and 1874 Salon Exhibitions. It was during the mid 1870s that Gilbert became a close friend to Pierre Martin, one of the chief supporters of the impressionist movement. As Martin had secured paintings by Monet, Van Gogh, Cézanne and Gauguin, he also acquired works by Victor Gilbert. It was through this support and recognition that Gilbert was able to break away from his profession as a decorator and devote all his time to painting. At this point, he turned to his very sought after street markets, vendors, cafe scenes and views of Les Halles. Publications: Alaux, D., Musee de Peinture de Bordeaux, cat. Bordeaux, 1920 Albrian Magazine et Biographique, Salon 1881 Antiques Magazine V.122: 933 N 1982 Art Bulletin V.80: 150, 1881 Catalogue et estimation des tableaux du Musee de Ville de Bordeaux, (Bordeaux) p.25 Galibert, P., Chefs d'oeuvre du Musee de Bordeaux. (Bordeaux, 1906) p.66 Dr. D. Wiesberg, Traditional Realist of the 19th century 1847 - 1935 Victor Gabriel Gilbert 1 Gilbert Victor Gabriel 2121 In 1837, he settled in Brienz with his brother, Edouard, and Edouard’s sons Leopold Henri, Robert and Max. They began inviting painter friends such as Maximilien de Meuron, Alexandre Calame and Benjamin Vautier, turning Brienz into a meeting place for artists and their admirers. They are sometimes referred to as the “School of Brienz”. One of Karl Girardet’s most noted engravings was “Napoleon on a camel before the Sphinx and Great Pyramid” published in Quarante Siècles le Contemplent. Forty Centuries Look Down Upon Him. Paris: Goupil & Co., n.d., c.1870 Museums: Muse de Alger Musée de Amsterdam Musée de Chantilly Musée de Lille Musée de Nantes Musée de Madrid Musée de Rouen Musée de Reims Musée Versailles © 2005 Roughton Galleries, Inc. 1813 - 1871 Karl Giradet Giradet Karl 1858 Andre Gisson is an outstanding American impressionist of unusual magnitude. Gisson was born and still lives in New York. However, his paintings reflect his extensive travels and studies in Europe and the Far East. Gisson's landscapes and beach scenes create a reflective mood of serenity. This is also true of his portraits and of the manner in which he handles the human element. The order and beauty of his florals and still lifes are manifestations of the Japanese influence in his work; while the French influence is more pronounced in his landscapes, beach scenes and studies of the human figure. Gisson feels that it is the role of the artist to extend or "explain" perception and feeling and in this way enlarge the total human vision...."Flowers for me are a way of feeling certain effects of light and conversely, light is a means for expressing something very personal about the way I experience flowers." All of Gisson's paintings have the softness of line of the classic impressionist. He is more concerned with the creation of a mood or feeling, rather than a precise depiction of the subject. Gisson's works reflect the belief that art is expreienced in very complex ways. First, the eyes see, and then there is perception through all of the senses. Art, in its multi-leveled complexities is created and experienced, first by the artist and then by his audience. "When I begin to paint, certain remembered sensations come to me and it is these that I translate into visual form and related subjects. These subjects--people, the nude, florals, landscapes, beaches, etc., recur constantly like obsessive memories. For the most part they are the common universal experiences of all of us, neither contemporary nor out of an antique past, but with a sentiment which I hope is recognizable to others at any time." Unknown Andre Gisson Gisson Andre 2086 Alfred Augustus Glendening Senior was a London landscape painter who began his life as a railway clerk. He exhibited at the Royal Academy during the years 1865-1903, and at the British Institute, which was established as a rival to the Royal Academy at Boydell's Shakespeare Gallery in Pall Mall. The Institute aimed to encourage and reward the talents of the artists of the United Kingdom and it organized loan exhibitions of Old Masters for students to copy. His subjects include views of the Thames, the Southern Counties, Wales and Scotland. His son and pupil was Alfred Glendening Junior. Both painted broadly realistic landscapes, in a style similar to that of Alfred de Breanski. Exhibited: Royal Academy British Institute Royal Society of British Artists, Suffolk Street. 1840 - 1910 Alfred Augustus Glendening Glendening Alfred Augustus 2060 Paule Gobillard was born in Quimperlé (Brittany) in 1869 and died in Paris at the age of 77, after a long illness. She is considered a post-impressionist from the French school. Her father was an ex-military man who turned to finance and her mother was a brilliant judge. Paule was thus blessed with an exceptional "entourage". She was surrounded by her parent friends Auguste Renoir (1841-1919), Edgar Degas (1834-1917), Jean Baptiste Camille Corot (1796-1875) and Odilôn Redon (1840-1916). They were also eminent members of France’s political and social world. With such an artistic atmosphere and with the guidance of her brilliant aunt Berthe Morisot (1841-1895), Paule would develop in to an excellent painter and pastellist (as even the ever hard-to-please Degas would admit). Berthe Morisot executed ten portraits of Paule during her successful career as an impressionist. Most of which are in now French and Foreign museums. Symbolist Odilôn Redon (1840-1916) painted a magnificent portrait of Paule Gobillard, which pinpointed her intellectual qualities and her natural beauty. Edgar Degas painted two portraits of her mother (an oil and a pastel, now at the Metropolitan Museum of New York). Paule would accept the advise of Berthe Morisot to study painting in the atelier of figure painter Henri Gervex (1852-1929) and Morisot also encouraged her to spend time in the Louvre studying the old masters. Paule would execute several copies at the Louvre but her faithful copy of Titian’s "Concert in the fields" would capture a very original atmosphere that would be present in all her future work. Paule would often travel to Mézy where Eugene Manet and Berthe Morisot had a country house. She would draw and paint in the gardens alongside her aunt. While in Mézy, she executed a number of very beautiful pastels characterized by the typical light found only in the lIe de France and by the subtlest use of colour graduations. When Berthe died in 1895, Julie Manet, the daughter of Berthe, and her cousins Paule and Jeannie would live together at n°40, rue de Villejust (today called rue Paul Valéry) in the house built by Berthe and her husband, Eugene. They lived in a state of freedom (rare at that time) and surrounded by the greatest painters and one of France’s most famous poets Stéphane Mallarmé, who was Julie’s tutor as Auguste Renoir was Paule’s. The three girls would visit the Renoir family in Normandy at the village of Essoyes. In 1900, the double marriage of Julie Manet to Ernest Rouart (son of Henri Rouart), the famous collector and painter and the marriage of Jeannie, younger sister of Paule, to Paul Valéry, a writer, would take place. The double marriage ceremonies symbolized the couple’s friendship, which lasted a lifetime. Paule, who was like a daughter to the Valérys, would live most of her adult life with them in the house built by Berthe Morisot. She would also spend her summers with her sister at the Rouart family’s exquisite Château Le Mesnil. The Château Le Mesnil and the surrounding countryside would provide an enormous inspiration to Paule and her work. She painted several lyrical landscapes, wonderful still lifes with a "fauvist" influence, portraits of adults and children. Most collectors consider this is her best period. Many of the paintings from this period exhibit the soft palette and influence of her aunt Berthe Morisot. In 1906, Paule became a member of the "Salon d’Automne" where she exhibited regularly. She also exhibited Durand Ruel, Petit, Druet and Galerie Bernbeim Jeune. She was part of group including D’Espagnat, Maurice Denis, Vuillard, Bonnard, Marquet and Valtat. She was very close to the art critic Felix Fénéon. She exhibited in Japan, the United States and Denmark. The Valérys would travel with Paule to all of here international exhibitions. During all her trips, Paule continued painting using living models during concerts and lectures and sometimes depicting them with a caustic sense of humor In 1948, the poet Leon-Paul Fargues wrote a very eulogistic article on her on the first page of "Figaro" under the heading "The friend of painters and poets." The same year D’Espagnat wrote the preface to the catalog of her retrospective exhibition at Durand-Ruel. 1869 - 1946 Paule Gobillard Gobillard Paule 1857 Ferdinand Jules Albert Gosselin was born in Paris, France in 1862. His true death dates are not recorded. Gosselin's first formal education was at the Ecole des Beaux- Arts with Jules Lefebvre. It was during this period of academic training that Albert became interested in the plein-aire movement of painting. Artists; Diaz, Corot, Delpy, Richet, Daubigny, Millet, Harpignies and Cazin led this movement, Ecole de Barbizon. They were influential in changing French art forever by going against the old Academy and it's political hold on art. Albert enrolled in the class of Professor Louis Hector Le Roux (1829-1900). It was while under Le Roux that Gosselin began painting in the Fountainbleau Forest just out side of Paris. He too, had heard that the light was perfect for the plein-aire style of painting. Gosselin was introduced to Henri Joseph Harpignies (1818-1916) while painting in the Forests of Fountainbleau. It was this introduction and influence by Harpignies that changed Albert's work forever. He would go on to meet French Impressionist Jean-Babtiste-Armand Guillaumin (1841-1927), who would introduce Albert to the other artists involved in impressionist movement. The introduction and influence of impressionism helped round Albert Gosselin's career as a painter. Upon completion of his studies, Gosselin began exhibiting at the Salons in Paris. In the 1890 Exhibition he was awarded a second class medal. He was later presented with metals in both the 1896 and 1897 Salon Exhibitions. Gosselin was presented a Gold Metal at the Exposition Universal of 1900. It was that same year that he was awarded France's highest award Chevalier on the Legion of Honor 1862 - ? Ferdinand Jules Albert Gosselin Gosselin Ferdinand Jules Albert 2180 Pierre Gourdault was born on May 18, 1880 in Paris and died in Givenchy-le-Noble, France on January 5, 1915. He is considered a portrait, genre, landscape painter and engraver from the French school. He studied at the Beaux-Arts Academie under Professors Baschet and Schommer. Awards: Salon 1900: Honorable Mention (engraving) Salon 1903: Third Class Medal Salon 1904: Second Class Medal Salon 1904: Bourse de Voyage Museums: Musée Simon, Hungary Musée de Perpignan Listed: E. Benezit, vol. 5, pg. 135 1880 - 1916 1 Pierre Gourdault Gourdault Pierre 3254 A. L. Grace, RBA (British 19th/20th Century) Although Grace is listed as a member of the Royal British Academy, Little is know about his life education or exhibition history. His wonderfully painting academic interior scenes are incredibly well executed in perfect detail. A. L. Grace Grace A. L. 1624 Born in Valencia, Spain, Gras came under the influence of one of that city's most famous painters, Joaquim Sorolla. Though it is in question whether Gras was a student in Sorolla's atelier, it is certain that he was one of Sorolla's most dedicated followers'. The movement strongly advocated the impressionist practice of painting out of doors, and his works are remarkable for their naturalistic light and vibrant color. In his use of strong, bright hues and his attempts to capture the clarity of the Mediterranean light, Gras reflects his admiration for his mentor in the work "FISHERWOMAN ON THE BEACH." Listed: Benezit, vol. V, pg.170 The Painter Joaquim Sorolla, ed. E. Peel, London, 1989, pg.45 Unknown Francisco Gras Gras Francisco 3251 Francisco Gras(Spanish, 19th / 20th century) Born in Valencia, Spain, Gras came under the influence of one of that city's most famous painters, Joaquim Sorolla. Though it is in question whether Gras was a student in Sorolla's atelier, it is certain that he was one of Sorolla's most dedicated followers'. The movement strongly advocated the impressionist practice of painting out of doors, and his works are remarkable for their naturalistic light and vibrant color. In his use of strong, bright hues and his attempts to capture the clarity of the Mediterranean light, Gras reflects his admiration for his mentor in the work "FISHERWOMAN ON THE BEACH." LISTED: Benezit, vol. V, pg.170 The Painter Joaquim Sorolla, ed. E. Peel, London, 1989, pg.45 Francisco Gras Gras Francisco 1623 Abbott Fuller Graves was a renowned specialist in decorative open-air garden paintings and floral still lifes. His use of thick, impasto brushstrokes, bright colors and natural light, most evident in his later garden paintings, shows the influence of European impressionism. Born in Weymouth, Massachusetts in 1859, Graves studied both in New England and abroad. He attended, but did not graduate from, the Massachusetts Institute of Technology. Although already considered one of the best flower painters in Boston, Graves went to Paris and Italy in 1884 to continue his studies. In Europe, he roomed with Edmund C. Tarbell and studied still-life painting. After returning to Boston in 1885, Graves became an instructor at the Cowles Art School. Also teaching there was his close friend and colleague, Childe Hassam. The two painters undoubtedly influenced one another. In 1887, Graves returned to Paris to study figure painting at the Academie Julien. There he studied under Cromon, Laurens and Gervais until 1891. After 1891, the majority of Graves's works depict gardens and floral landscapes. Often these oils, pastels and watercolors include female figures. Some portray exotic gardens of Spain and South America. The bright sunlight and bold use of color and paint, as well as the subject matter of the garden paintings, reflect the influence of European impressionism on Graves's work. Throughout his career, Graves continued his travels between New England and Paris. In 1891, he opened his own art school in Boston. The school moved to Kennebunk, Maine and closed in 1902. From 1902 to 1905, Graves was employed as a commercial illustrator for magazines in Paris. When Graves died in 1936, he had achieved wide acclaim as a specialist in garden painting, both in New England and Paris. Memberships: Allied Artists of America American Art Association of Paris Artists' Fund Boston Art Club Boston Society of Watercolor Painters Connecticut Academy of Fine Arts Copley Society of Boston National Arts Club National Academy of Design North Shore Art Association Salmagundi Club Public Collections: Art Museum, Portland, Maine National Arts Club, New York City 1859 - 1936 Abbott Fuller Graves Graves Abbott Fuller 3086 Greacen was born on September 18, 1876, in New York City and died on October 4, 1949, in White Plains, N.Y. He was in Old Lyme, 1910-17. Edmund Greacen grew up in a New York City brownstone, staffed by Irish servants, that stood where part of Rockefeller Center is now. His father was an Irish immigrant of Scottish Presbyterian descent who married a rich American and, through his own shrewd judgment in the wholesale shoe trade, increased her fortune. Following a private school education, Greacen studied at New York University, where he received a bachelor of arts degree, but where his main interests seem to have been the high hurdles, banjo playing, his fraternity, and similar extracurricular activities. Eager to participate in the Spanish-American War after graduation, he was sent on an around-the-world tour by his father, who hoped travel would allay his son's enthusiasm for soldiering. Greacen had already filled three sketchbooks, and his interest in art evidently did grow on the trip. In 1899, at the age of twenty-three, he enrolled at the Art Students League, and, soon after, at the art school run by William Merritt Chase, where he studied with Chase, Robert Henri, Louis Mora, Frank DuMond, and Everett Shinn. In late 1904 Greacen married Ethol Booth of New Haven and the following spring sailed with her, Chase, and about three dozen of Chase's other students to Spain, on one of the art study tours that Chase became famous for. The Greacens stayed on in Europe, mainly in France, until 1909. Greacen became strongly attracted to Impressionism, and, in 1907, he moved his family to Giverny to be near Monet, who greatly influenced him even though the American saw little of the aging French master himself. He was close, however, to Monet's stepdaughter Suzanne and her American husband, artist Theodore Butler, as well as to other American painters in the village. On his return to this country in 1909, Greacen participated in group exhibitions in New York and elsewhere. He was in the Artists' Independent Exhibition of 1910, his Impressionist work there markedly different from the realism and social commentary of artists like John Sloan, George Luks, George Bellows, and Stuart Davis that made up the rest of the exhibition. Greacen had a one-man exhibition at the Folsom Galleries on Fifth Ave. in 1911 and, in 1914, another at the Toledo Museum of Art in Ohio, where he received warm praise. He began doing some of the "portraits" of formal gardens of the wealthy that he became noted for. Between 1910 and 1917, Old Lyme and the Griswold House became the Greacen family's haven from city living, a kind of American Giverny. They enjoyed the conviviality and the scenery, and they went to Old Lyme as often as they could for days or weeks at a time, in all seasons. Greacen painted some of his loveliest landscapes in Lyme and neighboring places. World War I disrupted Greacen's career. A school of art he established in 1917 lasted only about a year. He served six months in France with the French YMCA (the U. S. Army had turned down his application for active service because he was over forty). After the war, however, several honors came to him, among them election to associate membership in the National Academy of Design in 1920 (full membership, 1935) and, in 1921, the $1,000 Shaw Purchase Prize of the Salmagundi Club. In 1922, the same year he had a one-man exhibition at Macbeth Gallery, Greacen suggested and organized a pioneer artists' cooperative, a non-profit gallery where established artists could keep their work on continuous exhibition. Artists would contribute works of art as yearly dues, and businessmen would provide capital. The gallery, established the following year and located on the top floor of Grand Central Station, came to be known (and still is, though now in the Biltmore Hotel) as Grand Central Art Galleries. It had as many as twenty exhibition rooms at times and was influential in furthering interest in American art. Travelling exhibitions from Grand Central later went to at least twenty cities, among them Hartford and New Britain in this state. In 1924 Greacen began a related art school, also called Grand Central — the largest of its kind in New York City — which opened with 2(8) students, grew to more than 910, and lasted twenty years, until Greacen's health failed. Among the many artists who taught there, besides Greacen himself, were Ivan Olinsky, Louis Mora, Arshile Gorky, and Greacen's daughter, Nan Greacen Faure. Greacen believed in teaching technical competence but wanted to avoid forcing students to be either "modern" or "conservative." His responsibilities at Grand Central increasingly kept him in New York City, and he became more an indoor painter, often doing portraits as well as poetic cityscapes. Teddy Greacen laughed when one of his last students asked whether he looked through a piece of gauze when he painted. The artist knew that his kind of painting looked strange to art students of the post-World-War society, but he also knew that he still believed what he had once written: ". . . some of us like the fleeting beauty of the moment.'' A retrospective exhibition of Greacen's work was organized by the Cummer Gallery of Art in Jacksonville, Florida, in 1972. Further reading: Edmund W. Greacen, American Impressionist, 18 76-194 9. Exh. cat., Cummer Gallery of Art, Jacksonville, Fla., 1972 1876 - 1949 Edmund W. Greacen 1 Greacen Edmund W. 3330 A.D. Greer (Aubrey Dale Greer) 1904-1998 An artist, poet, lecturer, and illustrator, A D Greer became a legend among Texas landscape painters because of his popularity and the high-dollar values of his luminist, romantic paintings. He lives primarily in New York City but paints numerous southwestern landscapes. Greer was born in Oklahoma Territory, and in 1907, after the death of his mother, was taken to Hutchinson, Kansas where he grew up on a farm. He studied at St. Johns Academy in Salina, Kansas and then began work as a sign painter. Although many suffered financially during the Depression, he had numerous jobs painting church domes, lettering signs on water towers and smokestacks, and striping cars at a Ford assembly plant. He also worked as a logger in the Colorado Rockies and drove spikes for a railroad---jobs which provided him much opportunity to explore mountain ranges and other landscapes that became subjects of his paintings. He is a member of the Guild of Freelance Artists in New York. Museums Panhandle- Plains Historical Museum, Woolaroc Museum Publications Texas Painters, Sculptors & Graphic Artists A Biographical Dictionary of Artists in Texas Before 1942, Powers, John & Deborah Ron Tyler, Foreward, 2000 Who Was Who in American Art, 1564-1975, Three Volumes, Falk, Peter Hastings (Editor), 1999 Dictionary of Texas Artists, 1800-1945, Grauer, Paula and Michael R., 1999 Master Index 1971-1993 Artists in Southwest Art, Southwest Art, 1993 American Artists An Illustrated Survey of Leading Contemporary Americans, Krantz, Les, 1985 Contemporary Western Artists, Samuels, Peggy and Harold, 1982 1904 - 1998 1 Aubrey Dale Greer Greer Aubrey Dale 1621 Thomas B. Griffin was born in Philadelphia, Pennsylvania during the last half of the nineteenth century. His first formal art education was at the National Academy of Design in New York. While at the Academy, Griffin exhibited his very well executed impressionistic landscapes. In 1896, he listed his address as 340 Fulton Street, Brooklyn, New York. It was during this year that Griffin exhibited "Views from the Catskills (from Haine's Corners)" and "Hunter Mountain, Catskills," at the National Academy. Thomas B. Griffin later moved to Baltimore where he opened a studio and established himself as a painter of impressionistic landscapes. Listed: The Dictionary of American Artists, Sculptors and Engravers, by Young Exhibition of the National Academy, 1861-1900, vol.1, pg. 367 Who was Who in American Art Mantle Fielding's 19th - tury Thomas B. Griffin Griffin Thomas B. 3087 Griffin was born on January 14, 1861, in Portland, Me. and died on May 18, 1935, in Portland, Me. He was in Hartford and Farmington, e. 1898-c. 1906; in Old Lyme periodically, 1904-08. Biographers usually designate Walter Griffin's Old Lyme period as the first important phase of his career. Yet Griffin was an established artist when he came to this state and was in Connecticut at least five years before going to Old Lyme. In 1903 his work was in an exhibition at the Wadsworth Atheneum, Hartford, featuring "four of Connecticut's best-known artists" (the others: Allen Talcott, Charles Noel Flagg, and William Gedney Bunce). Griffin's father was a carver of ship figureheads in Maine and a member of a Sunday painting group, "The Brushuns," which Griffin joined as a youngster. In 1877, when he was sixteen, he began five years of study at the school of the Boston Museum of Fine Arts. In 1882 he enrolled at the National Academy of Design in New York, where he worked under and became close friends with Montague Flagg, a nephew of Washington Allston. Other friends were William Merritt Chase, Willard Metcalf, Emil Carlsen, Childe Hassam, Robert Brandegee, and Charles Foster. Griffin went to France in 1887 and studied with Raphael Collin, and, at the Ecole des Beaux-Arts, with Jean-Paul Laurens. He exhibited at the 1889 Salon. By then he had already discovered the villages of Barbizon and Fleury and become friends with Francois Millet. A year or so later he settled in Fleury and established art classes. Mostly he stayed in France until 1897. By 1898 Griffin was in Hartford. He had a studio in the gas company building at 700 Main St. and taught at the school of the Art Society of Hartford (now Hartford Art School of the University of Hartford). Though classes were often held in the Morgan Memorial building of the Wadsworth Atheneum, they were never administered by the museum, and Griffin was never director or curator of the Wadsworth Atheneum, as somc have reported. While records of the Art Society are incomplete, Griffin is listed as late as the 1905-06 year as the school's only instructor, with a gifted former student as Ins assistant — Louis Orr, the future etcher. Griffin must soon have felt at home in Hartford. His friends Robert Brandegee and Charles Foster were living in nearby Farmington, and Montague Flagg's half-brother, Charles Noel Flagg, had organized and was directing the Connecticut League of Art Students. Faculty and students regularly went out to Farmington to sketch, paint, and talk art with Brandegee and Foster. In 1899 Griffin was married in Hartford to Lillian Baynes, who had served as secretary-treasurer of the summer art school he had opened in Quebec in 1897 or 1898 and continued at least through 1899. Griffin loved Farmington. In November, 1900, he published a rhapsodic tribute to that village about ten miles west of Hartford: "I have never been able to help comparing the two villages with which I am most familiar, —Barbizon, France, and Farmington . . . Farmington might be called the Barbizon of America." Only Farmington was better, he asserted, "typical of what is best in our villages." These words and others by Griffin appeared in a monthly called Farmington Magazine, an idea of Robert Brandegee's that lasted a couple of years m 1900-02. Griffin's wife was listed as associate editor m the first number, November, 1900, and Griffin not only contributed essays on art for the first six months, but his cover design was used throughout the run. He advertised portfolios of sketches he had done of "interesting features of Farmington," priced at $5.00, available at the local drug store or on order from his Hartford studio. He also talked about Farmington as a favorite "colony" for artists from "Hartford, Boston, New York, and other cities . . . Almost every day their white umbrellas have been seen near the river, through the town, and among the hills." He proposed annual summer exhibitions of Farmington art, which never materialized. Griffin visited Farmington often. He took part in painting scenes on door and wall panels in a local home, as he was to do again m Old Lyme later. He is listed among the Hartford guests at an exclusive reception in 191)1 for President Theodore Roosevelt at the Farmington home of Roosevelt's sister, Mrs. William S. Cowles. He is remembered by some of the village's older citizens. In 1903 several of Griffin's friends were m Old Lyme. Allen Talcott began going in 1901, and Childe Hassam and Henry White arrived in 1903. Perhaps Griffin visited, for William Chadwick remembered that Griffin came down early on. The summer of 1904 Griffin was certainly there and exhibited in the annual exhibition. He then exhibited regularly until 1910 and again from 1915-17. Old Lyme and its artists influenced Griffin and he them. His oils brightened, and he did fine drawing in hard point pastels. Hedecided to give up teaching in order to devote himself to art. By 1908, however, Griffin's marriage was awry. He and his wife stayed in New York in the cooperative studio apartments on W. 67th St., where Ranger, Hassam, and other friends lived. But in late February, 1908, Griffin wrote to Florence Griswold that the Players Club would be his address for awhile. In early June, 1909, he sent her $30 against his bill, advised her to rent his Old Lyme studio and room, and gave Portland, Maine, as his address "until further notice." So 1908 seems to mark the end of Griffin's Old Lyme period, though he exhibited again and as late as 1918 was writing Miss Florence that he would surely visit her even though he could not summer with her. Thereafter Griffin lived abroad more than at home: 1909-10, Norway (his Old Lyme friend William Singer was there); 1913, Venice (William Gedney Bunce was there); 1911-18, Boigneville, France (Griffin was mistakenly arrested as a war spy, acquitted, and in the United States for part of this period); 1918-22, Stroudwater, Maine; and 1923-33, France (periodically). The village of Contes, sixteen miles inland from Nice, became his favorite painting site after 1926. Griffin's last two years were spent in Maine, in failing health, but he painted until nearly the end. Exhibitions had been frequent and well received. Awards and honors had come steadily. He had been an Academician of the National Academy since 1922. Griffin was honored by the Academy soon after he died in 1935, with a joint memorial exhibition for him and for his old friend, Childe Hassam. 1861 - 1935 Walter Griffin 1 Griffin Walter 3340 Louis Oscar Griffith was born on October 10, 1875 in Greencastle, Indiana. In addition to etching, he was a painter of realistic landscape, portrait and genre, painting with Impressionist-influenced color and broad, relatively loose brushwork. Griffith moved to St. Louis, Missouri in 1893 to attend the St. Louis School of Fine Arts (attendance not confirmed by school records) he studied in Dallas with Frank Reaugh c. 1890 1895-1896, 1896-1897, at the School of the Art Institute of Chicago in the evenings in 1908 in Paris and Brittany as well as the National Academy of Design. Griffith, over the years, lived at various residences including 1875-1879 Greencastle, Indiana 1879-1893 Dallas, Texas 1893-1896 St. Louis 1896-1922 Chicago 1922-1956 Nashville, Indiana. He married Carolyn Maulsby in 1920. Griffith died November 13, 1956 in Franklin, Indiana. Louis Oscar Griffith received many honors and awards during his lifetime 1915 Bronze Medal, etching, Panama-Pacific Exposition, San Francisco 1921 Gold Medal, Palette and Chisel Club 1925 Daughters of Indiana Typical Indiana Scene Prize, Hoosier Salon 1926 George Ade Etching Prize, Hoosier Salon 1929 First Prize, Texas Wild Flower Competition, San Antonio Art League at Witte Memorial Museum 1930 John C. Shaffer Outstanding Picture Prize, Hoosier Salon 1935 Edward Rector Memorial Indiana Landscape by Resident Prize, Hoosier Salon 1938 Frederick Nelson Vance Memorial Prize, Brown County Art Association 1939 Delta Sigma Kappa Landscape Prize, Hoosier Salon 1949 First Blue Ribbon, Chicago Society of Etchers 1949 Kappa Kappa Kappa Purchase Prize, Hoosier Salon 1953 Prize, Chicago Society of Etchers The following are included among his group exhibitions A Century of Progress, Court of States, Indiana 1933 Assoc. of Chicago Painters & Sculptors 1927 Art Institute of Chicago, Chicago Society of Etchers 1911, 1915, 1925 Art Institute of Chicago, Art Students League 1902-1903 Art Institute of Chicago, Palette and Chisel Club 1916 Canadian National Exposition Florence International Print Show Hoosier Salon 1925-1949, 1951, 1954-1957 Indiana Society of Printmakers 1937 Indianapolis Art Club Library of Congress, National Exhibition of Prints 1943 National Academy of Design 1943 National Gallery of Art 1945 Panama-Pacific Exposition, San Francisco, Illinois State Building 1915 Pennsylvania Academy of the Fine Arts annual 1921 Racine School of Fine Arts 1908 Sesqui-Centennial International Exposition, Philadelphia 1926 (ten prints) Louis Oscar Griffith's one, two or three-man exhibitions include 1915 Palette and Chisel Club 1925 Marshall Field & Company Galleries 1929 Hoosier Salon 1930 Chicago Galleries Association 1933 Chicago Woman's Club 1934 Hoosier Gallery, Chicago 1945 Smithsonian Institute, Special Exhibitions in the Division of Graphic Arts Source http//www.illinoisart.org/biographies/FH.htm 1875 - 1956 1 Louis Oscar Griffith Griffith Louis Oscar 1620 John Atkinson Grimshaw was a Leeds painter of landscapes, town views and dockyards, especially at sunset or by moonlight. Born the son of an ex-policeman, Grimshaw first began painting while working as a clerk for the Great Northern Railway. He encountered bitter opposition from his parents, but after his marriage in 1858 to Theodosia Hobbarde, a cousin of T.S. Cooper (q.v.), be was able to devote himself to painting. By 1870, be was successful enough to rent Knostrop Old Hall, a 17th century mansion near Temple Newsam, which features in many of his pictures. Later in the 70s, he built a house near Scarborough, and in the 80s rented a studio in Chelsea. Grimshaw painted mostly for private patrons, and exhibited only 5 works at the Royal Academy between 1874 and 1886, and one at the GG. The towns and docks that he painted most frequently were Glasgow, Liverpool, Leeds's, Scarborough, Whitby and London. Grimshaw's style and subject matter changed little during his career; he strove constantly to perfect his own very individual vision. He was interested in photography, and sometimes used a camera obscure to project outlines on to canvas, enabling him to repeat compositions several times. He also mixed sand and other ingredients with his paint to get the effects he wanted. Although he established no school, Grimshaw's pictures were forged and imitated in his lifetime, notably by Wilfred Jenkins and H. Meegan. Although his moonlit town views are his most popular works, he also painted landscapes, portraits, interiors, fairy pictures and neo-classical subjects. During his early period he signed "J.A. Grimshaw" but c.1867 dropped the John, and signed himself Atkinson Grimshaw. He usually signed his pictures on the front and the reverse, inscribed with the title. Two of his sons, Arthur and Louis, were also painters. Bibliography: Reynolds VP p.155 (pl.99); Catalogue of the Grimshaw Exhib. Ferrers Gallery 1964 Maas pp.202-3.229-30 (pls. on pp.204, 205,229) J. Abdy A.G. 1970 Phillips, G.R., The Biography of J.A. Grimshaw 1972. Exhibitions: London, Ferrers Gallery, 1970; London, Alexander Gallery, 1976. 1836 - 1893 John Atkinson Grimshaw Grimshaw John Atkinson 3227 Born in Madrid, Gris studied mechanical drawing at the Escuela de Artes y Manufacturas in Madrid from 1902 to 1904, during which time he contributed drawings to local periodicals. From 1904 to 1905 he studied painting with the academic artist José Maria Carbonero. In 1906 he moved to Paris and became friends with Henri Matisse, Georges Braque, Fernand Léger, and in 1915 was painted by his friend, Amedeo Modigliani. In Paris, Gris followed the lead of another friend and fellow countryman, Pablo Picasso. His portrait of Picasso in 1912 is a significant early Cubist painting done by a painter other than Picasso or Georges Braque. (Although he regarded Picasso as a teacher, Gertrude Stein acknowledged that Gris "was the one person that Picasso would have willingly wiped off the map.") Although he submitted darkly humorous illustrations to journals such as Le Rire, L'assiette au beurre, Le Charivari, and Le Cri de Paris, Gris began to paint seriously in 1910. By 1912 he had developed a personal Cubist style. At first Gris painted in the analytic style of Cubism, but after 1913 he began his conversion to synthetic Cubism, of which he became a steadfast interpreter, with extensive use of papier collé. Unlike Picasso and Braque, whose Cubist works were monochromatic, Gris painted with bright harmonious colors in daring, novel combinations in the manner of his friend Matisse. In 1924, he first designed ballet sets and costumes for Sergei Diaghilev and the famous Ballets Russes. Gris articulated most of his aesthetic theories during 1924 and 1925. He delivered his definitive lecture, Des possibilités de la peinture, at the Sorbonne in 1924. Major Gris exhibitions took place at the Galerie Simon in Paris and the Galerie Flechtheim in Berlin in 1923, and at the Galerie Flechtheim in Düsseldorf in 1925. He died in Boulogne-sur-Seine (Paris) in the spring of 1927 at the age of forty, leaving a wife, Josette, and a son, Georges. 1887 - 1927 Juan Gris 1 Gris Juan 2082 Albert Lorey Groll was born December 8, 1866 in New York City. He spent his early years as a student first in London and then in Munich, Germany at the Royal Academy studying with historical genre and landscape painter Ludwig Von Loefftz (1845-1910) and genre painter Nickolaus Gysis (1842-1901). Groll also studied briefly at the Royal Academy in Antwerp, something few Americans were doing in the late 19th century. In 1895, Groll returned to New York City and began his art career as an illustrator and cartoonist. Although he had a profound love for the figure painting, it was short lived because he couldn’t afford to hire a model. He would turn his attention to natural beauty of the American. In 1905, as a guest of Indian dealer Lorenzo Hubbell, Groll would make his first trip to Arizona and New Mexico and stay at his friend’s Ganado trading post. This first trip to the desert revealed an endless subject for Groll to paint for the rest of his career. Using the desert, Groll became a prolific, much admired and successful western desert landscape and skyscape painter. The Laguna Pueblo Indians of New Mexico were so admiring of his landscapes they named him Chief Bald-Head-Eagle Eye. Although he was much recognized in the East and maintained a studio in New York City, he continued to return to the West to paint in the desert. It was his desert landscape that alerted the general public to the varying conditions of Arizona that made it so appealing. In Dorothy Harmsen’s book, "American Western Art," she wrote that he and his paintings caused Americans to "recognize the artistic possibilities that existed in the Arizona and New Mexico landscape.…. "This sagebrush and cactus country, laying broad and low with arid yellow soil, stretching away to a sky full of clouds, make an unforgettable picture". Although, his main subject was the desert, Groll would maintain his studio in New York City where he associated with the cultural elite. In 1897, Groll would begin exhibiting, as an associate member, at the National Academy of Design. He was elected to full Academician in 1910 and won a Gold Medal in 1911. In 1903, he would begin exhibition at the Pennsylvania Academy of Fine Art and the Chicago Art Institute. Groll's desert scene, "Arizona," won a Gold Medal at the Pennsylvania Academy of Fine Arts in 1906. He was awarded a Silver Medal at the 1915 San Francisco Exposition. Groll would lead a very successful life as a professional painter until his death in 1952 in New York City. His work is included in the permanent collections of over 20 museums around the country including the Phoenix Art Museum, Smithsonian American Art Museum, and the Metropolitan Museum of Art. 1866 - 1952 Albert Lorey Groll Groll Albert Lorey 3178 Oliver Grover was born in 1861 in Earlville, Illinois, and along with his family he later moved to Chicago. While growing up in Chicago, he spent much of his time at the Academy of Design sketching. He then trained at the Royal Academy in Munich and later with Frank Duveneck in Florence amongst the "Duveneck boys." In 1884 he went to Paris for a year to study under Gustave Boulanger and Jean-Paul Laurens. By the fall of 1885 he returned to Chicago and until 1892 he was an instructor at the Art Institute of Chicago (for five years). Grover worked on several monumental projects including a mural for the Chicago World's Columbian Exposition, the decorations for the Branford Memorial Library, and the Blackstone Memorial Library of Chicago. His work includes portraiture, landscapes and decorative designs. He remained in Chicago for the rest of his career, but often traveled to Europe for inspiration. He also traveled to the Pacific Northwest where he did landscape paintings of Banff. Grover died in Chicago in 1927. Museums and Public Collections: Eagle Nest Colony Art Collection, Oregon, IL High Museum, Atlanta, GA Chicago Art Institute, Chicago,IL The John H. Vanderpoel Art Association, Chicago, IL Union League Club, Chicago, IL 1861 - 1927 Oliver Dennett Grover 1 Grover Oliver Dennett 3238 Emile A. Gruppe was a painter-teacher who was born in 1896, the son of renown painter Charles P. Gruppe (1860-1940). He lived throughout his professional painting career in Gloucester, MA and wintered in Jeffersonille, VT and Sarasota, FL. Gruppe studied at the National Academy (NYC), at the Grande Chaumiere, Paris; and with John F. Carlson, Richard Miller, George Bridgman, Charles Chapman and Charles Hawthorne (in Provincetown) and by 1930 he was known for his fluid, lucid post-impressionist scenes of the American landscape and of Gloucester boating views. Member: Salmagundi Club; North Shore Art Association (1929-1978); Rockport Art Association; Gloucester Society of Artists; Allied Artists of America; Longboat Key AA; Sarasota AA; Grand Central Art Galleries; Rochester AA; Audubon Artists; Northern Vermont Artists; New Haven Paint & Clay Club; CAFA; Meriden Arts & Crafts; St. Augustine AA; Academic Artists, Springfield, MA. AWARDS include: Allied Artists of America (1944); Springville, Utah (1928, 1946); Guilford, CT (1939); Meriden Arts & Crafts (1939, 1946); CAFA (1956); Rockport AA (1956, 1957); New Haven Paint & Clay Club (1935, 1938, 1939, 1940); Bridgeport, CT AA (1940); Champlain Valley Exposition (1949) and others. Work: L.A. Museum of Art; Witte Memorial Museum; Smith College; Univ. of Idaho; Webber College’ San Antonio Museum, TX; New Haven PCC; DeCordova & Dana Museum, Lincoln, MA; White House, Washington, D.C.; Silverman College, Montreal, Canada; Montclair Art Museum; Speed Museum of Art; Butler Art Institute; Swope Gallery of Art. Murals: Gloucester National Bank; Calloway Mills, LaGrange, GA; MacDonalds, Beverly MA. In "Who Was Who in American Art", (p. 1396, vol. 2) Peter Falk states, “Best known for his views of fishing boats docked at Gloucester and Rockport, and for his Rockport village scenes. Founder of the Gruppe Summer School, Gloucester, MA 1942.” He is also well recognized for his views of Florida, where he wintered. 1896 - 1978 Emile A. Gruppe 1 Gruppe Emile A. 3312 Alessandro Guaccimanni (1864-1927) There is little known about the life and career of Italian/American Allessandro Guaccimanni other than he was born in Italy in 1864 and died in New York 1927. What he is known for are his atmospheric haunting early views of New York and Boston. 1864 - 1927 Alessandro Guaccimanni Guaccimanni Alessandro 3314 Jean-Baptiste Armand Guillaumin was born on the 16th of February 1841 in Paris, the grandson of Jean Joseph Guillaumin who was a notary by trade. Sent to school in Moulins, his stay there was notable for two things, firstly the mountainous landscape of the area inspired his interest in art and secondly the beginnings of a lifelong friendship with the famous impressionist collector Eugene Murer. By 1857 he was back in Paris working as a clerk in his uncle’s shop and combining this with art studies under the sculptor Caillouet. These studies however caused friction with his family and he left to seek new employment and at the same time continuing his art training at the Academie Suisse where he came into brief contact with Courbet, and formed more lasting friendships with Cezanne, Oller and Pissarro. Guillaumin exhibited in the first Salon des Refuses in 1863 together with Pissarro and Cezanne and in the following two years Renoir and Monet amongst others were added to their ranks. Even at this early stage in his career Guillaumin was considered an accomplished draughtsman using economic and dynamic strokes to execute remarkably mature compositions. He was quickly accepted into the circle of Zola and the directions in which Manet was taking art drove his interest. His paintings of this period incorporate a heavy impasto derived in no small part from his exposure to Courbet. Guillaumin, like Renoir but unlike the majority of the Impressionist artists, had no private income and had to continue in menial work to support his vocation. The advent of the Franco-Prussian war did nothing to help his cause either, but the period after the war saw a greater linking of the artists who were taking part in the Impressionist movement. Guillaumin and Cezanne came into contact with Dr Gachet who bought a number of their works, as did Murer who had recently established a successful cafe in Paris. However times were bleak for the Impressionists as a whole with the advent of a rigorously conservative political regime and the trial of Courbet for his part in the commune. The salon voted to reject all Courbet's work and that of the Impressionists who were seen as part of the Realist school, although perhaps only Pissarro had any particular political leanings towards the commune. By the time of the scandalous Exposition de la Societe Anonyme Guillaumin and Cezanne were sharing the studio that used to belong to Daubigny, both in precarious financial positions although aided by the patronage of Gachet and Murer who remained close friends of the pair. In the mid to late 1870's Guillaumin's handling of the brush becomes lighter and more complex and his palette becomes more luminous in a move away from the style of Manet and Courbet. Both Cezanne and Guillaumin wished to create something solid out of impressionism, to create a sense of underlying form in nature. By 1880 the Impressionist group was beginning to fragment, particular camps forming around Degas and Pissarro with artists drawn to either side. Gauguin was becoming a particularly vocal member of the artistic society of that time and sided heavily with Pissarro, making every effort to include Guillaumin in his cause. Despite their initial misgivings, Renoir and Monet joined the Impressionist Exhibition of 1882 with Guillaumin, Gauguin and Pissarro (also included were Sisley, Morisot, Vignon and Caillebotte) but Degas was conspicuously absent. Gauguin, a notoriously difficult and egotistical man, went to surprising lengths to keep Guillaumin within the impressionist fold during its fragmentation and during this period he was introduced to a wide range of emerging artists including Redon, Seurat and Signac with whom he formed a lasting friendship. By 1885 Guillaumin's studio had become a centre for the young group influenced by the work of Pissarro. All three artists from the Academie Suisse were revered by the emerging artists, but by 1885 the old guard of impressionism had effectively dispersed and the new styles of painting were causing further rifts. Gauguin who had worked himself to the centre of the impressionist group was allowing his temper and intolerance to destroy the group from the inside, and it was at this time that Guillaumin saw himself outgrowing the impressionist movement he had been a part of since its outset. However by the time of the last Impressionist exhibition of 1886 Guillaumin was receiving some rapturous critical appraisal. Paul Adam wrote in La Revue Contemporaine that he "was not aware of any other painter who has so correctly noted the corresponding values of the lights of the firmament and of the ground. Their unification in colour appears to be perfect." Felix Feneon reiterated this writing of the same show "Immense Skies: superheated skies where clouds jostle each other in a battle of greens and purples, of mauves and of yellows." It was in 1886 that Guillaumin married and settled down in a new address in the Saint-Sulpice area of Paris. By this time his close artistic relationship with Pissarro had dissolved with the latter's experiments with pointillism and Guillaumin's increasingly romantic art. By the end of the decade, abandoned by the travelling Gauguin, Guillaumin became a close friend and mentor to Van Gogh who was to provide an interesting stimulus to Guillaumin's work. Although Guillaumin by this time was more separate from the avant-garde than he had been since the beginning of the impressionist movement, there is evidence to suggest that the growing symbolist and post-impressionist movements found much in his work to commend and admire, and in 1890 he made his return to the Indépendants after an absence of six years. The first years of the 1890's saw a reduction of Guillaumin's circle with the deaths of Vincent Van Gogh and his brother (who was acting as his dealer), the moving away from Paris of Gauguin and Cezanne and the further artistic separation from Pissarro. All this occurred in the light of the meteoric rise of the symbolist movement of which Guillaumin played little part. In 1891 one of the Bonds he held paid a special premium of 100,000 gold francs, which had a profound effect on his lifestyle. He no longer felt the need to please patrons and critics and was able to pursue his own private artistic goals away from the pressures of the avant-garde. He travelled throughout France in these years, painting a great many mountain and coastal scenes often in the early part of the day or at sunset, and as such his continual fascination with strong vibrant colors and the effects of light grew. Much of Guillaumin's work at this time appears to anticipate the later work of the Fauves. In the latter 1890's Guillaumin's colour became more subtle and his painting more uniform showing the work of an artist at home with his style. The Great War provided the only interruption to his travelling which he resumed at its end at the age of 77, visiting his favorite areas of Agay and Crozant. In the 1920's age was reducing Guillaumin's output, but instead of being forgotten he was the subject of various monographs and in 1926 a retrospective exhibition at the Salon d'Automne. Critical appreciation of his work reached something of a peak in these years with a monograph by Des Courieres stating that "we have to recognize that in the domain of painting Guillaumin occupies a higher sphere" than Morisot, Sisley and Pissarro. He died amid such praise in 1927. Although never reaching the fame of his contemporaries, his pioneering spirit and devotion to the impressionist technique made him one of the few artists that critics agree epitomize true classic impressionism, a select group that would include the likes of Monet, Pissarro and Morisot. (From artnet.com) 1841 - 1927 Jean-Baptiste Armand Guillaumin 1 Guillaumin Jean-Baptiste Armand 3244 Born in Concarneau in 1844, Guillou received his training in the ateliers of the great Academic artists Alexander Cabanel and William A. Bouguereau and it was from these artists that his style and choice of subject matter were developed. Specializing in genre scenes, in his native area of Concarneau, his works often depict pretty young women in everyday, and at times humorous, situations. Whether on a fishing boat or in the lush Normandy landscape, his beautifully rendered figures display his academic training. Guillou exhibited many works at the Salon in Paris during his lifetime and received a third class medal at the 1877 exhibition and a second class medal at the 1881 exhibit. He also exhibited works at both the 1889 and 1900 Universal Exhibitions where he received silver medals. Works in public collections: Cambrai – Après la Tempête Langres – Jeune fille aux lapins La Rochelle – Pêcheurs de crevettes Paris – Arrivee du Pardon de Sainte-Anne de Fouesnant Quimpier – Adieu Saint-Brieuc – Le dèbarquement du thon à Concarneau Tours - Marine 1844 - 1926 Alfred Guillou Guillou Alfred 1619 Jean Paul Haag was born Elbeuf, France. He is considered a genre and interior painter from the French school. Haag debuted at the Paris Salon of 1870. In the nineteenth century the painting of young children with their domestic pets was a winner. This comparison of the human young with the young of animals is, pictorially, an opt one and a very popular painted subject. Many of the finest painters of the period, Paul Delarouche (French, 1787-1857), Ernst Klimt (Austrian, 1664-1892) and Leon Jean Basile Perrault (French, 1832-1908) painted these scenes.Works by Haag are very rare and there is very little research on this wonderful painter. Museums: Le Musée Louviers, Paris "Gardeuse d'enfants en Normandie" Listed: "E. Benezit, Dictionnaire critique et documentaire des Peintres, Sculpteurs, Dessinateurs et Graveurs", Novelle edition, vol.5, pg. 332 "Thieme/Becker, Allgemeines Lexikon der bildenden Kunstler von der Antike bis zu Gegenwart", Band 15/16, Pg. 383 "Popular 19th Century Painting, A Dictionary of European Genre Painters" by Philip Hook and Mark Poltimore, Pgs. 174, 527, illustration, Pg. 188 Acti - 1895 Jean Paul Haag Haag Jean Paul 1605 After studying at the Academy of Fine Arts in Rotterdam, a pupil of Spoel, Bosboom and with Louis Meyer at the Hague, he studied water-color in London, 1851. Mauritz Frederick Hendrik de Haas soon established a fine reputation as a marine painter. At the age of twenty seven he immigrated to the United States and set up a studio in New York. In his adopted homeland, he first became known for his European views and then for his scenes painted along the Northeast Coast. Among the latter were views of Long Island: Orient, Montauk, Peconic, Westhampton, Bridgehampton, and Southampton, as well as points along the Long Island Sound. De Haas felt a special affinity for Long Island, which resembled his native Holland in its terrain and ever-changing effects of light and atmosphere. He was determined to capture the full range of these effects, from bright sunshine reflected on the rippling waves of Long Island Sound to the cool moonlight shining on the beach at Southampton, and, according to one contemporary critic, he succeeded: "His pencil is equal facile whether portraying a storm on the coast, moonlight effects at sea, or brilliancy of the sunset hour." In painting moonlight scenes, the same source claimed, de Haas had "few equals." Exhibited: Boston Athenaeum National Academy of Design Maryland Historical Society Paris Exposition, 1878 Listed: Who Was Who in American Art, p 157 Cyclopedia of Painters and Paintings, v II, p 194 Index of Artists, by Mallett, p 106 Art Across America, "Two Centuries of Regional Painting", by Gerdts A Biographical Index of American Artists, p 28 Mantle Fielding's, Dictionary of American Painters, Sculptures and Engravers, p 216 1832 - 1895 Mauritz Frederick Hendrik de Haas Haas Mauritz Frederick Hendrik de 1939 Ellen Hale was born in Worcester, MA in 1855, a member of the prominent Beecher-Hale family. Her father was the author, orator and clergyman Edward Everett Hale and she was the grandniece of Harriet Beecher Stowe. Her mother encouraged Ellen and her seven brothers, in particular Philip, born in 1865, to draw. She later assisted Philip with the promotion of his career as an artist. Beginning in 1873 she attended art classes in Boston taught by William Rimmer. She also studied with William Morris Hunt and Helen Knowlton. Her first major exhibition was at the Centennial Exposition in Philadelphia in 1876. Upon Hunt's recommendation she attended classes at the Pennsylvania Academy of Fine Arts in 1878. That same year her works were exhibited at the Boston Art Club, with works by her aunt, Susan Hale, and Helen Knowlton. In 1881 and 1882 she traveled to Europe studying in France with a number of artists. In 1882 her work was shown at the Royal Academy in London. She returned to the U.S. in 1883 and met Gabrielle de Vaux Clemens, a Philadelphia artist, who taught her printmaking and who became her lifelong friend and companion. She was accomplished in many of the arts and wrote a number of articles and books. Her series on an American student's perception of Paris and its art world was published in the Boston Traveler. She also wrote a "History of Art" published in 1888. Her exhibition record includes most of the important organizations of her time. Her works were shown at the 1885 North, Central and South American Exposition at New Orleans in 1885, the Chicago Columbian Exposition in 1893 and the Appalachian Exposition of 1910. When her father was appointed Chaplain of the United States Senate in 1904, she moved to Washington to act as his hostess, until his death in 1909. During this period she received several awards for her oils, watercolors and etchings which were exhibited with the Society of Washington Artist, the Washington Water Color Club, Washington Arts Club and at the Corcoran Gallery. She continued to live in Washington, summering, with Gabrielle Clements, at their house, "The Thickets," at Folly Cove in Rockport, MA. With the constant visits of her close friends and fellow artists Cecilia Beaux and Margaret Lesley Bush-Brown, as well as her brother Philip and sister-in-law Lillian Wescott Hale, there was much artistic activity during these times. Hale and Clements also wintered in Charleston, where they taught etching. Their students included such important Southern women artists as Alice Ravenel Huger Smith and Elizabeth O'Neill Verner. 1855 - 1940 Ellen Day Hale Hale Ellen Day 2001 An important member of the Boston School, Lilian Westcott Hale won national recognition for her portraits, figures, landscapes, and interiors. Born in Hartford, Connecticut, she studied at the Hartford Art School and at the School of the Museum of Fine Arts, Boston. After marrying the painter and critic Philip Leslie Hale in 1901, she lived in Boston before settling in Dedham, Massachusetts, in 1909. She exhibited in the major national annuals throughout the United States, winning many honors, including major prizes at the Panama -Pacific International Exposition in San Francisco (1915), the Pennsylvania Academy of the Fine Arts (1923), and the National Academy of Design (1924, l927). Although she painted many oils, Hale was best known for the exquisite drawings she produced in charcoal, pencil, and silverpoint, executed in a distinctive style characterized by delicate, vertical strokes. Her work in this vein attracted admiration from many of her peers, including the painter Edmund C. Tarbell, who described her drawings as "perfectly beautiful, . . . They belong to our old friends Leonardo, Holbein and Ingres." 1881 - 1963 Lilian Westcott Hale Hale Lilian Westcott 2931 George Henry Hall was born in Manchester, New Hampshire, 21 September, 1825. His father removed to Boston when the son was four years old. In 1849 he went to Dusseldorf, Germany with Eastman Johnson, and the two friends enrolled at the Royal Academy. Hall studied at the Academy for a year, and then moved to Paris to open a studio. While in Europe, he traveled to Italy. In 1852 he returned to New York and opened a second studio in the Tenth Street Building. Almost immediately, he became a regular exhibitor at the National Academy of Design, as well as the Boston Athenaeum. Hall was elected an associate in 1853, and in 1868 a member of the National Academy of Design. He traveled to Spain on several occasions and spent a year studying in Egypt. Hall is one of the earliest American artists to devote himself to Spanish subject matter; he specialized in still life and genre painting and became one of America's most influential painters of these subjects. Exhibited: National Academy: "Precious Lading," a Spanish scene (1868); "Thursday Fair at Seville" (1869); "A Young Lady of Seville and her Duenna" and "Lilacs" (1870); "The Four Seasons" (1871); "The Roman Fountain" (1874); "Autumn" (1877); and "Winter," "A Rug Bazaar at Cairo," "Oven at Pompeii" (1887), and "Pomegranates and Grapes" (1887). Museums: Abby A. Rockefeller Folk Art Museum, Williamsburg, VA Chrysler Museum of Art, Norfolk, VA 23510 Georgia Museum of Art The University Of Georgia, Athens, GA High Museum of Art Atlanta, GA Museum of Fine Arts, Boston, MA Smithsonian American Art Museum Washington, DC The Brooklyn Museum of Art, Brooklyn, NY The John H. Vanderpoel Art Association, Chicago, IL The Metropolitan Museum of Art, New York 1825 - 1913 George Henry Hall 1 Hall George Henry 3220 Of Scottish descent and born in Oxford, England, Hamilton Hamilton became a renowned American landscape and portrait painter and illustrator. He traveled widely, which meant that his landscape subjects included France, England, the American West, and the states of New York and Connecticut where he was one of the founders of the Silvermine Art Guild in Norwalk. Hamilton Hamilton emigrated with his family to Cowlesville, New York, a rural community near Buffalo, when he was a child, but he spent most of his life in Connecticut except for a few years around 1910 when he lived in Pasadena, California for his health. He was largely self-taught and pursued his artistic talents in spite of his parents' lack of encouragement. However, in 1870, they financially supported his travels to Europe including France, where he studied in Paris. After two years, he was forced to return home to help support his family, which he did by opening a portrait studio in 1872. The next year he made a sketching trip West to Colorado and spent much of the summer and winter there, completing forty-seven paintings, some of them shocking to viewers who perceived an indiscriminate piling on of color, likely influenced by Impressionism. Hamilton Hamilton continued painting in New York State, but his Colorado paintings stood out as being unique and were chosen as entries at the 1876 Centennial Exhibition in Philadelphia. In 1878-79, Hamilton Hamilton returned to France where he painted in the art community in Pont-Aven, Brittany with painters who identified with the Barbizon School and the revolutionary plein-air method of painting. In 1879, he returned to the West, painting more landscapes. In 1881, he moved to New York City, and he rented space at Sherwood Studios on West 57th Street where his friends were Thomas Moran, Robert Blum, Winslow Homer, William Merritt Chase and Birge Harrison. By 1889, he was a full member of the National Academy of Design, and this same year he had twin daughters born. One of them, Helen, trained by her father became a recognized post-impressionist landscape painter. In 1895, Hamilton Hamilton was in England, painting along the Cornish Coast. Returning to New York State, he painted on Long Island and in Peerskill, New York. In the mid-1890s, he became active in the artist colony of Silvermine, a town between Norwalk and New Canaan, Connecticut. Sculptor Solon Borglum was highly active in the leadership there and hosted discussions in his barn studio. Following Borglum's death in 1922, Hamilton became one of the founders of the Silvermine Guild of Artists. In 1910, Hamilton Hamilton and his family moved for a period to Pasadena, California because of ill health. There his palette lightened, and this influence remained when he returned to Silvermine. He suffered financially in the later years of his life because his style did not conform to increasing taste for modernist work. Sources include: Michael David Zellman, "300 Years of American Art" Peter Falk, "Who Was Who in American Art" Docent files, Phoenix Art Museum ------------------------------------------------------------------ 1847 - 1928 Hamilton Hamilton Hamilton Hamilton 1618 Seascape painter James Hamilton was born in Ireland in 1819 of Scottish parentage. At age 15, he came to the United States and trained as an illustrator for books and magazines, including Blackwood's Magazine in Philadelphia. He attended drawing school and later studied at the Pennsylvania Academy of the Fine Arts, where he gained additional skill in engraving and etching. Hamilton particularly admired the work of J.M.W. Turner and Samuel Prout. Hamilton was often called "the American Turner" because of his vivid lighting effects in coastal scenes and seascapes. His favorite subjects were scenes of storm or bombardment. "What Are the Wild Waves Saying?" (1859, Brooklyn Museum) shows the loose brushwork often associated with Turner. Because this painting was inspired by a chapter heading in Charles Dickens's Dombey and Son, Hamilton presented Dickens with the painting when the author visited the United States in 1868"the only gift, Dickens said, that he accepted while in America. Hamilton's seascapes, many painted along the New Jersey coast, sometimes showed the passions of nature, sometimes those of men. The Bombardment of Fort Mifflin (date and location unknown) contrasts a level sea with leaping flames around ships and straining men in a boat. Hamilton was perhaps best known for his illustrations in Arctic Explorations, a book by Elisha Kent Kane. Other well known paintings include An Egyptian Sunset, The Capture of the Serapis and A Moonlight Scene near Venice (dates and locations unknown). Perhaps looking for a real-life adventure to match his paintings, Hamilton embarked on a trip around the world"but died in San Francisco in 1878 without completing it. Public Collections: Atwater Kent Museum, Philadelphia Free Library of Philadelphia Pennsylvania Academy of the Fine Arts, Philadelphia Philadelphia Maritime Museum Pennsylvania Historical Society, Philadelphia 1819 - 1878 James Hamilton 1 Hamilton James 1617 John Hammer was born in Germany in 1843 and died in New York City in 1906. Although it is not recorded, John must have received most of his formal training while living in Germany. He later studied at the National Academy of Design where he exhibited from 1870 to 1900. He exhibited a total of thirty paintings and watercolors. The subjects were romantic landscapes, genre scenes and poetic portraits of women and children. In 1870, Hammer recorded his address as 658 Broadway and then in 1900 he listed it as 53 East 58th street, New York City. In 1888, John Hammer exhibited at the Art Institute of Chicago. He exhibited a total of three works, "Gathering Flowers" (private collection , Chicago), and "Village near Munnich", 1888. In 1892 he exhibited a watercolor, "In Dry Dock". In both exhibitions, John listed his address as the University Bldg., Washington Square, New York City. John Johann Hammer exhibited at the Pennsylvania Academy of Fine Art from 1884 to 1892. He also was a member of the Artists Guild of Author's League of America. LISTED: E. Benezit, vol. V Exhibition Records of the National Academy, 1861-1900, pp. 390-391 Art Institute of Chicago Exhibition Record, p. 404 Pennsylvania Academy of Fine Art, Annual Exhibition Records 1876-1913, p. 231 Mantle Fielding, p. 368 MUSEUM: Dantzig Museum, "A Young Girl" 1843 - 1906 John Johann Hammer Hammer John Johann 1948 Keith Allen Haring was born on May 4th, 1958, in Reading, Pennsylvania. But the Harings lived in Kutztown, a nearby Pennsylvania Dutch farm community, where Keith was raised. In time, Keith became "big brother" to three sisters, Kay, Karen, and Kristen. The family lived a sheltered small-town life, with Keith’s father working as a supervisor in a communications firm located in Allentown, and with his mother raising the children. "Before Keith was even a year old," recalled Keith’s mother, Joan, "he used to sit on his dad’s lap after supper just drawing some gobbly-goo with crayons he’d been given. Then, later, his father, who was very good at drawing cartoon things, would show Keith how to draw circles. Then, he’d make a circle into a balloon or an ice-cream cone or make a face out of it, and put ears on it or make all kinds of animals. And that’s how it all started." Keith attended art school in Pittsburgh - the Ivy School - but switched to another, The Pittsburgh Center for the Arts, where he was given his first solo art exhibition. In 1978, at the age of 20, Keith decided to go to New York City where he enrolled at the School of Visual Arts, and where he began to enter the chaotic yet exhilarating stream of the New York art world. "Graffiti were the most beautiful things I ever saw," said Keith. "The kids who were doing it were very young and from the streets, but they had this incredible mastery of drawing which totally blew me away. I mean, just the technique of drawing with spray paint is amazing, because it’s incredibly difficult to do. And the fluidity of line, and the scale, and always the hard-edged black line that tied the drawings together! It was the line I had been obsessed with since childhood!" In 1980, soon after leaving the School of Visual Arts, Keith began drawing his own graffiti on the streets. Like other graffiti artists, he invented his own tag or signature. Keith’s tag was an animal, which, as he continued to draw it, started to look more and more like a dog. Then, he drew a little person crawling on all fours, and the more he drew it, the more it became The Baby. In this way, Keith began to build his own personal vocabulary, which would vary and increase with the years. Before too long, however, he began selling more and more of his own work out of his studio. Earlier he had resisted going with a gallery - "I just felt that the whole gallery situation was incredibly confining," he said - but now the need for a gallery seemed essential. And so began Keith’s professional association with the Tony Shafrazi Gallery in SoHo. Keith’s first show there, held in October 1982, was a fantastic success. Carefully orchestrated by Keith and his dealer, the exhibition drew some 4,000 people and was designed to show Keith at his most prolific and electric. The works on view reflected every facet of his interests, from the street styles of break dancing, rap music and graffiti to the sexual freedom of the period and the greater interchange between races. Critics called the exhibition dazzling in its inventiveness and energy - and the name Keith Haring was suddenly part of the city’s avant-garde. Almost immediately, Keith was invited to exhibit in Europe - in Holland, Italy, Belgium, and England as well as in Japan. Everywhere, people responded to a style that combined the simple with the complex, which blended color and pattern to form dynamic images of great variety and originality. And it was a style that mysteriously suggested the artistic traditions of Africa, Asia, Australia, Oceania, and the Americas. There were also powerful images of social consciousness, for Keith looked at the world, and at the struggles of the oppressed, and through his art made his feelings known. Over the course of his career he called attention to causes by creating works to promote literacy, support UNICEF, work against apartheid in South Africa, and fight drug use. Because Keith was gay, he made a special effort to spread awareness of AIDS, making works of art that warned young people against unsafe sex. Gaining more and more attention and success, Keith began to expand his creative horizons by painting major on-site murals all over the world and designing large-scale outdoor sculptures that resembled huge, brightly colored children’s toys. Two great honors came to Keith when, at the age of 27, he was invited to show the entire range of his work - from 1980 to 1985 - at the Bordeaux Contemporary Art Museum in France and at the Stedelijk Museum in the Netherlands. During the time that Keith had been rising in the art world, he had lost a number of close friends to the fatal disease of AIDS. Toward the end of 1988, he noticed a purple spot on his leg, a sign of an AIDS-related cancer called Kaposi’s sarcoma. His doctors confirmed that he, too, had AIDS. At first, it did not affect his work habits or his hectic travel schedule. But as the disease progressed, he became weaker and weaker until he was barely able to hold a pen. Keith Haring died of AIDS on February 16, 1990. He was 31 year old. Excerpts from a Biographical sketch by John Gruen. 1958 - 1990 Keith Haring Haring Keith 2072 On June 23, 1965, five western artists met in Sedona, Arizona, to discuss the future of western art. Deliberating on the future of "Western Realism", Joe Beeler, Charlie Dye, John Hampton, George Phippen and Fred Harman, Jr. envisioned an artists' association to achieve serious goals. First, it would serve to insure that as society changed, the stature of Western art within the arena of fine art would remain solidly fixed. Second, it would set high standards for its members; "to insure authentic representation of the life of the West, as it was and is . . ." Fred Harman, Jr. would be elected President. From those ideals and that small beginning was born the most prestigious association of Western artists in the nation, The Cowboy Artists of America. In addition to becoming one of the country’s foremost painters of the American West, he was also the creator of the world-famous cartoon strip, "Red Ryder and Little Beaver." Fred Harman was also an established sculptor and illustrator. He was likewise a great humanitarian. The gregarious Fred Harman lived and worked at one time or another in various parts of the U.S. but his heart was always in Colorado, particularly the Southwestern part known as "the four corners." He was truly a cowboy (and later rancher) who had a remarkable talent for capturing and interpreting his special world into artistic forms. Recognition and real success came slowly to Fred Harman, but his optimism and perseverance never lagged. He was born in St. Joseph, Missouri in 1902, but his parents moved to Pagosa Springs, Colorado when he was just 2 months old. His father had previously homesteaded in Pagosa in 1891. His life really began in the land of cowboys and Indians what with Ute, Apaches and Navajos living in the same proximity as the ranchers. During those early years, Harman seemed to be in and out of Missouri a great deal. Apparently he exercised his artistic talent from the very beginning as his first printed picture appeared in a St. Joseph newspaper when Harman was only 6 years of age. The self-taught painter was not as happy in school as he was on ranches or when he was drawing. After 7 years of formal education, he dropped out of school and ultimately joined the army. It was the time of World War I. 1922 found Fred Harman in Kansas City working at his first commercial art job. He was one of three cartoonists making film ads for a moving picture company. Fred and one of the other cartoonists, Walt Disney, formed their own company, but, alas, they went broke after a year. Disney went to California to pursue a career and Harman returned to his beloved Colorado. Not much later, the struggling young artist was back in St. Joseph. The short-lived Pony express had been founded in that city in 1861 and though it only survived for a mere 18 months, it created enough interest and excitement to make its own niche in the lore of Western Americana. It was only natural that Fred would be interested in this brief chapter on history. He did a goodly amount of artwork related to that subject including illustrating pertinent books. He even designed the costumes for an MGM film about The Pony Express. It was during this period that he met pretty young Lola Andrews, a musician. On their very first date, Fred took Lola to the Premier of "The Pony Express" film. A year later Fred married his Lola and in 1927 their son Fred was born, like his father, in St. Joseph. By the end of the 1920’s the young family was in St. Paul, Minnesota where Harman entered a partnership to form an advertising business. All though this and after 3 years of it, he took his family to Colorado where he and Lola built their own log cabin on the San Juan. Misfortune loomed again in the form of the National Depression. Fred Harman, like so many others was broke! Fred had two younger brothers, each of whom was a good artist in their own right. Earlier they had gone to Hollywood and made a success of animated cartoons. They had their own studio and produced the popular Merrie Melodies and Looney Tunes. So, Fred loaded up his canvases and went to Hollywood. Harman had a big exhibit of his work at the Stendahl Art Galleries in Los Angeles, but not one piece was sold. Not very encouraging for a young artist but it didn’t get Harman down, instead he decided that he would do a comic strip and he created "Bronc Peeler". Since no one else was interested in presenting the strip, Fred syndicated it himself, and again went broke. All was not in vain, however, as his work caught the attention of Eastern publishers and he went to New York City. Fred worked diligently in the big city during the winters until he made enough money to buy the land that became the nucleus of his ranch near Pagosa Springs, Colorado. The climax of this period was his creation of the cartoon strip, "Red Ryder and Little Beaver". Success at last! The Scrips-Howard Newspaper chain presented Harman with a 10-year contract and "Red Ryder" was virtually an overnight sensation. The cartoon strip appeared in 750 newspapers with 40 million readers – then came a radio show, 38 movies and 40 commercial products. By 1938 Fred Harman had all the commissions he could handle. Fred Harman continued to draw "Red Ryder" until 1963. By then he needed all the time he could have in order to do his painting. His first series of paintings sold out quickly including the preliminary sketches. By 1965 he was the most widely known living artist portraying the American West. Also by this time, Harman was well known and loved by his fellow "cowboy artists". In that same year, 1965, 5 of them came together in Sedona, Arizona and founded the "The Cowboy Artists of America". In addition to Harman, the group included Joe Beeler, Charlie Dye, John Hampton and George Phippen. Fred was chosen as the first president of the new organization but deferred to Phippen. Fred Harman loved his fellow man and it seemed that the greater his success became, the more time he somehow found to help others. He was particularly effective with children to whom he was a living hero. Organizations all over the country clamored for his attention and got it. This activity resulted in many awards and commendations. One of the many honors that he was especially proud of was being adopted into the Navajo Nation; one of only 75 white men in history to receive this unusual tribute. (Reprinted from the CAA Newsletter, Vol. 5 Issue 3. July 1986) Museums: Cowboy Artists of America Museum: Kerrville, Texas Fred Harman Museum: Pagosa Springs, Colorado Birmingham Museum of Art: Birmingham, Alabama Sangre de Cristo Art Center: Santa Fe. New Mexico Woolarco Museum: Bartlesville, Oklahoma Leanin’ Tree Western Art Museum: Boulder Colorado Listed: Who Was Who in American Art, Falk Cowboy Artists of America, Michael Duty; Don Hedgpeth 100 Years/American Newspaper Comics, Maurice Horn, (editor) Periodicals: Arizona History Through Art, American Art Review, April 2000, Reisdorfer, Kathryn Best of the West, Southwest Art, October 1995, Ellen Rosenbush Methner Unknown Fred Harman Harman Fred 1856 Born in Valenciennes, Harpignies did not start to paint seriously until the age of twentyseven when he became a student of Jean Achard, a landscapist. Under Achard's tutelage he traveled to Holland, Brussels, and Flanders to study the northern landscapists of the 17th century. Shortly after returning to France he left again this time for Italy, where he met many of the artists of the Villa Medici in Rome. During this time, he began experimenting in watercolor and became interested in the work of Corot. In 1859 he returned to France to establish his own studio in Paris and met the artists Gerome, Hamon, and Corot. A year later he moved outside of Paris to continue his outdoor painting. It was also in 1853 that he made his Salon debut. From l853 through 1856 Harpignies, influenced by the Barbizon painters and Constant Troyon in particular, experimented with figural compositions, but after that time he devoted himself to landscapes. He made one last trip to Italy and then returned to Paris where he continued to exhibit at the Salon. Between 1869 and 1879 he spent his summers at Herisson where he led a group known at the Ecole d'Herisson. Continually travelling throughout France during his long career, Harpignies was never exclusively a member of one group. He died in Saint-Privie having won the Legion d'honneur and the Grand Prix at the Exposition Universelle of 1900. 1819 - 1916 Henri Joseph Harpignies 1 Harpignies Henri Joseph 3136 A leading Canadian impressionist and symbolist, Lawren Harris is credited as being a major influence among early 20th-century painters in Canada. In 1913, he put up most of the money to build the Studio Building of Canadian art in Toronto. This facility became the center of the Group of Seven, painters initially dedicated to expressing the character and spirit of Canada in an impressionistic style that was airy and un detailed. However, World War I disrupted their aesthetic efforts, and Harris became a member of the Canadian army. His war experiences changed the direction of his painting and caused him to rethink his artistic expression. He became much more introspective and seeking of spiritual enlightenment. In 1918, he joined the Theosophical Society, founded by Madame Blavatsky in 1875 in her search for universal enlightenment by taking elements of both eastern and western religions. Piet Mondrian and Wassily Kandinsky were major influences in this movement, and their ideas influenced Harris, as well as many other artists, to depict nature as a reflection of ordering the human spirit. In other words, painting became a combining of symbols to express mystical truth. In the 1930s, Harris lectured extensively on principles of the Theosophical Society. As a young man he had studied in Berlin and while in Europe, was influenced by Gustaf Fjaestad, a symbolist painter. Returning to Canada, Harris became a friend and fellow painter with landscapist J.W.G. (Jock) Macdonald (1897-1960). In Buffalo, New York, they saw Scandinavian art that reinforced Harris' interest in simplification of form. Harris also painted with Dr. James MacCallum, and they spent much time in the Algoma region of northern Ontario. Although Harris successfully encouraged other members of the Group of Seven to paint there, he did not complete many paintings of this wilderness area. Following World War I, he turned from impressionist landscape painting to more symbolic pieces as well as portraiture and modernist urban landscapes, especially working class areas such as slum housing in Halifax. His work changed from having rich, painterly, surface density to forms of simplicity and minimal color with the emphasis on the interaction of shapes and these colors. In 1934, Harris divorced his wife and married Bess Housser, former wife of Fred Housser, another member of the Group of Seven. These events were scandalous in Toronto, and the Harrises moved to New Hampshire and then in 1938 to Santa Fe, New Mexico where Harris became a member of the Transcendental Painting Movement--artists who defined spirit in terms of nature and emphasized intuition over perception and fact. In 1940, the Harrises moved back to Canada and settled in Vancouver, where for the next thirty years, he produced abstract paintings. From 1950 to 1961, he served on the Board of Trustees of the National Gallery in Toronto. 1885 - 1970 Lawren Harris 1 Harris Lawren 1637 Birge Harrison was one of a group of gifted young American painters, among them John Singer Sargent and Abbott Thayer who studied in Paris in the 1870's and later helped to win serious recognition for American art in the eyes of the art world. He was known principally for poetic winter landscapes and street scenes. He was also the pivotal figure in the growth of the art colony at Woodstock, New York, where the Art Students League established a school of landscape painting in 1905. Harrison headed this school Harrison was born in Philadelphia in 1854. After school he worked first as a farmer, then went into business with his father for two years. In 1876 he met Sargent, who persuaded him to come to Paris to study art. He stayed in Paris for six years, studying at the Ecole des Beaux Arts. In 1883, illness forced him to abandon Painting for several years. To regain his health, he traveled widely. On his trips he often wrote and illustrated articles for popular magazines. Harrison admired the work of the French impressionists, but disliked their use of intense color and the aggressiveness of their brushwork. He was far more attuned to the evocative style of the Barbizon painter's. Harrison had a romantic concept of nature and its moods. He believed nature should be the source of inspiration for artistic expression. He avoided strong contrasts; his edges were soft. In 1909, Harrison published a book, Landscape Painting, which became a standard text for many years. In it he quotes Millet as saying, "Technique should always hide itself modestly behind the thing expressed." He adhered to this theory all through the years that he lived and painted in Woodstock. Memberships: National Arts Club National Institute of Arts and Letters New York water Color club Philadelphia sketch Club 'salmagundi Club Union International des Arts et des Lettres Public Collections: Art Institute of Chicago Brooks Memorial Art Gallery, Memphis, Tennessee Detroit Institute of Arts Philadelphia Museum of Art St. Louis Art Museum, Missouri Toledo Museum of Art, Ohio 1854 - 1929 Lowell Birge Harrison Harrison Lowell Birge 2000 George Overbury Hart, nicknamed "Pop," was a well-known figure in the history of American watercolor painting and printmaking in the 1910s and 1920s. He was associated with the American realist movement, which began at the turn of the century under Robert Henri, and like Henri, Hart derived his subject matter from his immediate experience and portrayed his works with a vigorous, improvisational technique. Hart was born in Cairo, Illinois, and grew up in Rochester, New York. In the early 1890s, he studied at the Art Institute of Chicago while supporting himself as a sign painter. He continued his training at the Academie Julian in Paris in 1907. About 1908 he settled in Coytesville, New Jersey, where he became an important member of the local artists' colony, fraternizing with the artists Walt Kuhn, Edward Hopper, and Van Dearing Perrine. In the 1920s Hart turned to printmaking, receiving wide critical acclaim for his bold experimentation and originality in different print methods. An inveterate traveler, often referred to as the "dean of our globe-trotting painters," Hart visited and painted in such exotic locales as Tahiti, North Africa, Iceland, and Mexico. However, he was also drawn to the regional landscape. In addition to depicting views of the Palisades and various beaches in and around Fort Lee, New Jersey, Hart also portrayed the industrial landscape, deriving his subject matter from the numerous small towns situated in New Jersey along the Hudson. 1868 - 1933 George Overbury "Pop" Hart Hart George Overbury "Pop" 1636 A Leading landscape painter of the second generation of the Hudson River School, James McDougal Hart was born in 1828 in Kilmarnock, Scotland. His family emigrated to Albany, New York in 1831. There, at the age of 15, he was apprenticed to a sign painter. Following the example of his older brother, William M. Hart, He Decided to become an artist. In 1851, Hart traveled to Dusseldorf, where he studied with Schirmer, a leading landscape painter. Schirmer's calmly ordered hills and valleys provided a life-long model for Hart's work. Hart returned to the United States in 1852 and moved to New York City. In 1853, he went back to Albany. Finally, in 1857, he settled permanently in New York City. His work was frequently exhibited in the chief galleries of new York City, Philadelphia, Boston, and Baltimore. His gently colored compositions were praised for their accurate drawing and their emphasis on the "poetry of nature". As the artist commented, "I strive to reproduce the feeling produced by the original scenes themselves." Hart often portrayed cattle standing in rivers, as did brother William. However, during the 1840s and 1850s, he painted a number of large panoramic landscapes, idyllic scenes peopled with schoolchildren and farmers depicted in meticulous detail. These luminous scenes glorified the conception of America as a rural Eden. Later, during the 1860s, the artist painted several specific topography and capturing of real light evocative of barbizon artist Constant Troyon. In the 1870s and later, the Adirondack Mountains were a favorite setting for his paintings. In 1866, the artist married painter Marie Theresa Gorsuch. Their son, William Gorsuch Hart, also became a painter. in addition to William and James Hart, the Hart family produced another painter, the artists' sister, Julie Hart Beers Kempson, who was one of the few female professional landscape painters of her time. Memberships: National Academy of Design Public Collections: Brooklyn Museum Corcoran Art Gallery, Washington, D.C. Metropolitan Museum of Art New York State Historical Association Vassar College 1828 - 1901 James McDougal Hart Hart James McDougal 1635 Hudson River School landscape artist William M. Hart was born in Paisley, Scotland. He immigrated to the United States with his family in 1831; they settled in Albany, New York. The artist was apprenticed to a carriage maker, but by the time he was 18 he began to paint portraits. Soon after 1849, Hart left Albany and traveled widely throughout the United States, painting in New York, Virginia and Michigan, where he spent three years. After a brief visit to Scotland, he returned to Albany in 1847, and in 1854 opened a studio in New York City. Later he moved to Brooklyn, where he became the first president of the Brooklyn Academy of Design in 1854. His last years were spent in Mount Vernon, New York. Both Hart and his brother, James McDougal Hart, who worked separately, were considered leading landscape painters of the second generation of the Hudson River School. William Hart painted in the style of Asher B. Durand, one of the leading landscape artists of the period, although his work lacked Durand's monumentality. William Hart's earlier works were painted in a detailed and meticulous manner, while his later works were more broadly conceived. One of the founders (and later president) of the American Water Color Society, Hart also painted a number of small, dramatic seascapes of the coast of Maine, suggesting the influence of the popular German artist Andreas Achenbach of Dusseldorf. Hart's favorite subject matter was a herd of cattle drinking at a stream. According to the style of the day, Hart blended the real and the ideal to give an atmosphere of peace and serenity. Contemporary critics spoke of his ability to be "faithful to nature" and yet convey "a poetic sentiment". His paintings were engraved over and over again for the gift books and art journals of his time. Memberships: American Water Color Society Brooklyn Academy of design National Academy of Design Public Collections: Albany Institute of History and Art Metropolitan Museum of Art National Academy of Design New York Historical Society Vassar College 1823 - 1894 William M. Hart Hart William M. 1855 After studying abroad in the late 1850s, William Stanley Haseltine returned to the United States to concentrate his efforts on painting the beauty of the American landscape. Traveling to the coast of Rhode Island and the North Shore of Massachusetts, Haseltine executed a series of vivid landscapes that celebrate the bold rock formations of those particular locales. Marc Simpson writes, "Haseltine's record of exhibited American scenes reveals a sensibility akin to that of the poet and essayist Henry David Thoreau, who wrote, 'My years are like a stroll upon the beach/As near the ocean's edge as I can go. From Maine's Mount Desert Island south approximately three hundred miles to Rhode Island's Point Judith, Haseltine, too, repeatedly traveled as near the ocean's edge as he could go, recording the wonders of the shore in crisply detailed drawings and careful oil studies. These, and the paintings derived from them, are among the artist's most original and memorable works. Haseltine's American coastal views are the works of an accomplished and well-educated artist just setting out on his career. His depictions of specific rock formations and particular light conditions frequently prompted enthusiastic recognition of a favored spot by critics and, presumably, patrons. Further, his contemporaries were able to find some of the most important movements of the age reflected in these works. The belief that art's purpose was best expressed through the accurate depiction of nature and the recognition of geology as a science with the authority to rival scriptural accounts of the early creation. Both recognizability and the resonance of his art grew from Haseltine's choice of elemental subjects observed closely and recreated faithfully. In his best American paintings, pared down visions of rock, sea, and sky, the land formations speak with geological truthfulness, the waves break convincingly, and a palpable atmosphere suffuses the whole." (Expressions of Place: The Art of William Stanley Haseltine, San Francisco, California, 1992, P. 15). Haseltine received positive critical response for works of the coastal rocks, and the artist came to be something of a fixture at Nahant. Marc Simpson writes, "The art press reported on Haseltine's stay at Nahant, aptly mentioning both art and society as occupations: 'Haseltine divides his time between fashion and the sea at Nahant.' The same periodical, Watson's, praised the results of his summer's works when he had returned to the studio later in the fall, 'Haseltine, who passed the summer months at Nahant, has brought back many admirable studies of the scenery of that neighborhood... it is within three years that Mr. Haseltine has come into notice as a painter of coast scenes, and so marked has been his success, that his prominence and superiority in the portrayal of the rocky shores of Nahant and Narragansett are by all fully acknowledged."' (Expressions of Place: The Art of William Stanley Haseltine, p. 23) 1835 - 1900 William Stanley Haseltine Haseltine William Stanley 3088 Hassam was born on October 17, 1859, in Dorchester, Massachusetts and died on August 27, 1935, in Easthampton, N.Y. He was in Cos Cob periodically, 1894-1923; in Old Lyme, summers, 1903-c.1907. Childe Hassam (he did not use his first name, Frederick) was the son of a prosperous Boston merchant and collector of American antiques. Soon after high school he went to work for a wood-engraver, producing business letterheads and newspaper mastheads. Later he worked as an illustrator, creating popular work for periodicals such as Harper's and Scribner's. He studied art at the Lowell Institute and took an evening life-class at the Boston Arts Club before studying painting privately with I. M. Gaugengigl. In 1883 Hassam painted in England, Scotland, Holland, Italy, and Spain. Soon after, he married Kathleen Maud Doane and, in 1886, returned to Europe. While earning a living in Paris as a painter and illustrator, he enrolled at the Academie Julian, where he studied under Boulanger and Lefebvre. During this second trip to Europe he because friends with John Twachtman, 'Theodore Robinson, Willard Metcalf, and other artists with whom he would later paint in Cos Cob and Old Lyme. Hassam painted what was probably his first Impressionist picture, Le Jour du Grand Prix, which was awarded a gold medal at die 1888 Paris Salon (fig. 6). Certainly influenced by Claude Monet and the French, Hassam's work remained distinctively American, marked by his personal exploitation of Impressionist ideas, as he himself asserted: I have to de-bunk the idea that I learned to paint in France. I learned to paint in Boston before I ever went to France. I have to de-bunk the idea that I use dots of color, so called, or what is known as impressionism (everybody who paints and sees is probably an impressionist) but none of those men who are supposed to have painted with dots and dashes ever really did do just that. There are only two or three who ever tried it and they gave it right up. It never amounted to anything. Hassam continued to paint in France until 1889. After winning a bronze medal in the Paris Exposition that year, he returned to the United States and settled in New York. New York remained his primary residence for most of his life, for unlike many of his colleagues Hassam loved the city. "To me New York is the most wonderful city in the world," he declared. "No street, no section of Paris or any other city I have seen is equal to New York." None the less, the enthusiastic athlete and gregarious bon vivant spent much of his time traveling to places where he might find picturesque subjects and enjoy country living, congenial companionship, and outdoor exercise. One of Hassam's favorite sites for these pursuits is described in a letter to his close friend, J. Alden Weir, with whom he often visited in Branchville and in Windham. He writes from Old Lyme, in questionable French, of the special ambience he feels there: "Venez donc passer quelque temps ici! Temps superbe! La tres bonne chere et une societe comme it n'y en a pasune seconde!" He liked his studio there, too — "just the place for high thinking and low living." Though his association with Old Lyme was relatively brief, it had far-reaching effects on the development of that art colony. Another favored spot for painting and relaxation was Cos Cob, which he visited on and off for more than twenty years. Cos Cob was especially significant in Hassam's development as a printmaker, for he turned seriously to etching for the first time there in the summer of 1915. In both places, architecture — classic New England churches as well as ramshackle waterfront warehouses — occupied as much of his time as landscape. He also painted figure studies in both the Holley House and Florence Griswold's "Holy House." Known to his friends as Muley, a nickname from Tile Club days that apparently referred to his strong opinions, Hassam enjoyed popularity in his time and is remembered both as an artist and as a unique personality. Artist Arthur Heming describes "a spruce-looking man of medium height and powerful build" who was affectionately called "the old devil" by a servant at the Griswold House. At Miss Florence's he liked to rummage through the trunks in the attic for an old flowered dressing gown or stove-pipe hat to wear down the street to the post office in order to startle the townspeople. Whether at Old Lyme, Cos Cob, Appledore, New Hampshire, or Easthampton, New York, he could be counted on to keep things lively. Hassam's popularity as an artist is shown by the numerous awards and honors he received for his work, as well as by the widespread acceptance he won from contemporary critics. Together with J. Alden Weir and John Twachtman, Hassam founded The Ten in 1897. He was a member of the American Water Color Society, the Society of American Artists, the National Academy of Design, and the Association of American Painters and Sculptors. Finally, he was an artist interested in American art education. He willed his own collection of work to the American Academy of Arts and Letters, a group of nearly 450 paintings, pastels, and decorative panels. At his direction, the collection was sold, at prices set by Macbeth and Milch galleries, for the purchase of works by contemporary American and Canadian artists to be given to museums of the United States. Like the Ranger Fund, Hassam's generous bequest has benefited numbers of public museum collections in this country and has fostered interest in American art. Further reading: Adams, Adeline. Childe Hassam. N.Y.: American Academy of Arts and Letters, 1938. Childe Hassam, 1859-1935. Exh. cat., University of Arizona Museum of Art, 1972. Cortissoz, Royal. Catalogue of the Etchings and Dry-Points of Childe Hassam, N.A. N.Y.: Charles Scribner's Sons, 1925. Hoopes, Donelson. Childe Hassam. N.Y.: Watson-Guptill Publications, 1979. 1859 - 1935 Childe Hassam 1 Hassam Childe 1974 Frederick Childe Hassam was born in Boston, Massachusetts October 17, 1859 and died August 27, 1935 in East Hampton, New York. His family forebears came to New England in the seventeenth century. He began his early training in 1878 at the Boston Art Club and at the Lowell Institute. In 1879, he studied with a young German, Ignaz Gaugengigl. During 1880s and 1890s, Hassam did illustrations for publications such as Scribner and Harper's. In 1886, he began a three-year sojourn in Paris, where he enrolled in the Académie Julian with Boulanger, Jules Lefebvre and Doucet. While in Paris, Hassam fell under the spell of the French impressionists; his subsequent work bears testimony to his fascination with artists such as Claude Monet and Camille Pissarro. Returning to the United States, Hassam settled in New York City, where he became one of the most successful of the American impressionists. Strangely, he disliked the term impressionism intensely, and never acknowledged his debt to French painting. Instead, he saw himself as a devotee of the English watercolorists, Turner and Constable. Yet, his light, sparkling palette, broken brushstrokes and unconventional subjects are unmistakably French inspired, albeit with a generous helping of American realism. Hassam, for example, never stressed light vibrations to the detriment of form. After the turn of the century, Hassam's work increasingly began to show the effects of post-impressionism. His palette became harsher and more vivid, and he dropped the broken brushstrokes that characterized his earlier paintings in favor of firm contours. His underlying conservatism became more apparent as the years went on; although he was represented in the innovative 1913 New York City Armory Show, he later renounced its radical tendencies. Besides his New England landscapes, Hassam is also noted for his views of New York City streets and apartment interiors. During 1917 and 1918, he turned out a series of lithographs reminiscent of the work of Whistler. His charming versions of rain-drenched cityscapes are among his most popular works. At the height of his popularity, Hassam joined a number of other New York impressionists in forming a group called Ten American Painters or, more simply, The Ten. He was also a member of several artists’ organizations. MEMBERSHIPS American Academy of Arts and Letters American Water Color Society Boston Art Club Munich Secession National Academy of Design National Institute of Arts and Letters New York water Color Club Societe Nationale des Beaux Arts Ten American Painters PUBLIC COLLECTIONS Albright-Knox Art Gallery, Buffalo Art Institute of Chicago Carnegie Institute, Pittsburgh Cincinnati Art Museum Corcoran Gallery of Art, Washington, D.C. Detroit Institute of Arts Lot Angeles County Museum Metropolitan Museum of Art, New York City Minneapolis Institute of Art Musée d'Orsay Museum of Fine Arts, Boston Pennsylvania Academy of the Fine Arts, Philadelphia Phillips Academy, Andover, Massachusetts St. Louis Art Museum Toledo Museum of Art Rhode Island School of Design, Providence Worcester Art Museum, Massachusetts Historical Society of the Town of Greenwich 1859 - 1935 Frederick Childe Hassam Hassam Frederick Childe 2109 John Hauser was born to German immigrants in Clifton, Ohio in 1858 (59) and died October 6, 1918 in Cincinnati, Ohio. After showing an early interest in drawing, he enrolled at the Ohio Mechanics' Insti¬tute to begin studying drawing. Hauser then moved to Cincinnati where he began his more formal art training at the Cincinnati Art Academy and later at the McMicken Art School. In 1880, John Hauser traveled to Munich to study at the Royal Academy of Art under Nicholas Gysis (1842-1901). Returning to Cincin¬nati, he would support himself by teaching art in the public schools. In 1885, Hauser returned to Germany to continue working under Gysis and others at Dusseldorf Academy. Like other American artist during this period, Hauser journeyed to Paris to study at the École des Beaux Arts. By the 1890s, Hauser had become interested in the American Indian; he traveled through reservation after reser¬vation of the Apache and Pueblo Indians in Arizona and New Mexico, sketching and painting. He became a trusted friend of the Sioux Nation. In 1901, Hauser and his wife would be adopted by the Sioux Nation and they would give him an Indian name, “Straight White Shield.” For the nest 20 years, Hauser and his wife continued travel west recording through his drawing and painting how the American Indians lived and worshiped. He became known as the American Indian painter. However, his reputation wasn’t only for his artistic ability, it was for the authenticity with which he recorded the vanishing way of life of the American Indian. Hauser painted portraits of many of America’s most famous Indian chiefs of the day. His legendary por¬traits included; Sitting Bull, Red Cloud, American Horse, Spotted Tail, High Horse and Lone Bear. The model for the Indian Head Nickel was a composite of two Hauser portraits; Chief Iron Tail, Sioux and Chief John Big Tree, Iroquois. Besides his small Indian portraits, Hauser painted large canvases of Indian hunters and village life, which were painted in his careful, realistic and authentic style. Museum Collections: Phoenix Art Museum, AZ Orlando Museum of Art, FL Joslyn Art Museum, MO Rockwell Museum of Western Art, NY Gilcrease Museum, OK Cincinnati Art Museum. OH 1858/9` - 1918 1 John Hauser Hauser John 1999 Hughson Hawley was a self-taught watercolorist and theater set designer. He was born in Brighton, England, and began his career by painting sets for the Theatre Royal in his hometown and, later, for the theater at Stratford-on-Avon, where his father was the town librarian. At the same time, he started sketching the countryside around London and became especially adept at drawing architecture. After moving to New York City in 1879, at the invitation of the American producer James Steele MacKenzie, Hawley became a leading designer in America of theater backdrops. He also created architectural renderings, working for such noted firms as McKim Mead & White, York & Sawyer, and Cass Gilbert, as well as producing illustrations for Harper's Magazine and other publications. Hawley retired to Brighton, England, in 1931. 1850 - 1936 Hughson Hawley Hawley Hughson 1967 Charles Hawthorne was a painter and teacher. His name was synonymous with the colony of artists at Provincetown, MA, where numerous painters were attracted to his Cape Cod School of Art (which he founded in 1899 and directed until his death). Hawthome was a specialist in portraits and genre pictures of Provincetown fisherman. He was a naturalist painter whose Impressionist style and technical virtuosity was similar to that of his teacher William Merritt Chase, to whom he was an assistant in the 1890s. He visited Italy in 1906-07 and also painted in Bermuda. His paintings can be found in many institutions including The Metropolitan Museum of Art, Corcoran Gallery of Art, The High Museum of Art, The National Arts Club and The National Academy of Design. Who was who in American Art 1872 - 1930 Charles Hawthorne Hawthorne Charles 1634 Painter and teacher. Born in North Bridgewater, Mass. on October 20, 1872. Hazard studied on the east coast, in the Boston area with Joseph De Camp (member of the Ten). He went to Cincinnati to study under Frank Duveneck, and in Paris with Prinet and Henri Blanc. Most of his career was spent in Boston and, for health reasons, he moved to Los Angeles in 1923. Arthur Hazard painted several portraits of prominent Los Angeles residents and exhibited locally. His works include portraits, desert flower studies, and landscapes. He died on December 26, 1930 while vacationing in France. Works Held in Public Collections: "Israel, the Light of the Nations," mural decoration, Temple Israel, Bosto "Canadian War Memorial," Houses of Parliament, Toronto "Spirit of Service," American Red Cross Museum, Washington, D.C. "Not by Might" and "Spirit of the Armistice," National Museum, Washington, D.C. California Historical Society Amon Carter Museum, Fort Worth, Texas Sierra Nevada Museum, Reno Listed: Benezit Mantle Fielding American Art Annual, 1900-1931 Artists of the American West Artists in California, 1786-1940, vol. 2 1872 - 1930 Arthur Merton Hazard Hazard Arthur Merton 1633 Martin Johnson Heade's career was longer and more varied than that of most American artists. He began as a portraitist but switched in mid-career to landscape painting. Heade was born in rural Pennsylvania in 1819 and first studied portrait painting under Quaker painters Edward and Thomas Hicks. While in his twenties, Heade refined his skills as a professional portrait artist. His occasional landscapes were roughly imitative of the then-popular Hudson River School style. Heade, an incessant traveler throughout his life, spent two years in Italy and visited France and England in the 1840s. Over the next 15 years, he lived in several American cities, still working primarily as a portrait painter. By age 40, he had not yet produced a work of enduring artistic merit. Heade's turning point came in the late 1850s, when he moved to New York City. He gave up portrait painting and focused instead on landscapes and shore scenes, topographically inspired by the salt marshes around the Narragansett Bay region of Rhode Island. His later landscapes-and the still lifes he painted near the end of his career-are lush and rich in color, reflecting his Luminist style. As exemplified by his Approaching Storm: Beach Near Newport (1860, Museum of Fine Arts, Boston), Heade's Luminist landscapes are eerie and compelling. Intent primarily on conveying mood, Heade sacrificed realistic representation, while elongating form, distorting perspective and exaggerating color contrast. More than 100 of his seascapes and marsh paintings survive. Heade had an avowed lifelong obsession with hummingbirds. In 1863, he made the first of three trips to South America. He first went to Brazil to prepare illustrations for a book on hummingbirds. When the book project was ultimately rejected by a London publisher, Heade began a series of paintings in the 1870s which dramatically combined orchids and hummingbirds in lush tropical settings. The combination of the tiny birds and the large overwhelming flowers in these paintings was unprecedented. The pictures were startling-not just because of the uniqueness of subject and intensity of color, but also because of the underlying sensual evocativeness of the flowers. Two Fighting Hummingbirds with Two Orchids (1875, location unknown) is one of the best examples of this period. Heade finally settled in St. Augustine, Florida, about 19 years before his death there in 1904. He continued to paint seascapes and birds. He also painted a number of still lifes, frequently incorporating flowers, more for evocative effect than for decorative addition. Public Collections: Metropolitan Museum of Art, New York City Museum of Fine Arts, Boston 1819 - 1904 Martin Johnson Heade Heade Martin Johnson 1632 Ferdinand Heilbuth is considered a genre painter from the French school. He was born in Hamburg, Germany June 27, 1826, and died in Paris, November 19, 1889. During his early rabbinical studies, Heilbuth discovered that he had ability and an interest is drawing and painting. With an allowance from his family, he would travel to Anvers, Munich and to Germany to study at the Dusseldorf Académie. He would then go to Roman to study and copy old master paintings and finally to Paris in 1847. In Paris, Heilbuth enrolled in the Beaux-Arts Académie to study with history and genre painter Charles Marc-Gabriel Gleyre (1808-1874). Heilbuth became a successful and accomplished painter, water colorist. From 1855 to 1865, he met great success with romantic historical work like, Le Tasse á la cour de Frere (where abouts unknown). In the Salon of 1861, Mont-de-Piéte (musée de Dijon) was greeted with critical acclaim. Vincent Van Gogh (1853-1890) wrote to a friend and fellow artist, Anthon Van Rappard (1858-1892). In the letter, Van Gogh mentioned how much he admired the painting ability of Ferdinand Heilbuth. He also wanted to join both artists in Paris to paint together. In 1863, Heilbuth exhibited "The Dancing Lesson, #264", which belonged to American collector H.J. Gardner at the Boston Athenaem. He would exhibit at the Athenaem again in 1869 and 1870, twice at the Royal Academy in London and a total of seventeen times at the London’s Grosvenor Gallery. In 1876, Mr. Heilbuth became a citizen of France and he was awarded Frances highest honor, as a chevalier in the Legion of Honor. Museums: Bayeux, France, La femme au chein Bordeaux, France, Jeune femme au n&oelig;ud rose Dijon, Le Mont-de-Piéte Hamburg, Germany, Luca Signorelli près du corps de son fils London-Wallace Collection, Excavations á Rome, Le Cardinal musée d’Orsay, Paris, R_verie, Femme et enfant dans un paysage Reims, France, Idylle dans les bois Saint-Lo, France Jeune femme blonde Saintes, France Buste de femme, de dos Sydney, Australia, Méditation 1826 - 1889 Ferdinand Heilbuth Heilbuth Ferdinand 3334 William Penhallow Henderson's first experience with Santa Fe occurred when he was a young boy in the early 1880s. During a brief period when the Henderson family attempted a cattle-ranching enterprise in Texas, Mrs. Henderson took young Willie on a wagon ride to distant Santa Fe. There he saw for the first time what was destined to become his home some thirty years later, and more importantly, the place where he would eventually find his stylistic identity as a modern American artist. The Hendersons returned to Medford, MA, William's birthplace in 1886. While in high school, Henderson studied in addition to art, civil engineering and comparative religion, interests that would remain with him for the rest of his life. He continued his education at the Boston Museum School, then headed by the well-respected American Impressionist painter, Edmund C. Tarbell. Tarbell trained young Henderson in the mechanical aspects of academic painting, instilling in his pupils the technical principals of the European masters. Thus the foundations were laid for Henderson's later reputation as a master technician. Henderson received several scholarships as an accomplished art student, most importantly the Paige Traveling Scholarship, which allowed him to study in Europe. In keeping with his solitary nature, Henderson did not join a specific atelier while in Europe. Instead he chose to explore the museums and galleries on his own assiduously studying both the Old Masters as well as the contemporaries of his time. He was moved by the works of Whistler whose influences are clearly present in Henderson's early works. And he held a particular admiration for Velasquez, whose works he spent hours copying. During this time, he voraciously produced his own sketches and paintings as well. Some view his European pastel sketches as records of his discovery of pure color a discovery which sustains Henderson's career and later establishes him as a master colorist in Santa Fe. The inspiration of Whistler's impressionism combined with the new-found freedom of non-representational emotive color initiated Henderson into a new realm of aesthetics color used to define form, but color always bound by the forms of nature. Upon his return to America in 1904, Henderson accepted a teaching position at the newly formed Chicago Academy of Fine Arts, where he would remain for the next twelve years. During his first year in Chicago, his European masters. Despite his time-consuming commitment as a teacher, Henderson maintained a disciplined production of works of art that earned him a reputation of a rising young painter of importance. Also in 1904, Henderson met Alice Corbin, a young poet and reviewer who would later be a founder, along with Harriet Monroe of the infamous Poetry magazine. They married a year later. During this period commissioned portraiture occupied much of Henderson's time, with the exception of one significant interruption. In the summer of 1904, Henderson traveled to Mexico and Arizona by rail. Henderson, inspired by the Mexican culture and the splendor of the southwest, produced thirty works during this trip, including his first paintings of American Indian (Hopi) subjects that were to be so important later in his life. In 1916, Alice Corbin was diagnosed with tuberculosis. There were few tuberculosis treatment centers in the U.S. at that time. Perhaps because of Henderson's predisposed affinity for the Southwest, they chose the Sunmount Sanatorium in Santa Fe and subsequently moved into a small adobe house near the bottom of Camino Del Monte Sol. In January of 1917, Henderson's views of New Mexico went on exhibit at the Roullier Galleries in Chicago. The show prompted a series of excited reviews and speculations that Henderson had "found something new in that historic land." The Chicago Herald commented that "Those who have been there feel that Mr. Henderson has caught the spirit and air of the place more than the other artists. [Henderson] gets his sunshine effect through his design and really lovely color and goes a step farther in giving atmosphere. One knows that his figures and churches were painted outdoors under a New Mexico sky" Despite the favorable reviews, distance from the major art markets of the time effected the sales of Henderson's works. He turned to architecture and the decorative arts to sustain him financially, while continuing to produce paintings. In 1925, Henderson formed the Pueblo-Spanish Building Company through which he planned and built several structures in Santa Fe and elsewhere. Some of the most notable are The Miss Elizabeth and Martha White compound on Garcia street (now the School of American Research), the House of Navajo Religion (now the Wheelwright Museum of American Indian Art), and the renovation and extension of Santa Fe's historic Sena Plaza, a landmark of Santa Fe style. Henderson was also prolific in his design and production of handmade furniture. He supplied hand-made furniture and cabinetwork to clients throughout the Southwest as well as Boston and New York. Most artists who came to Santa Fe during the first decades of the century made the move based on artistic conscience. Henderson's relocation was circumstantial and he originally feared that such a remote address as Santa Fe would precipitate a serious digression in his career. But it is clear from the quality of Henderson's prolific production during the Santa Fe years, from 1916 to his death in 1943, that the particular brand of isolation Santa Fe imposed on him was inspirational. The journey of Henderson's life led him from a traditional, technically-oriented painting education as a student in Boston to Europe, the home of the Old Masters as well as the new Fauves and Cubist, to his spiritual home in Santa Fe, where he found his stylistic place, between naturalism and abstraction, bridging realism and romanticism. 1877 - 1943 William Penhallow Henderson Henderson William Penhallow 1854 E. Martin Hennings joined the Taos Society of Artists in 1924, becoming one of the last full members to join the Society before they voted to disband in 1927. Hennings knew from an early age that he wanted to be a painter and he was encouraged in this career by his family. In 1968 his daughter Helen Hennings Winton recalled, "I can remember from my own very early childhood hearing the story of Dad's visit to the Art Institute [of Chicago] when he was about thirteen. So awed and impressed was he by what he saw there that he decided then that he would make art his life's work" (Nelson, p. 100). Hennings received his formal training at the Art Institute of Chicago and the Royal Academy in Munich. He renewed his friendship with fellow Chicago natives Victor Higgins and Walter Ufer while studying in Munich and the three would eventually work together in Taos. Julie Schimmel writes, "The resultant Munich style was characterized by a direct and spontaneous reaction to a subject, with no preliminary drawing, fluid brushwork, and rich paint surfaceshallmarks conveying immediate contact with the physical world" (Charles C. Eldredge, Julie Schimmel and William H. Truettner, Art in New Mexico, 19001945: Paths to Taos and Santa Fe, New York, 1986, p. 49). Carter H. Harrison, Jr., the mayor of Chicago, and Oscar Mayer, the meat packing magnate, offered to sponsor Hennings' work in Taos for a year in 1917. The artist accepted their offer, following in the footsteps of his friends Higgins and Ufer who had both previously been sponsored by Harrison. Though Hennings continued to maintain a studio in Chicago until the Depression, the artistic inspiration he found among the Pueblo Indians led him to make Taos his permanent home in 1921. Patricia Janis Broder writes of Hennings' depictions of the Taos Indians, "He portrayed them as introspective, dignified individuals, regal in demeanor and bearing, with a suggestion of stoicism and sadness as they faced an uncertain future. He often chose as his subject groups of blanketed Indians passing through the woods on horseback. These lines of riders suggest the eternal procession of life in New Mexicoa procession in which Taos Indians have participated for centuries" (Patricia Janis Broder, Taos: A Painter's Dream, Boston, Massachusetts, 1980, p. 253). She continues, "He frequently used the convention of blocking the distance with a screen composed of tree trunks, branches and leaves, thus negating the illusion of distance and depth and emphasizing the two-dimensional quality of the canvas. He often included sharply outlined foreground figures, their silhouettes abruptly cut off by the edge of the paintings. This artistic device evokes a sense of immediacy and emphasizes the power inherent in the subject. These decorative compositions greatly resemble brightly woven tapestries. Portrait and landscape are fused into a harmonious whole that proclaims the beauty and vitality of life in Taos" (Broder, p. 256). 1886 - 1956 E. Martin Hennings Hennings E. Martin 3258 Armand Henrion was born in Liege, Belgium May 30, 1875 and died in Paris in 1958. Although Henrion was born in Liege, he is considered a figure and portrait painter from the French School (he became a naturalized citizen of France). Henrion's formal education is unknown. According to exhibition records, he was a regular exhibitor at Salons throughout Paris and Belgium. He became known for his small portraits which captured the facial expressions of clowns laughing, singing, smoking (pipes and cigarettes) and other reactions in mime. Most of his clowns are self portraits but he also used Pierrot, a stock character of mime and Commedia dell'Arte and the French variant of the Italian Pedrolino. The noticeable feature in Henrion's Pierrot clown portraits is their naiveté. They are seen as a fool, always the butt of pranks, yet nonetheless trusting. They, like Pierrot, are portrayed as moonstruck, and oblivious to reality. Public collection: Le Muse de Liege: various examples of Henrion's clown portraits Listed: E. Benezit Dictionnaire des Peintres, Sculpteurs, Dessinateurs ET Graveurs, Vol. 5, page 491 1875 - 1958 Armand Francois Joseph Henrion Henrion Armand Francois Joseph 1631 Carl Herpfer was born in Dinkelsbühl, November 30, 1836 and died in Munich, June 18, 1897. He is considered a genre and portrait painter from the German school. Herpfer received his formal education at the Beaux Arts Academy in Munich under Professor A. von Ramberg. Although Carl Herpfer traveled to France to study, he never exhibited in the Paris Salons. He exhibited exclusively in Munich from 1868 to 1888. Works by Carl Herpfer are highly regarded by collectors in Munich. Listed: E. Benezit, vol., pg. 511 1836 - 1897 Carl Herpfer Herpfer Carl 1630 J.R. Herve, an impressionist of our time, is the very type of artist who has worked a lot on his own, indifferent to the fashion and to outside trends. He has never ceased to deepen the technical secrets of his art; and after 50 years of artistic experience, he has arrived at complete mastery of the science of this art which absorbs him. Born in 1887 in Langres, a town in the eastern part of France, he began his art studies in an evening school of his hometown. As far back as he can remember, Herve always wanted to become an talented artist and thus to be able to express through color the beauty of everything he sees. He came to Paris where he first continued his studies at the School of Decorative Arts and then at the Fine Arts School. He exhibited his works for the first time at the Salon of French Artists in 1910. He was one of the most important members of this group. Obtaining his teaching diploma, he started teaching. From 1911 to 1943 he taught painting to many generations of young artists. In 1914 he received a first silver medal from the association of French Artists, but afterwards he unfortunately had to join the army for the duration of the war. J.R. Herve is both a painter of daily country themes in which there are characters at their daily tasks, and a painter of Parisian scenes. He interprets his scenes with sensibility, putting all his heart into his work. All his artistic sensitivity is achieved by incredible strokes of light and color. Paris as seen by Herve is a city of poetry. The "City of Lights" under its most touching aspects, and at its most charming. It is a real part of Paris, with its sentimental life, feelings, her special character, that inspire Herve to paint. Not only is Herve a painter of great talent, he represents the purest tradition of French art. He paints just like the great impressionists of former times, playing with his colors as a musician does with his musical instruments. He obtains in each of his works a marvelous harmony of color and light. His paintings are in numerous museums in France; in the Petit Palais in Pads, at Langres, Troues Dijon, Saint-Etienne, Tourcoing, Annecy and abroad, in Chicago Museum and at Casablanca. 1887 - 1981 Jules Rene Herve Herve Jules Rene 1629 Hermann Herzog (American, 1832-1932) Herzog was born in Bremen, Germany in 1832. He studied landscape and figure paintings at the Dusseldorf Academy with Schirmer, Lessing, Achenbach and Gude (1849) and in Berlin (1867-1868) before moving to Philadelphia in 1869 where he set up a studio and exhibited at the Brooklyn Art Association. Historical landscape painter Johann Wilhelm Schirmer and illustrious landscape artists Hans Frederick Gude and Andreas Achenbach highly influenced Herzog’s painting style and encouraged him to paint the rugged wilderness he loved with realistic detail and a high finish. Herzog traveled through Europe during the 1850s and 1860s painting the animals, waterfalls and stormy clouds over dramatic landscapes in luminous light, exhibited at the Paris Salon in 1863 (where he won a prize) and at the Pennsylvania Academy of Fine Arts (1863). In 1872 he painted in Yosemite and in Mexico. By 1869, Herzog was a popular painter of means. He had sold paintings all over Europe and colleagues and critics alike were impressed that among his clientele were the Countess of Flanders, Emperor Alexander of Russia, Queen Victoria, Duke Ernest of Saxe-Coburg-Gothe, and other members of royal families. When Herzog died in West Philadelphia at 100, the prolific painter left over 1,000 canvases to his heirs. Always in pursuit of the most beautiful, idyllic view, Herzog extensively traveled in search of it. Although he never dated his work (thus, it is difficult to place them chronologically or stylistically), he painted landscapes, marines and pastorals that uplifted the Hudson River tradition, and his work is reminiscent of Albert Bierstadt and Worthington Whittredge (who also studied in Dusseldorf). Collections: Metropolitan Museum of Art; National Museum of American Art; Museum of Fine Arts, Boston; New York Public Library; Crocker Museum (CA); Cincinnati Art Museum (OH); Reading Museum (PA); Hanover, Goth and Mulhouse Museums; Bancroft Library, UC Berkeley; Memorial Hall, Philadelphia (PA). 1832 - 1932 1 Hermann Herzog 1 Herzog Hermann 2096 George Hetzel was born in Alsace, France (near Strasbourg) in 1826 and died in Pittsburg in 1899. The Hetzels moved to Pittsburgh when George was only two years old. They were forced to leave Germany in 1849 because of the same political climate that drove Severin Rosen and others to the United States for asylum. As a boy, he was apprenticed to a house and sign painter, later gaining experience as a muralist for riverboats, cafes and a penitentiary. With the money he earned from interior decorating (murals), Hetzel went to Germany in 1847 to study for two years at the Dusseldorf Academy with Carl Sohn and Rudolph Wiegman. He was one of the few to study in Dusseldorf and to fully absorb the earth toned palette and penchant for realism characterized by the German school. Hetzel would also study still life painting while in Dusseldorf perhaps under, Johann Preyer. When Hetzel returned to the United States in 1850, his works were of very precise, representational portraits with smooth, even strokes, following the current Dusseldorf style. Sometime between 1863 Hetzel joined a group of Pittsburgh painters at the mountain retreat called Scalp Level and began to paint very precise landscapes, bucolic scenes of pleasant beauty. Considered the founder of the Scalp Level School, Hetzel became a major figure in Pittsburgh and Southwestern Pennsylvania. . Not only was he influential, he had a statewide presence and exhibited nationally on occasion. One of Hetzel's greatest contributions was that of teacher at the Pittsburgh School of Design for Women. The curriculum at the School of Design was intended to prepare women to be design professionals rather than practicing artists or teachers. The course work included such offerings as "Elementary Drawing," for which still lifes may have been the subjects. Hetzel's interest in still life painting was strong and continued throughout his career. His favorite format was a tabletop arrangement of fruit against a dramatically darkened background. Hetzel's compositions sometimes lacked originality once he found a format which was pleasing. This was also typical of other American and expatriate artists of the genre including Severin Roesen who, although brilliant technically, were rather formulaic in their compositional approach. Hetzel's still life paintings strongly resemble those of Johann Preyer and the German school. However, Hetzel, his colleagues and his followers periodically included watermelons in their paintings, which is considered an American fruit and would not have appeared in Dutch or German pictures. The large, dark green form of the watermelon usually looms above the smaller, more colorful fruits in the foreground creating a dramatic contrast in color and light. This format was a favorite of Hetzel's. It is said that his first important sale was of a still life painting to Mary Todd Lincoln although the painting is lost and there is only oral tradition to substantiate this story. Throughout the 1850s and 1860s, he continued to rely on realistic detail to convey texture and reflected light. In the1870’s, Hetzel began to use his brush more freely. He was also very popular as a portraitist, noted for his sensitivity. All of his work possesses a quality of benevolent quiet and pensiveness. Hetzel exhibited at the National Academy in New York from 1865 to 1882 and at the Pennsylvania Academy until 1891. He exhibited both still lifes and landscapes at the Pittsburgh Art Association starting in 1859. From 1870 to 1871, three out of the seven paintings Hetzel submitted were still lifes. From 1857 until 1882, Hetzel exhibited eight times at the National Academy of Design in New York with one or two entries per year in 1857, 1858, 1865, 1875, and 1879-82. His sole entries in 1865 and 1875 were still lifes. Hetzel exhibited at the 1893 World’s Columbian Exposition in Chicago and he was the only Pittsburgh artist represented at the 1876 Centennial exposition held in Philadelphia. Public Collections: Philadelphia Museum of Art, Wilstach Collection Listed: E. Benezit American Art Analog, vol.1 Dictionary of American Artists, Sculptors and Engravers, Young Exhibition of the National Academy 1861-1900, vol.1 1826 - 1899 George Hetzel 1 Hetzel George 2108 Lila B. Hetzel, the fifth and youngest child of the artist George H. Hetzel, was born October 23, 1873. She began her formal art education in the 1890’s at the Pittsburgh School of Design under Matin B. Leisser and D. B. Walkley. After four years of studying drawing, which was limited to anatomy, perspective and life, Lila would begin painting. While at the school, she would win a Gold Medal for her paintings from nature. After graduation, Lila would travel to Europe to study and copy the Old Dutch masters. 1956, she was quoted by the Pittsburgh Press “I was influenced by Rembrandt’s use of light, Ruben’s color and Michelangelo’s force” Her favorite artist was Rembrandt and that respect for the master’s technique shows up in her own work where design and balance are as important as color. When Lila was 24, the Hetzel family moved to a farmhouse near Somerset, which became known as the Hetzel Studio. With her father, she painted and sketched from nature, doing landscapes of cornfields, rural bridges, and autumn foliage. After a brief marriage to William H. Kantner, and the birth of a daughter, Lila would return to Pittsburgh with her widowed mother and daughter, Dorothy. She would open a studio in the Apollo Building on Fourth Avenue, where the Associated Artists of Pittsburgh was organized in 1910. Lila was a charter member and the organization’s first treasure. In Lila’s later years, she spent the winters in Pittsburg with her daughter and from early spring until late fall she lived and painted alone on the family farm in Somerset. Many of her paintings of rural Americana were intimate portraits of the land that surrounded her home. Lila Hetzel exhibited at the Carnegie Institute, Pittsburgh Playhouse, Arts and Crafts Center of Pittsburgh, Gillespie Galleries, Westmoreland County Museum of Art, and Jennerstown Art Gallery. Other exhibitions, including one-woman shows were held in Somerset, Ligonier and Indiana, Pennsylvania. Lila B. Hetzel died June 4, 1967 at a nursing home in Somerset County, not far from the Hetzel Studio. Always a professional painter, Lila Hetzel took a dim view of “art for art’s sake” theorists. Amid movements toward abstraction and non-figurative art, she continued to paint her nostalgic scenes called “Old Fashioned Corners,” she arranged articles found in interiors corners of her old home. Other paintings were tilted “Grandmother’s Garrett,” “Little Black Sheep,” “through Kitchen Door,” “Cornfield,” and Artist’s Garret.” Unknown Lila Hetzel Hetzel Lila 1853 Born in Batavia in the Dutch East Indies, September 5, 1828, by 1846 Heyligers was living and working in Ravenstein. In 1848, he moved to Geertruidenberg remaining there until 1857; between 1859 and 1867 the artist is recorded as living in Grave before moving to Brussels followed by The Hague in 1878 where he died on 11th April 1897. Heyligers exhibited extensively in Amsterdam, The Hague and Rotterdam, his works proving to be popular internationally; in 1908 in London "A Dutch Interior" of 1876 sold for 157.15, a considerable sum at that time. His works can be found in museums in: Haarlem, Frans Hals Museum. 1828 - 1897 Antoon Franois Heyligers Heyligers Antoon Franois 3242 Aldro T. Hibbard was born August 25, 1886 in Falmouth, Massachusetts, and died in Rockport, Massachusetts November 12, 1972. He studied at the Massachusetts Normal Art School (1909), the Massachusetts College of Art; and at the Boston Museum School through 1913 with Edmund C. Tarbell, Frank W. Benson, Leslie P. Thompsen, Joseph R. DeCamp and Philip Hale at Boston’s Museum School. Because he showed such talent the Boston Museum faculty gave Hibbard a Paige Traveling Scholarship (1913-1915) to study abroad. Despite the fact that Hibbard was a remarkably gifted baseball player and was asked to join pro teams, he gave up sports to become a professional painter and instructor. In 1915, Hibbard was instructor of painting at Boston University. He was a Founding Member and Director of the Rockport Art Association (MA) Summer School of Drawing and Painting (1921-1928), which later became The Hibbard School of Painting. He is best known for his post-impressionistic winter landscapes of New England. He was married to Winifred D. Jackman (5/31/25), and the couple had two children, Malcolm and Elaine. Memberships include: Guild of Boston Artists; National Academy of Design (ANA; NA 1933); Connecticut Academy of Fine Arts; Rockport AA; New Haven Paint & Clay Club; North Shore AA (MA); Salmagundi Club (NY); Gloucester AA (MA, board of managers); Copley Society; Audubon Artists; Allied American Artists; American Artists Prof. League; Academy of American Artists, Springfield, MA and more. Solo exhibitions include: Buffalo Fine Art Academy (1914) Guild of Boston Artists (1919, 1922, 1924, 1926, 1928, 1953, 1965); Brockton Public Library (1917); Macbeth Gallery (NY 1930); Boston Art Club (1916); Legendsea Studios (Hibbard’s gallery); Roger Curtis Gallery, Gloucester, MA (1971-1977); Vose Galleries of Boston (1979); Doll & Richards (Boston) and more. Awards include: 1st prize, Duxury, MA (1920); hon. ment., CAI (1921); Hallgarten Prize, NAD (1921); gold medal PAFA (1922; 1927; 1931); Rockport AA (1942, 1948, 1954, 1957, 160, 1964, 1966); North Shore AA (1956, 1960, 1963, 1964); Ogunquit Art Club (1960); Ameri. APL (1966) and many more. Source: John L. Cooley, Artist in Two Worlds (1968); “Striking Pictures Shown By Hibbard,” Boston Globe (5/8/24). Written by Patricia Jobe Pierce, historian of the Boston School of Painting 1886 - 1972 Aldro T Hibbard Hibbard Aldro T 1628 Entirely self taught, and employing a primitive style of painting, Edward Hicks matured from a sign painter into one of the most significant American folk artists. He was born in 1780 in what is now Langhorne, Pennsylvania. Orphaned at age three, Hicks was apprenticed to a carriage maker and began to paint. He decorated coaches, tavern signs, tables, chairs, firebacks, fire buckets and chests. While he is most famous as a Quaker preacher during his lifetime, today Hicks is primarily remembered as a painter. His subjects were portraits of family farms, and historical and religious scenes. His favorite subject, and the one he is most famous for, is the Peaceable Kingdom. He painted more than a 100 versions of this theme, illustrating the passage from chapter 11 of the Book of Isaiah: " The wolf also shall dwell with the lamb, and the leopard shall lie down with the kid; and the calf and the young lion and the fatling together; and a little child shall lead them." To Hicks, this modern historical event embodied Isaiah's prophecy of peace between opposing groups. Like many others, he believed that America was the realization of the promised land of the Bible. Public Collections: Abby Aldrich Rockefeller Folk Art Collection, Williamsburg, Virginia Brooklyn Museum Denver Museum Metropolitan Museum of Art, New York City Newark Museum Philadelphia Museum of Art Yale University 1780 - 1849 Edward Hicks Hicks Edward 3352 Thomas Hill (1829 - 1908) Immigrating from England in 1844, Thomas Hill came to America with his family as a youngster, and became one of America's most famous 19th-century landscape painter, especially of panoramic views of the Sierra Nevada Mountains and Yosemite. He also painted landscapes of the Grand Canyon and Yellowstone National Park, where he was particularly fascinated by the geysers. Hill studied art in Philadelphia at the Pennsylvania Academy, and his first intentions were to become a history painter. However, he changed to landscape when he spent time in Europe, especially France among the Barbizon painters and in the studio of Paul Meyerheim. During the 1870s and 1880s, his work brought high prices, but diminished with the increasing popularity of modernism. In the latter half of the 20th century, his work was rediscovered, and he is now considered one of the major figures in American art. He settled with his family in Taunton, Massachusetts and worked in Boston with a carriage maker. He studied with Peter Rothermel at the Pennsylvania Academy of the Fine Arts and painted in Massachusetts and New Hampshire with George Inness, Virgil Williams, Albert Bierstadt, and his brother, Edward Hill. Experiencing health problems with the cold, wet New England climate, Hill moved his family back to San Francisco in 1871. He hit his artistic stride in California during the 1870s, beginning with his first grandiose painting, The Yosemite Valley, which was published as a chromolithograph by Prang. With Frederic Whymper, Hill was a founding member of the San Francisco Art Association, and in 1873, he became a member of the Bohemian Club, a men's organization dedicated to cultural enhancement. Hill's paintings continued to bring higher prices in the 1870s, and he was a wealthy man by 1878. Soon thereafter, however, hard times fell upon the artist, as they did on the San Francisco economy and art market in general. He struggled through the next decade, moving back and forth to paint in the White Mountains of New Hampshire, and his beloved Yosemite Valley in California. During these years he was still acclaimed but experienced increasing financial distress. Also his marriage was not happy, which led him to spend more and more time in Yosemite. When his long-time friend and fellow artist Virgil Williams, director of the California School of Fine Arts, died in 1886, Hill agreed to take over as a director without compensation. By the following summer, however, running the school had become more than he could handle. John Muir and Alaska provided the means of escape. Muir, who normally preferred the landscapes of his friend William Keith, commissioned Hill to paint Muir Glacier in Glacier Bay, Alaska, 'because he could paint ice better than Keith'. Hill left his position at the School of Fine Arts in San Francisco in the summer of 1887, and took off on a cruise to Alaska that resulted in a number of Alaska and Canadian coastal pictures. He also spent a winter in New Orleans, creating large studio paintings. The commissioned painting of Muir Glacier that Hill completed in the winter of 1887-88, now in the collection of the Oakland Museum in California, bears a striking resemblance to another painting held by the Anchorage Museum of History and Art. It shows the same glacier, although the Anchorage painting is almost twice the size of the earlier version. Both portray the Muir Glacier and foreground beach with a distant steamship in the bay. Of the paintings in the collection at the Anchorage Museum, Hill's 'Muir Glacier' is certainly the grandest 19th century painting and most important work by a major artist of the period. Hill's fortunes continued to vacillate until 1896 when he suffered the first of a series of strokes from which he never fully recovered. He died in 1908, and it is believed that his death was by suicide. Although the kind of work he and Keith did has been out of favor for most of the 20th century, the quality and importance of their painting has more recently been rediscovered. Source Edan Hughes, Artists in California, 1786-1940 Peter Hassrick, Drawn to Yellowstone 1829 - 1908 Thomas Hill 1 Hill Thomas 1998 Born in Dublin, Ireland, William Hinchey was the second son in a family of eight children. He began painting and drawing as a boy, encouraged by his father, a superintendent of government buildings. By the time he turned twelve, he had earned enough money paint-ing portraits to pay half of his tuition at Trinity College. He later attended Oxford and dur-ing the 1840s studied painting in Paris. Accompanied by Bishop Lamy, Hinchey came to the United States in 1854 to assist in the restoration of Spanish missions in New Mexico and to paint pictures for new Catholic churches. Prevented by ill health from completing this work, in 1856, he established a studio in St. Louis, where he was befriended by the painters Manuel de Franco and George Caleb Gingham and became a successful portraitist. In 1857 he taught art and French at a girls' school in Arcadia Valley, Missouri, while continuing to maintain his St. Louis studio. In 1862 Hinchey went to Washington, D.C., where he painted portraits of well-known statesmen, among them Ulysses S. Grant. He also recorded Civil War battles and activities in forts and camps in Iron County, Missouri, and in St. Louis, publishing his sketches in Frank Leslie's Illustrated News and Harper's Weekly. Hinchey died in St. Louis after being thrown from a cable car. 1829 - 1893 William James Hinchey Hinchey William James 1627 Alice Hirsh lived and died a New Yorker. She was a scene painter that really cherished her city, New York. Some of her best paintings are of all the different areas of the city. She was not only limited to painting New York, her travels took her to Spain, Normandy and California. She exhibited at the National Association of Women Painters and Sculptors, Morton Galleries, 1936 and Montross Gallery , 1937, both of whom are located in New York. Listed: Dictionary of Women Artist, by Chris Pettys Mantle - Fielding's Who was Who in American Art Index to Artistic Biography, 1st Supplement, Havlice 1888 - 1935 Alice Y. Hirsh Hirsh Alice Y. 1997 One of the first of his countrymen to draw aesthetic inspiration from Holland, George Hitchcock created depictions of Dutch peasants and fields of flowers that were acclaimed in Continental art circles as well as in the United States. Born in Providence, Rhode Island, Hitchcock received his education at Brown and Harvard Universities, receiving a law degree from the latter institution in 1874. While practicing in Chicago, he began to paint, eventually abandoning law to pursue an artistic career. He went on to study at the Academie Julian in Paris and at the Dusseldorf Academy before going to The Hague, where he received instruction from the painter Hendrik Mesdag. During the early 1880s Hitchcock settled in the picturesque coastal town of Egmond, where he painted contemporary genre scenes that won him acclaim in international art circles. He also portrayed Dutch scenery, including fields of flowers and canals. His early work was executed in an academic realist style, but by the turn of the century Hitchcock had evolved a decorative Impressionist manner that earned him a reputation as a "painter of sunlight." The artist returned to the United States in 1905, but maintained a studio in Egmond for the rest of his life. 1850 - 1913 George Hitchcock Hitchcock George 1841 Jean de La Hoese was born in Molen-Saint-Jean, Belgium on February 28, 1946 and died in 1917. Hoese is considered a landscape and genre painter from the Belgium School. He exhibited extensively at the Paris Salons. Jean de La Hoese was awarded Honorable Mention in the 1888 l’Exposition Universelle in Paris and in the 1889 Exposition, he was awarded a Bronze medal. At the l’Exposition Universelle of 1894, which was held in Munich, Hoese was awarded a medal. Listed: E. Benezit, vol.6 Popular 19th Century Painting, A Dictionary of Genre Painters 1846 - 1917 Jean de La Hoese Hoese Jean de La 3270 Growing up in New Orleans where his father raced horses, Frank Hoffman developed a great love for these animals, which was reflected in his paintings. He worked as an illustrator for the "Chicago American" newspaper, which gave him an opportunity to draw many subjects from opera to prize fights, and eventually he became head of the department. During that time, he took formal art training from J. Wellington Reynolds, a portrait painter. In 1916, having been rejected for military service because of poor eyesight, he went West and lived with cowboys and Indian tribes and served as public relations director for Glacier National Park. Eventually he settled on a ranch near Taos, New Mexico, and became part of that art colony and studied with Leon Gaspard, who encouraged him to use color freely. Advertisers including General Motors, General Electric, and the Great Northern Railway hired him because they loved his bold, broad brush work and striking colors. He also did magazine illustrations, specializing in western subjects. Because of the spaciousness of his ranch that he called Hobby Horse Rancho, he kept live models of cow ponies, thoroughbred horses, longhorn steers, several breeds of dogs, eagles, a bear and burros. From 1940 Brown & Bigelow Publishing Company of St. Paul, Minnesota had him under exclusive contract, and during the next 14 years, he produced 150 paintings for that company. Source: Walt Reed, The Illustrator in America, 1860-2000 1888 - 1958 Frank B. Hoffman Hoffman Frank B. 3089 Hoffman was born on March 16, 1871, in Cressona, Pennsylvania, and died on March 6, 1964, in Old Lyme. He was in New Haven, 1895-97; in Old Lyme, summers, 1902-09; and permanently, 1910-64. Harry Hoffman, back in Old Lyme after a short period of study at the Academie Julian in Paris in 1903, invited Willard Metcalf to critique his recent work. "The trouble with you, Hoffman," Metcalf advised, "is you're going around with a ball and chain tied to your feet. Go out and paint what you see and forget your theories." Only a few months before, Hoffman had concluded his first one-man show — a small exhibition at the American Art Association in Paris. Besides studying in Paris, he had worked at Yale under John Ferguson Weir (father of J. Alden) and at the Art Students League with Frank Vincent DuMond. Given Hoffman's solid art education, Metcalf's remark must have jolted the young artist. Under Metcalf's guidance, Hoffman soon became a proponent of Impressionism, painting such brightly rendered canvases as Childe Hassam's Studio (cat. 189, illus. p. 144). Harry Hoffman first came to Old Lyme in 1902 with his good friend Arthur Heming. Both were students of DuMond and that first year stayed in a private home and took their meals at Florence Griswold's house. They evidenced promise as artists and were quickly drawn into the new colony's membership. Hoffman returned each summer, though once at least, when he was very short of money, he nearly made a switch to a career that could have parted hint from Old Lyme forever. The former Yale athlete wrote to Fleming, who was already at the Griswold House: "Have just been offered good pay to pitch for a professional baseball team. Shall I accept?" Heming was appalled and says he saved Hoffman for the art world by arranging for him to model for the sculptor 'fait McKenzie, who had an order to do an athletic figure during his Old Lyme summer, and to take down, in shorthand, DuMond's Saturday afternoon lectures to his summer class. Luckily, Hoffman was a man of several talents. Another of them came in handy when he was courting his wife. Despite protestations to his friends at the Griswold House that he intended to work hard at art in the summers and "steer clear of girls," he was immediately attracted to a Miss Beatrice Pope from East Orange, New Jersey, who arrived for a stay at Miss Florence's one summer. Arthur Fleming, whose remembrances of Old Lyme are sometimes heightened, says the girl was the daughter of a woman who had spent a quiet summer with Miss Florence back in the days when she ran a girls' boarding school. She wanted her daughter to recuperate from too many dinners and dances at a country place that had no men, and Miss Florence and the artists thought it would be a good joke not to tell her about the new art colony that was in the house, eagerly awaiting the arrival of her young daughter. Since the young lady's sister Florence was one of three women who came to Old Lyme around 1905 to study art with Henry Rankin Poore, Hemming's version of the Hoffman-Pope romance may be fanciful. Still, his memory of the two young people canoeing in the moonlight on the Lieutenant River is probably not far-fetched. He says Hoffman, who thought of becoming a professional flutist for a time, serenaded his lady on the flute with "Lo, Hear the Gentle Lark!" In little more than a week, the two were engaged, and to Hoffman's surprise, he had fallen in love with a girl who was wealthy. His money troubles were over. When he married Beatrice Pope in 1910, her family set up the newlyweds in a spacious house on a hilltop off Sill Lane in Old Lyme. They made this their permanent home after a lengthy honeymoon in Spain (where Hoffman was mistakenly arrested as a spy while sketching in a forbidden spot in Palos). Following the tradition established in the Griswold House, Hoffman decorated his own house with panel paintings over the doors and on the wainscoting. By the 1920s Hoffman had achieved a reputation for highly unusual paintings of underwater life. Having fashioned a bucket with a glass bottom that he floated on the water's surface, he made rapid notes in watercolor of what he observed. These sketches became the basis of several hundred paintings of the undersea. Hoffman accompanied the eminent naturalist William Beebe on research trips to the Galapagos Islands, Bermuda, and British Guiana in order to pursue his speciality. He was entranced by the colors he saw under the ocean's surface: . . Not one color, nor was it one tint or shade. It was all colors, but in the same value. And the only way to paint it was impressionistically, using broken colors of light pink, green, violet, and blue. These colors thin out in the distance so that they merge into the disappearing iridescence. The artist received a prestigious gold medal at the Panama-Pacific Exposition in 1915, the 1924 Eaton Purchase Prize of the Lyme Art Association, and the Landscape Prize of the New Haven Paint and Clay Club in 1925. He was elected an associate of the National Academy of Design in 1930. His friends were equally proud of Hoffman's role m assisting Florence Griswold when she was old and about to lose her house. He was instrumental in promoting, and served as treasurer for, the fund ''Miss Florence's artists'' established in order to buy the Griswold House, assure her of a home in it for life, and preserve it as a museum after her death. Although many of the American Impressionists lived long lives, Hoffman had one of the longest. He lived to be ninety-two and had been in Old lyme more than sixty years when he died in 1964. Further reading: Hoffman, Harry L. Personal Interview. Old Lyme, August 5, 1954. Transcript, Lyme Historical Society Archives. "The Painter Who Found a New World Underseas.'' New Haven Register, May 19, 1963. 1871 - 1964 Harry Leslie Hoffman 1 Hoffman Harry Leslie 3364 Carl Heinrich Hoffman (1818-1896) Carl Heinrich Hoffmann was a German visual artist, born in 1818. Traveling between Dresden and Munich he became very active in debuting his work in 1866. He was well known for his landscape and genre paintings. 1818 - 1896 2 Carl Heinrich Hoffmann Hoffmann Carl Heinrich 1647 Ms. Hoffmann was born in Murfreesboro, North Carolina in 1862 and her death date is unknown. Her first formal education was at the Cincinnati Art Academy, during the years of 1885 - 1897, where she won three home scholarships for $100.00 each. She exhibited at the Tennessee Centennial Exposition in 1897. Her two paintings:# 230 "Picking Poppies" and # 231 "Tune of Napoleon" , received high acclaim. She also exhibited and was a member of the Cincinnati Women's Art Club, which held annual exhibitions in Cincinnati from 1893 on at Closson's Gallery, one of the city's leading commercial establishments, and later at the Art Museum. The level of professional creativity displayed at the Women's Art Club in Cincinnati was rarely achieved elsewhere in the country. While at the Cincinnati Art Academy she studied with Frank Duveneck (1848 - 1919) and with Vincent Nowottny (1854-1908). Several of Duveneck's most talented pupils were women, including Kate Reno Miller (1874-1929), Clara Hoffmann, Caroline Lord (1860-1928), Mary Spencer(1858-1935) and Dixie Selden (1871-1936). It was during these studies that she met her best friend Emma Mendenhall (1873, Cincinnati). Emma and Clara journeyed to study during their summers with Rhoda Carlton Marian Nicholls (1854-1930) at William M. Chases (1849-1916) Shinnecock summer school in New York. Clara Hoffmann and Emma Mendenhall went to Paris 1862 - unknown Clara Hoffmann Hoffmann Clara 1851 Born in Cincinnati, Ohio in 1874 and died in Comfort, Texas in 1957 at the age of 83. He studied with some of the great artists of his day and painted, exhibited and sold his works from Boston to Seattle, down the Pacificcoast to Los Angeles and across to Texas. He exhibited in the South for the first time in Memphis and later painted in New Orleans, San Antonio and other Texas towns. Sometime before the 1930s, Hohnstedt moved to San Antonio. During this period, he entered a Wildflower painting competition funded by Edgar B. Davis of Luling, Texas. Hohnstedt won the National competition prize of $1,500 and the Texas prize of $750.00. From this time on, he became a very sought after landscape painter, especially landscapes containing Texas Wildflowers. He was a member of Southern Stated Art League, New Orleans Art Association, Art Association of Seattle, life member of the Little Rock Art Association and the San Antonio Art League. In New Orleans, Hohnstedt was commissionedto paint numerous historical city landmarks. The Witte Museum of San Antonio commissioned him to spend the summer of 1933 recording the Big Bend Country in landscape paintings. As a result, the Big Bend Room at the Witte contains many examples, some extremely large, of Hohnstedt's work. Hohnstedt spent the remaining years in Comfort, Texas. He is mentioned in several books about outstanding men of Texas. 1874 - 1957 Peter L. Hohnstedt Hohnstedt Peter L. 3319 Ransome Holdredge was born in New York City in 1836. As a young man, he came to San Francisco in the 1850’s via the Isthmus of Panama and worked as a draftsman at the Mare Island Navy Yard in Vallejo. He took many painting excursions from the Bay Area, many to Yosemite, and his early paintings were in the realistic style of the Hudson River School. In 1874, he went to Paris and was impressed with the Barbizon artists. Upon his return to San Francisco, his work was of a different style. He was highly successful, receiving rave reviews in local papers, and was considered by many to be better than his well-known contemporary, William Keith. He traveled throughout the west, living with various Indian tribes and was a field artist for Schribner’s and was with Major Reno during Custer’s last stand in 1876. Memberships: Cofounder of the San Francisco Art Association Member of the Bohemian Club. Public collections: Bohemian Club, San Francisco, CA Oakland Museum, Oakland, CA Orange County Museum California Historical Society Bancroft Library at UC Berkeley, Crocker Museum, Sacramento Collection of the Oregon Historical Society. 1836 - 1899 1 Ransome Gillet Holdredge Holdredge Ransome Gillet 3138 A portrait and landscape painter and prominent Canadian artist, Edwin Holgate was born in Allandale, Ontario. The Holgate family moved to Jamaica when Edwin was three so that his father could work as an engineer. Holgate returned to Toronto at the age of five where he lived with relatives and started school. When his family returned to Canada they settled in Montreal where Holgate attended the Art Association of Montreal studying under William Brymner. Holgate went on to continue his studies in Paris, France returning to Canada to enlist in the army at the outbreak of World War I. He married after the war and returned to Paris where the couple remained until 1922. He taught wood engraving at the Ecole des Beaux-Arts in Paris and began painting nudes in northern landscapes. After years as an accomplished figure painter, Holgate was invited to join the Group of Seven in 1930. He was best known for his portraits but he also painted many landscapes and murals. His received acclaim for his design of the mural decorating the Totem Pole Room at Ottawa's Chateau Laurier Hotel. He never exhibited as a group member because the Group disbanded shortly after he joined. 1892 - 1977 Edwin Headley Holgate 1 Holgate Edwin Headley 3318 Dwight Holmes (1900-1985) Fort Worth, San Angelo Artist Dwight C. Holmes, known for ornamental architectural sculpting as well as painting and etching, was born in Albany, Oregon in 1900. He began formal art training in Galveston high school; studied five years in Texas Christian University, serving also as student assistant and art editor for College annual. He received his Certificate of Art and Bachelor of Arts Degree and became a faculty member in the Art Department. He left teaching to serve a five-year apprenticeship to achieve membership in Modelers and Sculptors of America. Holmes studied with George Franz of Germany and Michael Lengyl of Austria. Holmes also studied at Texas Christian University with Mary Sue Darter Coleman, Mrs. R. E. Cockerell, Sam P. Ziegler, and others. While living in California, he studied with George Flowers, at the Pasadena Art Institute, and in workshops with Lee McCarthy, Leonard Boreman, and etching with Bernard Wall. Holmes also worked ornamental architectural sculpturing over forty years and enjoys a broad art horizon that includes sculpting, painting, designing, ceramics, carving, gold-leafing, restoration, etc. He proficient in any medium and any subject matter, but prefers oils and landscapes. He received inspiration while traveling and paintings along the Gulf, East and West Coasts; throughout Texas; in Mexico, New Mexico, Arizona, Utah, Colorado, California, Tennessee, Georgia, in the Great Smokies, Yellowstone, Grand Tetons, Red Rock Country, Hawaii, etc. Although Holmes maintained a studio at 2401 Sherwood Way, San Angelo, Texas, he enjoyed painting plein-aire Dwight Holmes began winning art awards at age 13, and has continued receiving numerous honors and awards over the years. He was a member in Painters' Club, Fort Worth Art Association; American Federation of Art; River Art Group and Coppini Academy of Fine Arts in San Antonio; Southwest Ceramic Society; San Angelo Art Club and Arts Council, and others . Dwight Holmes exhibited his works all over the Southwest, from Florida to California. His works have been shown in Boston, Cleveland, New York, Kansas City, Columbia, Mo. and elsewhere. His interests include: juror for shows; giving criticisms and appraisals, and conducting art workshops and art colonies. In addition to museums, Dwight C. Holmes are included in numerous important private collections including: Mr. Levi Cole, banker, Canyon, Texas; Dr. A. McChesney, M.D., Columbia, Mo.; S. Herbert Hare, former President Nat'l Association Landscapes Architects; Mr. Scott, Quaker Oats Co.; Mr. Moore, Anheuser Busch Co., New Orleans, Cecil Kangaroo, Insurance, Ft. Worth, James Buchanan Architect, Ft. Worth, and others. Several books have been published which give short histories of outstanding artists of Texas, in which Dwight C. Holmes is included: A History of Texas Artists and Sculptors, by Fisk; Art and Artists of Texas, by O'Brien; Art on the Texas Plains, by Elsie M. Wilbanks. Source: The following, also from Bill Cheek, is from the back of a signed Holmes print and personal communications of Raul Ruiz, a San Angelo artist and student of Holmes. DWIGHT C. HOLMES, a young artist of promise, born June 12, 1900, in Albany, Oregon, came to Texas when quite young. He entered Texas Christian University Art Department in 1918, spending five years in study under the following: Mrs. E. R. Cockrell, Miss Mary Sue Darter and S. P. Ziegler, who were art instructors during that time. He was admitted to the Brush Society in 1918, Fort Worth Painters Club in 1924, and member of the Modelers and Sculptors of America, and was an instructor in T. C. U. Art Department in the summer of 1918. He is an architect, etcher, sculptor, and painter of landscapes, using oils as his medium. His awards include First Prize in Map Drawing, Oregon State Fair 1912; First Prize in Pen and Ink, Zinc Etchings and Charcoal Drawings at Texas State Fair 1922; First Prize in Landscape, Texas State Fair and San Angelo, 1925 and 1926. His work has been shown at several exhibitions of the work of Texas artists in Fort Worth and Dallas. His first showing in Fort Worth was with the Painters' Club at the fourth annual exhibition on the mezzanine floor of the Westbrook Hotel in November, 1924, as was that of Nan Overton, another young artist of that city. He has painted many alluring phases of Lake Como, Fort Worth, sketching the willow trees against the water, the gnarled live oak trees, the scarlet and russet Autumn, and numberless other colorful compositions. Source: A History of Texas Artists and Sculptors, by Frances Battaile Fisk, 1928 ADDITIONAL BIO INFORMATION FOR DWIGHT CLAY HOLMES Dwight C. Holmes began his study of art early, in Galveston, his instructor there being W. L. Dodge. He entered Texas Christian University at Ft. Worth in 1918, studying art under Dura Brokaw Cockrell. He soon became student assistant in the Art Department of T.C.U. From 1918 until 1923, when he received his degree at T.C.U., young Dwight paid all his expenses by means of various types of art. Holmes grasps the beauties and opportunities near at hand. He has specialized in painting the beauty of the Davis Mountains and surrounding country in West Texas. He has done numerous landscapes in Oregon, Colorado, New Mexico, Texas and Old Mexico. Going abroad, he studied modeling with George Franz of Germany and Miska Lengyel of Austria Hungary. Holmes spends much time painting in the parks of Fort Worth. One extremely hot day, he was getting his vividness of color and heat in strong reds and yellows. A passing carpenter stopped, looked a minute and said, "You know, I've always wanted some one to paint a dream I had. I dreamed I died and went to heaven and hell, and you're just the man that can do it." For the past ten years Holmes has been connected with C. J. Sutton Company of Fort Worth and the Southern Plastic Relief Company of Dallas as a modeler. He has ornamented buildings all over the Southwest from forty-story hotels to one-story Spanish homes. In 1929 he received the commission to paint the murals for the Main Lounge of the Jockey Club at Arlington Downs. These murals cover sixty yards of canvas, depicting the history of the W. T. Waggoner family for the past fifty years, which in reality, parallels the industrial development of West Texas. (Letter) 3021 Cockrell St., Ft. Worth, Texas. Some of the information in this biography can be credited to"Art and Artists of Texas," Esse Forrester O'Brien, Tardy Press, Dallas, 1935. 1900 - 1986 Dwight Clay Holmes 1 Holmes Dwight Clay 3248 Born in Birmingham in 1834, William Holyoake was a genre and historical painter. He was a member of the Royal Society of British Artists where he exhibited fifty-three paintings, becoming Vice President in 1887, during which time James Abbott McNeill Whistler was elected President of the Society. Holyoake also exhibited paintings at the Royal Academy and the British Institution and was twice the Curator of one of the Academy Schools. The artist was a very active exhibitor between 1858 and 1885, showing at the Royal Academy, British Institution, Royal Institute of Oil Painters and Royal Society of British Artists in London, as well as at the Royal Society of Artists in Birmingham, Glasgow Institute of the Fine Arts, Walker Art Gallery in Liverpool and Manchester City Art Gallery. G. Reynolds likened the females in his In the Front Row of the Opera to Dante Gabriel Rossetti's 'stunners'. (G. Reynolds, The Victorian Scene, 1953.) 1834 - 1894 William Holyoake Holyoake William 1996 One of the most esteemed American artists of all time, Winslow Homer was a leading figure in nineteenth-century American art and his era's foremost exponent of realism. Based on direct observation, his works of the 1860s and 1870s reveal actualities of American life that went unrecorded by other artists. His art from the 1880s through his death in 1910 dealt primarily with mortality and the forces of nature, conveying these essential themes in potent images in which light, shadow, and composition play powerful expressive roles. Homer was born in Boston and grew up in nearby Cambridge. He had minimal formal training before embarking on the illustration work that sustained him through his early career. Some of his first oils were depictions of life in the camps during the Civil War. After a trip to Europe in 1866, Homer settled in New York, where he would remain for the next thirteen years. In the 1870s, when he was living in the famous Tenth Street Studio Building, he explored a variety of subjects, including scenes of rural life, themes of childhood, and views of recreational activity at Saratoga Springs, Lake George, and the Adirondack Mountains. In 1873 he began to work in watercolor; he would create many of his finest works in this medium. On a second trip to Europe in 1881-82, Homer went to England, spending almost two years at Cullercoats, a small fishing village on the North Sea, where he worked almost exclusively in watercolor and also replaced his earlier native genre subjects with more serious themes concerning the local fishingfolk and their relationship with the sea. In 1884, a desire for solitude coupled with a generally reclusive nature contributed to Homer's decision to move to the isolated locale of Prout's Neck, Maine, which would remain his home for the rest of his life. Here he created his great series of views of the sea, which express the theme of mortality with the dramatic imagery of waves crashing against jagged rocks. During this last period of his career, he also made frequent trips to warmer climates, including Cuba, Nassau, Bermuda, and Florida, to escape the harshness of Maine's winters. In watercolors created on these trips, he conveyed the brilliant light and vibrant colors of the tropics. 1836 - 1910 Winslow Homer Homer Winslow 1995 In addition to his activity as an artist and illustrator, Earl Horter was also a discerning collector who amassed a notable collection of modern art. Having demonstrated an aptitude for draftsmanship at an early age, Horter worked for the Philadelphia-based advertising firm of N. W. Ayer & Sons from 1917 to 1923, during which time he made drawings for such clients as the Ticonderoga Pencil Company. He worked as a freelance illustrator while establishing a career as a professional artist, first as an etcher of urban scenes and during the 192Os and 1930s as a painter in watercolors and oils. His success in the commercial realm provided him with the financial ability to acquire work by such avant-garde European painters as Pablo Picasso, Henri Matisse, and Marcel Duchamp and by such American Precisionists (and fellow Philadelphians) as Arthur B. Carles and Charles Sheeler. Through this means he acquired a familiarity with modernist aesthetics–especially Cubism that influenced his development and that of many of his Philadelphia cohorts, who found his collection a precious resource. Horter's paintings include views of rural Pennsylvania, the Cape Ann shore, Massachusetts, New Orleans, and Europe, as well as still lifes. He exhibited in and around Philadelphia, as well as in Chicago and New York. During his later years, he taught at the Graphic Sketch Club and at the Tyler School of Art at Temple University. 1883 - 1940 Earl Horter Horter Earl 1646 Hovenden was born in Dunmanway, County Cork, Ireland and died in Plymouth Meeting, Pennsylvania. He was a talented genre and figure painter who was killed in an accident just as he was reaching a late maturity as an artist. He studied at the government Art School; in County Cook after which he immigrated to America in 1863 where he attended the National Academy of Design in New York. In 1874, Hovenden left New York to continue his studies in painting under the tutelage of Alexandre Cabanel in Paris. Upon his return to America, Hovenden became a respected teacher at the Pennsylvania Academy of Fine Arts in Philadelphia. Among his most famous students was included Robert Henri. Among his most famous paintings are included,"Jerusalem the Gold" and "Last Moments of John Brown" now hanging in the De Young Museum, San Francisco. What O'Clock is it?, which was painted in 1878 is one of Hovenden's more important paintings. The oil on canvas, 38" X 53.5", exhibited in the National Academy of Design in 1879, No. 350 and formerly in the collection of Storm King Art Center, Mountainville, New York: is of the major painting from his trip to Europe and culminated his academic training with his introduction into the new movement of Impressionism which most of the artist who studied in Europe were involving to. Hovenden's What O'Clock is it? Clearly refers to the age-old game and reveals a lessor known aspect of the artist's realism, one which he celebrates the people of Brittany not as subjects of the historically picturesque but as individuals with familiar concerns, engaged in everyday activities. American Works on Paper III, Laurene Buckley Listed: Benezit Mantle Fieldings Graves Dictionary of Artists 1840 - 1895 Thomas Hovenden Hovenden Thomas 1850 Joseph Eugen Howater was born in Vienna, Austria in 1854 and died in 1925. He was a still life, genre, historical painter and print maker from the Austrian school. He received his formal training at the Royal Academy in Vienna. Very few artists are in Howater’s league, when it comes to academic still life. He incorporates transparent glass, woven fabrics and precious metals in a composition laced with light and depth. Howater built a very successful career with his magical still life paintings. Works by Joseph Eugen Howater are rare and like many skilled European artists, there is little written regarding his life as an artist. His painting’s must be judged on merit and not clouded by politics. 1854 - 1925 Joseph Eugen Howater Howater Joseph Eugen 3201 Felicie Waldo Howell, born in Honolulu, Hawaii in 1897, was a painter of oil and watercolor coastal landscapes, shore scenes, Impressionist figures in nature, interiors, and marine scenes. Howell's early work was often interiors, and then she turned to landscape, shore scenes, and marine subjects. She was also a teacher of painting at the New York School of Fine and Applied Art. Her first husband, George Mixter, was a yachtsman, and many of her marine scenes were painted along the New England coast with him aboard their schooner, "Teragram", including a 1937 series of the America Cup Races. By 1910, Howell had moved to Washington DC where she was living in her parents' household, according to the 1910 census. Her father Warren E. Howell was a Seventh Day Adventist missionary and educator. From 1910 to 1914, she studied at the Corcoran School of Art with E.C. Messer. Then she enrolled at the Philadelphia School of Design for Women in Pennsylvania and studied with Henry Snell. She was a member of many art organizations, and won many honors and awards. Howell belonged to the National Arts Club, New York Watercolor Club, Society of Painters of New York, and Painters and Sculptors Gallery Association in New York City, as well as the Concord Art Association, Massachusetts. In 1922, she became an Associate of the National Academy of Design in New York City, and in 1945, a full Member. In 1916, Howell won a prize at an exhibition of the National Association of Women Painters and Sculptors, and another in 1919 at the Concord Art Association. The year 1921 was a big one for Howell in terms of winning prizes. She received a Hallgarten Prize at the National Academy of Design; a silver medal at the Society of Washington (D.C.) Artists, and another at the Washington (D.C.) Watercolor Club; and the Peabody Prize at the Art Institute of Chicago, where she exhibited in nineteen annual exhibitions as well as the same number at the Pennsylvania Academy. Her work is in the collections of the National Gallery, Smithsonian Institution and Corcoran Gallery of Art in Washington, D.C., and in New York City at the National Arts Club and Metropolitan Museum of Art. Felicie Waldo Howell died in 1968. Sources include: Jules and Nancy Heller, North American Women Artists of the 20th Century Paul Sternberg Sr., Art by American Women Peter Falk, Who Was Who in American Art Additional information provided by Marisa Bourgoin, Corcoran Gallery of Art 1897 - 1983 Felicie Waldo Howell Howell Felicie Waldo 3348 Otis Huband (1933-) Otis Huband was born in Fredericksburg, Virginia in 1933. He began studying art at Virginia Commonwealth University (formerly the Richmond Professional Institute of the College of William & Mary) after a tour of duty in the Navy. He also attended the California College of Arts & Crafts in Oakland. He completed his BFA and MFA at Virginia Commonwealth University. Huband also studied at the Academia de Bella Arta in Perugia, Italy in 1963 -64. He has been a professor in Houston for many years. Mr. Huband was recently featured in the magazine, Antique Shops and Designers in a full color article titled, " An Artist's Palette". Teaching Career Princess Anna High School, Virginia Beach, VA, 1961-1963 Houston Museum School of Fine Arts (now Glassell School), Houston, TX 1967-1971 Art League of Houston, Houston, TX, 1971-1982 Rice University, summer school for high school students, Houston, TX 1967-1972 University of Houston, life drawing, Houston, TX 1975 Houston Parks & Recreation Department, sculpture, Houston, TX, 1975-1976 Exhibitions Virginia Museum of Fine Art, Richmond, VA, 1956 Pyramid Gallery, Richmond, VA, 1958-1961 The Udinotti Gallery, Scottsdale, AZ, 1963-1964 The James Bute Gallery, Houston, TX, 1965-1966 Dubose Gallery, Houston, TX. 1966-1967 University of Houston Faculty Exhibition, Houston, TX Erdon Gallery, Houston, TX, 1966-1970 Frederick-Nila Gallery, Longview, TX, 1966-1970 Sol del Rio, San Antonio, TX, 1968 Cascade Gallery, Eugenia, OR, 1968-1970 Louisiana Gallery, Houston, TX, 1972-1990 Solo Exhibitions Studio Gallery, Oakland, CA, 1957 Pyramid Gallery, Richmond, VA, 1959 Erick Schendler Gallery, Richmond, VA, 1960 20th Century Gallery, Williamsburg, V A, 1961 Circolo di Universita, Perugia, Italy, 1964 Callaert Gallery, Palm Beach, FL, 1965 Courtney Gallery, Oak Ridge, TN, 1965 Lynchburg Fine Arts Center, Lynchburg, VA, 1965 Oak Ridge Art Center, Oak Ridge, TN, 1965 Wisconsin State College, River Falls, VI, 1965 Erdon Gallery, Houston, TX, 1966-1970 University of Houston, Downtown, Houston, TX, 1974 Ars Longa Gallery, Houston, TX, 1976 Louisiana Gallery, Houston, TX, 1976 Pavillon Gallery, Scottsdale, AZ, 1976 University of Houston, Health Science Center, Houston, TX, 1976 River Cafe, Houston, TX, 1987-1988 Goethe Institute, Houston, TX, 1989 Print Museum, Houston, TX, 1993 Commissions and Corporate Collections Giacomo Colderone, Perugia, Italy Mitchell Energy and Development Corporation, Houston, Texas Houston Grand Opera, Rigoletto painting for cover Merrill Lynch, Exploration & Development Department Emil Magliocco, Jr. Sources Otis Huband, and Don McDaniel (his representative and the author of the article "An Artist's Palette") information courtesy of Stephanie Reeves 1 Otis Huband 1 Huband Otis 1976 Hubbard was one of a few painters of his generation with a college degree. A native of Connecticut, he was a member of the Yale University class of '37 before going to New York, where he studied painting with Samuel F. B. Morse and possibly Daniel Huntington. While he also studied abroad during 1840 and 1841, he seems not to have ever exhibited a painting of a specifically European subject. He did, however, acknowledge a profound life-long admiration for Claude Lorrain. Hubbard exhibited for over forty years at the National Academy of Design, where he was elected an Associate in 1851 and an Academician in 1858. He also exhibited at the Brooklyn Art Association on a regular basis from 1861 through 1886 and served as that group's third presi-dent. Like many of his peers, he sent works to the American Art Union (1848-I852), the Artist's Fund Society (where he was also a founder and president), the Century Association, the Boston Athenaeum, and various exhibitions in New Bedford, New Haven, Buffalo, Sandusky, Chicago, and elsewhere. A favorite subject was Lake George, and he seems to have concentrated his efforts on finding subjects in New York State and New England. Hubbard also participated in the Philadelphia Centennial Exposition. In 1874 Yale conferred upon him an honorary master's degree. Hubbard was a much admired and beloved figure in the community of American painters. A close friend of Sanford Gifford, for many years he maintained a studio on Washington Square and then at the Tenth Street Studio Building, always in the center of activities. His individuality is found in a strong preference for small paintings on which he lavished extraordinary attention. Henry Tuckerman wrote a rather marvelous encomium on Hubbard, and in paintings such as The Top of Kaaterskill Falls, Autumn, one can easily understand why. Here we see a painter of superlative skill exploring with equal insight the foreground's detail and the palpable panorama of the distant landscape. The wonderful site selection, rampant attention to tactile detail, broadranging and subtle palette, as well as the rich control of light and shadow are all Hubbard hallmarks carefully invested in this refined little jewel of a painting. Hubbard exhibited a painting entitled Mountain Stream at the Brooklyn Art Association in 1 866 and at the National Academy of Design in 1867 -perhaps this very painting or one closely related. He loved working on a small scale and this painting is characteristic in every way. Though he was sometimes chided for not working on larger canvases, it is clear that Hubbard knew exactly where his strength lay and devoted himself with a fine discipline to creating masterworks such as The Top of Kaaterskill Falls, Autumn and the similar, though somewhat earlier, Morning on the Mountain, 1856 (Metropolitan Museum of Art). Bio. from: All that is Glorious around us, Paintings from the Hudson River School by John Driscoll 1816 - 1888 Richard William Hubbard Hubbard Richard William 1645 Born in Detroit, C.D. Hunt settled in Brooklyn, New York, and exhibited paintings of the Adriondacks at the Brooklyn Art Academy from the middle 1860s through the late 1890s. He studied with Alexander H. Wyant (1836-1892) and John Frederick Kensett (1816-1872). Member: Black & White Club Exhibited: National Academy of Design, New York City Brooklyn Art Club Listed: Who was Who in American Art Thieme Becker The New York Historical Society's Dictionary of Artists in America, 1564-1860 Fair Wilderness, American Paintings in the Collection of The Adriondack Museum Museums: The Adriondack Museum, Blue Mountain Lake, New York 1840 - 1914 Charles Dow Hunt Hunt Charles Dow 1644 Although he was one of the most popular painters of his day, Daniel Huntington's prestige collapsed after his death. His pious, sentimental paintings and idealized portraits failed to capture the attention of twentieth-century audiences. During his lifetime, however, Huntington was one of the leading portraitists of New York City. Many of the public buildings there have one or more Huntington portraits, recognized today for their intricate costumes rather than for the character of the sitters. Born in 1816 in New York City, Huntington studied at Hamilton College with portraitist Charles Loring Elliott, and later in New York with Samuel F.B. Morse and Henry Inman. He went abroad for three years in 1839 to study in Rome, where he was influenced by Titian. Huntington's early ambition-to bring historical and allegorical art to America-resulted in one of the most popular paintings of the 1840s: Mercy's Dream (1842, Pennsylvania Academy of the Fine Arts), a quasi-religious figure painting taken from Pilgrim 's Progress. In 1850, Huntington began a highly productive career in portraiture, turning out more than 1,000 canvases in his lifetime. The paintings tend to be stiffly posed and marked by romanticism. Huntington served twice as president of the National Academy of Design, from 1862 to 1870 and from 1877 to 1890. He died in 1906. Memberships: American Academy and American Art-Union National Academy of Design Public Collections: Brooklyn Museum Corcoran Gallery of Art, Washington, D.C. Metropolitan Museum of Art, New York City Montclair Art Museum, New Jersey National Gallery of Art, Washington, D.C. New York Historical Society, New York City Pennsylvania Academy of the Fine Arts, Philadelphia 1816 - 1906 Daniel Huntington Huntington Daniel 2048 In early hours of September 12, 1888, banker Jean Icart’s wife, Elisabeth, would give birth to Louis Justin Laurent Icart in Toulouse, France. The family lived modestly in a small brick home on rue Traversière-de-la-balance, in the culturally rich Southern French city of Toulouse, which was the home of many prominent writers and artists, the most famous being Henri de Toulouse-Lautrec. In this cultural atmosphere, young “Helli” (family nick name) was rapidly introduced to the pleasures of the fine arts. In 1894, Helli was enrolled in L’Ecole Chrétienne des Frères, a Catholic primary school near his home. Although a good student, Helli’s mathematical skills were lacking much to the distain of his father. The birth of his younger brother diverted his parent’s attention and disapproval for his lack of the needed skills and desire to follow his father’s footsteps. With his new found freedom, Helli was able to focus his attention toward the love he had developed for the theater. With his an uncanny ability to make people laugh and his popularity at L’Ecole, Helli was selected to play small romantic parts in school productions, which would have a profound effect on him. Since Toulouse was a cultural center, Icart’s was introduced to the visual arts through his visits to the museums and galleries, which prompted him to try his hand at drawing. On Helli’s fourteenth birthday he was given a paint box by his grandfather. He enjoyed drawing and creating small works to give to family members but his urge to paint was overshadowed by his love for acting. By the age of sixteen, Icart stood only five feet tall, which dashed any hopes of being a leading romantic actor. After graduating from business school, Helli took a job at an architect’s office coping diagrams and often using his free time to draw cartoons and sketches all along dreaming of a way to make his entry into the Paris theater world. Within a few months, Kelli was drafted in to the French infantry. Although stationed with the commissary, fulfilling his military obligation experience was both unpleasant and unsatisfying. Two months after being discharged, Helli and his best friend from school and against his father’s wishes, Kelli would descend on Paris to satisfy his longing to join the Paris theater world. When Louis Icart arrived in Paris in 1907, Paris was the uncontested international center of art with over 30,000 resident artists. The “Belle Epoque” era of the arts, which personified art, beauty and joyous insouciant life had come to an end. Modern Paris with its bright lights, it spacious squares, it fashionable Fraubourg Saint-Germain, it working class districts and its schools signaled the arrival of the emerging capricious Art Nouveau style, decorative arts and idealized sentiment of beauty expressed as elegance decorative arts . Emile Gallé was still working until his death in 1905. Lalique, who had genius-inspired jewelry, had begun to working in glass, creating lamps, vases, mirrors, fountains, as well as flacons for the perfume bottles of Coty and other perfumers along with colorful glass for the celling of Maxim’s café. In that same year Pablo Picasso’s Demoiselles d ’Avignon initiated the Cubist revolution. After several weeks and with funds almost depleted, Icart found employment with a small studio that designed distributed postcards. His task was to hand-color the works of other artists. Icart’s functions and experience at the postcard shop are paramount to his development as a printmaker and artist. He would be exposed to what would become his trade mark subject risqué Parisienne. The little shop trained him in printing techniques that would have taken years to learn at an art school. Within months, Icart was creating his own post card designs, and by 1907 and 1908, he had created hundreds of pictures, still using “Helli” as his signature. By 1909 Parisians were becoming aware Futurism and Fauve artist Matisse, Derain, Vlaminck, Van Dongen and Braque. Paul Poiret, the designer of haute couture, was a historic personality in Paris from the year 1910. Poiret created clothes for the great ladies, “cocottes”, actresses, and a variety of stars. For his designs he employed the artists Paul Iribe, Raoul Dufy and Georges Lepape, contemporaries of Louis Icart. The war in 1914 did not end the progress of the arts, instead it probably aided in producing the change from Art Nouveau to Art Deco, which, however, did not come into full blossom until the 1925 Exposition des Arts Décoratifs, which had been delayed by the war. Louis Icart met the magical, effervescent eighteen-year-old blonde named Fanny Volmers, at the time an employee of the fashion house Paquin in 1914. Fanny would eventually become his wife and a source of artistic inspiration for the rest of his life. Between the end of the war and 1920’s Louis Icart had success enabled him to devote most of his time to painting, drawing and the production of countless beautiful etchings, which have served (more than the other mediums) to indelibly preserve his name in twentieth century art history. Because they were much in demand, Icart frequently made two editions (one European, the other American) to satisfy his public. Working with two publishers and major fashion and design studios, Icart had become very successful, both artistically and financially. His etchings reached their height of brilliance in this era of Art Deco, and Icart had become the symbol of the epoch. Yet, although Icart has created for us a picture of Paris and New York life in the 1920s and 1930s, he worked in his own style, derived principally from the study of eighteenth-century French masters such as Jean Antoine Watteau, François Boucher and Jean Honoré Fragonard. In Icart's drawings, one sees the Impressionists Degas and Monet and, in his rare watercolors, the Symbolists Odilon Redon and Gustave Moreau. In fact, Icart lived outside the fashionable artistic movements of the time and was not completely sympathetic to contemporary art. Nonetheless, his Parisian scenes are a documentation of the life he saw around him and they are nearly as popular today as when they were first produced. Icart's portrayal of women is usually sensuous, often erotic, yet always imbued an element of humor, which is as important as the implied or direct sexuality. The beautiful courtesans cavort on rich, thick pillows; their facial expressions projecting passion, dismay or surprise, for the women of Louis Icart are the women of France as we have imagined them to be Eve, Leda, Venus, Scheherazade and Joan of Arc, all wrapped up into an irresistible package Literature: Louis Icart: Erotica, May 1998 Wm. R. Holland Louis Icart: The complete Etchings February 1998 Louis Icart, et al. Boudoir Art: The Celebration of Life, March 1997 Clifford P. Catania Icart, Michael Schnessel, West Chester, Pennsylvania, 1976 "L’oeuvre du peintre Louis Icart", Beaux-Arts, Paris, June 1921 "L’exposition Louis Icart a la Haye", Le Provençal de Paris, 8 May, 1922 Jules Veran, Art Deco: A Guide fir Collectors, New York, 1972 Katherine McClinton, Reference: E. Benezit, vol. V 1890 - 1950 Louis Justin Laurent Icart 1 Icart Louis Justin Laurent 1849 Portraitist and genre painter John O'Brien Inman was the son of painter Henry Inman. Although his reputation has been overshadowed by that of his father, the younger Inman had a successful artistic career. Born in 1828 in New York City, Inman studied under his father, who painted landscapes and miniatures, as well as portraits and genre scenes. By 1853, the younger Inman was exhibiting at the National Academy of Design. In his youth, he worked as a portrait painter in the South and West; later he moved his studio to New York City, where he specialized in small genre pieces and flower paintings. Inman was elected an associate of the National Academy of Design in 1865. The following year, he moved to Europe and opened a studio in Rome. He remained abroad until 1878, when he returned for a while to New York. While in Europe, he executed a number of sentimental genre scenes with local settings. Inman's work is admired for its technical skill and, in the case of his later works, for its reflection of European influences. One of his best known works is Moonlight Skating, Central Park, the Lake and Terrace (ca. 1878, Museum of the City of New York). Discovered in the early 1940s, the painting was hailed for its treatment of the night scene and for the accomplished and lively figures, each executed with characteristic detail. Two small oils-A Pet (1862, location unknown) and A Flower Necklace (1869, location unknown) demonstrate Inman's skill in genre painting. He died in Fordham, New York, in 1896. MEMBERSHIPS: National Academy of Design PUBLIC COLLECTIONS: Museum of the City of New York National Museum of American Art, Washington, D.C. New York Historical Society, New York City 1828 - 1896 John O'Brien Inman Inman John O'Brien 3322 Callum Innes b. 1962, Edinburgh, Scotland Callum Innes was born in Edinburgh in 1962. He studied drawing and painting at Gray's School of Art from 1980 to 1984 and then completed a post-graduate degree at Edinburgh College of Art, in 1985. He began exhibiting in the mid-to-late 1980's and in 1992 had two major exhibitions in public galleries, at the ICA, London and the Scottish National Gallery of Modern Art, Edinburgh. Since then he has emerged as one of the most significant abstract painters of his generation, achieving widespread recognition through major solo and group shows worldwide. Innes makes work in a number of different ways, all of which are gradually evolving. The shifts that appear from one series to the next are rarely dramatic, but each new painting builds on those that have gone before in a subtle but constant progression. His characteristic form of coolly atmospheric abstraction has aptly been described as 'unpainting', given that key compositional elements are generally produced, not by the application of paint, but through its removal by washes of turpentine. Each finished painting thus suggests a freezing in time of the otherwise momentary arrest of an ongoing process. The play between the additive and subtractive process, the making and unmaking, underlies this sophisticated body of work. Innes was short-listed for the Turner and Jerwood Prizes in 1995, won the prestigious NatWest Prize for Painting in 1998, and in 2002 was awarded the Jerwood Prize for Painting. He has exhibited widely both nationally and internationally and his work is held in public collections worldwide including the Guggenheim, New York; National Gallery of Australia; TATE, London, and Scottish National Gallery of Modern Art. From Memory, a major exhibition of Callum Innes’ work over the past 15 years, was shown at The Fruitmarket Gallery, Edinburgh in 2007, and toured to Modern Art Oxford, and the Museum of Contemporary Art, Sydney. Callum Innes belongs to a generation of British artists who continue to explore the possibilities of paint on canvas. Uninhibited by, yet very aware of, the achievements of the past and the rise of other media, Innes uses the language of the monochrome, an established format of abstract painting since the 1960s. His paintings are created through a process of addition and subtraction, sometimes removing sections of paint from the canvases surface with turpentine to leave only the faintest traces of what was there before. Using this method of subtraction he has established his own vocabulary in the form of distinctive groups of paintings, which evolve concurrently. Through their interdependency he hones his visual fluency, exploring variations of the process of removal. Selected Exhibitions 2015 A solo exhibition at Frith Street Gallery 2014 Generation: 25 Years of Contemporary Art in Scotland, a group exhibition at the Scottish National Gallery, Edinburgh 2013 Malerei-als-Prozess, a solo presentation at Neues Museum, Nurnberg 2013 A solo exhibition at The Whitworth Art Gallery, Manchester 2013 Florence and Daniel Guerlain Donation, a group exhibition at Centre Pompidou, Paris 2013 The Art of the Present, Helga de Alvear Collection, a group exhibition at Centro + Centro. Palacio de Cibeles, Madrid 2011 A solo exhibition at Frith Street Gallery 2011 Watercolour, a group exhibition at Tate Britain 2010 – 2011 La Pesanteur et la Grâce, a group exhibition at Villa Medici, Rome 2008 From Memory, a solo exhibition at Museum of Contemporary Art, Sydney 2007 Discourse, a solo exhibition at Frith Street Gallery 2007 A solo exhibition at Modern Art Oxford, Oxford 2006 A solo exhibition at The Fruitmarket Gallery, Edinburgh 2005 A solo exhibition at Tate St Ives, Cornwall Callum Innes 1 Innes Callum 1643 Many rank George Inness with Homer, Eakins and Ryder as a master of nineteenth century American painting. Certainly he profoundly influenced the landscape painters who followed him. Inness's early work was very much the prevailing style of the Hudson River School. Several trips to Europe brought him in contact with the work of the Barbizon painters and brought stronger color and a new looseness into his own compositions. In 1863, he was introduced to the writings of Emmanuel Swedenborg, the Scandinavian theologian. Here at last was the link between the spiritual and real world that he was striving to realize in his work. In his late work, from 1880 on, he achieved the melding of the natural world with the spiritual that he sought, and created landscapes of extraordinary power. Inness was a frenzied painter. He would work and rework a canvas, sometimes painting an entirely different imaginary scene on top of an almost finished work. While the quality of Inness's output varied widely, His best paintings stand as some of the finest landscapes ever painted in America. Member: National Academy of Design Public Collections: Art Institute of Chicago Cincinnati Art Museum Delaware Art Museum, Wilmington Metropolitan Museum of Art, New York City Montclair Art Museum, New Jersey Museum of Fine Arts, Boston National Gallery of Arts, Washington D.C. Nelson Gallery, Atkins Museum of Fine Arts, Kansas City, Missouri Phillips Collection, Washington D.C. Wadsworth Atheneum, Hartford, Connecticut 1825 - 1894 George Inness 1 Inness George 1642 Landscape artist Albert Insley, associated with the American barbizon painters, enjoyed an active career depicting inland and marine subjects around the New England and Middle Atlantic states, from the early 1850's to 1935. He was raised in Jersey City, New Jersey, the son of a photographer. He received his first painting commission at age 12, and worked for his father as an apprentice photographer during his teens. During the early 1860s, Insley continued his artistic development, first as an art instructor with Henry Hillyer at New York University, then, from 1864 to 1865, as a student of Jasper Francis Cropsey. The artist painted some historically interesting views of New York Harbor, Bayonne, New Jersey and Staten Island, and began to exhibit his work regularly at the National Academy of Design beginning in 1862. Insley exhibited annually at the Academy from 1862 to 1898, and at the Brooklyn Art Association from 1869 to 1891. From 1873 to 1918, he maintained a residence and studio at the prestigious Tenth street Studio Building in New York City, making regular painting trips to Rockland County, New Jersey, the Hudson River Valley, New Hampshire, Massachusetts, Maine, Connecticut and Long Island. After 1881, Insley's paintings became more expressive under the tutelage of George Inness, and more poetic under the influence of the French Barbizon painters. From 1905 to 1915, the artist painted many memorable impressionistic works. Insley used a bright palette of colors from the early 1920s to his death in 1937. Insley died after 83 years of painting, at age 95, in Nyack, New York. Memberships: Boston Arts Club Brooklyn Art Association Nanuet Painters and Sculptors Guild National Academy of Design Pennsylvania Academy of the Fine Arts Salmagundi Club Public Collections: Archives of American Art, Washington, D.C. Cragsmoor Free Library, New York Delaware Art Museum, Wilmington Harding Museum, Chicago Jersey City Museum, New Jersey Preservation Society, Newport, RI Rockland County Historical Society, New York 1842 - 1937 Albert Insley Insley Albert 3090 Irvine was born on February 28, 1869, in Byron, Illinois and died on August 21, 1936 in Lyme. He was in Lyme, summers, 1914-17; and permanently, 1918-36. Looking through a glass prism one day in his studio in Lyme, Wilson Irvine became fascinated by the rainbow-like effects. He began to view his subjects through the crystal to create what he called "prismatic paintings." His first exhibition of these jewel-like canvases with heavy impasto (paintings that compare closely with Walter Griffin's work between 1915 and 1930) was a one-man show at the Grand Central Art Galleries in 1930. Critics labeled these paintings "curiosities" and predicted that nothing would come of the experiment. Irvine nevertheless persisted in using the technique and won a fair measure of acceptance for his "prismatic paintings" in the later years of his career. Wilson Irvine had a keenly imaginative mind. He invented and patented a tree swing made off canvas straps that was manufactured by a Chicago firm. In the 1920s he experimented with what he called "aqua-prints," in which he controlled the process of making marbleized paper in order to introduce naturalistic subject matter. Always looking for new modes of visual expression, Irvine warned that "any painter who in this day and age clings tenaciously to the one thing which he can do best, in a technical sense, and is satisfied, is not only standing still, he is actually retrograding." Like so many of the American Impressionists, Irvine was largely self-taught. The only formal training he had was in evening classes at the Art Institute of Chicago. It has yet tobe determined how long Irvine studied or how he established his career m Chicago, but he must have developed a good reputation. He was a member of nearly every Chicago art organization of his day, including the Cliff Dwellers and the Chicago Arts Club, and he served as President for both the Palette and Chisel Club and the Chicago Society of Artists. Irvine and his family first came to Lyme in the summer of 1914, when the artist was forty-five years old. The reasons for this move have not been discovered. But within a few years he bought a permanent home in the Hamburg section of Lyme, where he and his family became good friends with such neighboring artists as Robert and Bessie Potter Vonnola and Guy Wiggins. (By the second decade of this century, many of the artist associated with the Old Lyme colony had moved to the more rural Hamburg, attracted by its picturesque cove of water and its open countryside, and disappointed by Old Lyme's increasing "progress." As early as 1909 Woodrow Wilson was complaining about the noise of motor cars roaring down the main street, something that had not been a problem on his first visit in 1905.) Irvine specialized in painting landscapes, particularly of the Connecticut countryside in spring. Critics frequently noted his ability to paint subtle atmospheric mists and to render tree forms truthfully. Both of these characteristics are in evidence in The Pool (cat. 189, illus. p. 145). He loved to paint outdoors, especially "when there's a kind of hazy beauty in the air." Not much is known about Irvine's exhibition history. He received a silver medal at the Panama-Pacific Exposition of 1915, and in 1926 he was elected an associate of the National Academy of Design. He exhibited regularly with the Lyme Art Association. He is represented in the collections of such museums as the Art Institute of Chicago, the Phoenix Art Museum, the William Benton Museum of Art, and the Lyme Historical Society. Irvine died in Lyme in 1936. Further reading: Aqua-Prints by Wilson Irvine. Exh. cat., Albert Roullier Galleries, New York City, n.d. Wilson Irvine Papers. Archives of American Art microfilm copy. 1869 - 1936 Wilson Henry Irvine 1 Irvine Wilson Henry 3091 Isaac Israels was one of the most important representatives of Amsterdam Impressionism. A fastidious observer, he held a life-long fascination for the pulsing life in the streets, cafes, theatres and fashion houses. This resulted in an immediacy of execution that is typical of Israels' work. Responding to the influences of French Impressionism, Israels set out to record the dynamic life of the city, capturing the momentary as evocatively as possible. Israels was an outstanding example of someone who could look', Dolf Welling writes in his book on the artist (1991). 'He confines himself to life as an aesthetic phenomenon. He was keen to capture that life, to hold a moment that would never return. What struck him often most in that moment was a human trait, a mood in his subject, which he was able to communicate in an inscrutable way'. Israels had always held a strong interest in French art. He spoke the language fluently and visited Paris several times, at first with his parents, later with his friend, the writer Frans Erens, who shared his fascination for French culture. In Paris, the life on the streets, the theatres and the famous fashion houses captivated him strongly. He stayed in Paris from June 1903 till 1913 and was granted permission to work inside the fashion houses Decroll and Paquin. These Paris years are generally regarded as his most creative period. The present lot depicts a midinette (seamstress) reading in the Bois de Boulogne. lsraels characterises the girl and the sunny surroundings in loosely applied vigorous strokes of coloured chalks. This beautiful pastel is indeed a wonderful example of Israels' talent at seizing the moment, capturing life with a sensitive eye for the mood of the momentary. Israels was the receptor of visual stimuli and they in turn emanate towards us from his work. 1845 - 1934 Isaac Israels Israels Isaac 3092 Jozef lsraels acquired his greatest fame with the realistic and sincere depictions of fishermen and their families. lsraels painted these scenes from the mid-fifties onwards. His interest in the fishing genre was aroused in 1855, when he stayed in the fishing village Zandvoort. lsraels discovered that the harsh and simple life of the fishermen had far more meaning to him than the elevated historical subjects he had painted up till then. lsraels was probably the first artist who depicted the anxious moments of the family in an interior. Earlier representations of the same subject all situate the waiting figures outside, either on the beach or in the dunes. 1824 - 1911 Jozef Israels 1 Israels Jozef 3139 Alexander Young Jackson, usually called 'Alex' by his friends, was born and grew up in Montreal. After working for various lithography firms there and in Chicago, he traveled in France and later studied under Jean-Paul Laurens at the Academie Julian in Paris. He had gone to Toronto in 1913, fed up with Montreal's negative attitudes toward Canadian art and artists, the indifference of its collectors to his own and other artists' work, and a lack of adequate exhibition opportunities. His early painting The Edge of the Maple Wood (p. 187) had enchanted Harris, MacDonald, Tom Thomson, and Arthur Lismer, when they saw it in 1911, and so had his powerful Terre Sauvage of 1913 (p. 381), a canvas developed from his trip to Georgian Bay that spring. He had served as a private in the war, then as a war artist in the Canadian War Memorials program. Although he was technically absent on that historic night, his wry humour and combative nature were as reliable as if he had been there. 1882 - 1974 Alexander Young Jackson 1 Jackson Alexander Young 1909 Alexandre Jacob was born August 14, 1876 and died in Paris in 1972. He is considered a still life and landscape painter from the French School. Jacob received his formal training at the Beaux-Arts Academie with Eugene Claude (1841-1923). He debuted at the Paris Salon of 1899. Jacob is best known for his atmospheric luminous landscapes. He gained his rare understanding and love for nature through observation. He then magically expressed these observations on canvas. Jacob was able to give us a glimpse at nature and its relationship to light and air. His buttery strokes of color caressed the golden aurora of autumn, the soft creamy snow of winter and spring’s crisp morning light. His placed you on the banks Seine and in the small French villages, refreshed. Alexandre Jacob and Edouard Cortes were best friend and members of The Fine Arts Union of Lagny along with fellow artists; Paul-Emile Colin, Henri Lebasque, Frederic Leve, Maurice Monnot, Charles Pavil and Emile Prodhon. The Union was formed in 1926. At the estate sale of Cortes’ daughter there two or three paintings in the sale which had a Cortes on one side and a Jacob on the other. Listed: E. Benezit, Grund Vol. V, pg. 757 Dictionnaire des Petits Maitres de La peinture, 1820-1920, Gerald Schurr/Pierre Cabanne, vol. II, pg. 15 Thieme-Becker Lexicon 1876 - 1972 Alexandre Jacob Jacob Alexandre 3093 Antonio Nicolo Gasparo Jacobsen was born in Copenhagen, Denmark on November 2, 1850, the son of a famous Danish violinmaker. Jacobsen came to New York in 1873 and with a letter of introduction, was hired as a violinist for the New York Symphony Orchestra. However, this life did not appeal to him, and he decided to look for other work. As with most Danes, the lure of the sea and ships was part of his blood. He would spend his afternoons off sketching ships down at Battery Park, where an employee of the Marvin Safe Company noticed his drawings, and offered him a job decorating safes. It was while he was doing work for the Marvin Safe Company that Capt. Adolf Ludwig King, a Swedish captain for the Old Dominion Line noticed his work, and gave him his first commissions for ship portraits. This was to start Antonio Jacobsen on his lifes work as a ship portrait painter, a vocation he achieved with remarkable success. In 1878 he married Mary Melanie Schmidt at the church of the Strangers in New York City. They lived in New York until 1880 when they purchased a large Victorian home in West Hoboken (now Union City) where Jacobsen set up his studio. This house originally had the address of 705 Palisades Avenue, and then in 1896 the numbers of the street changed, and the house was then numbered 31 Palisades Avenue. The artists home was a Mecca for seafarers and artists, including Fred Pansing, James E. Buttersworth, F. Bishop and Frederick Cozzens. On Sundays, Jacobsen would arrange concerts at his house, and he and his friends would play chamber music. Many tales exist regarding the artists personality, eclectic interests, and artistic methods - including his improvidence, multi-linguistic and musical talents, voracious book reading and collecting, and the utilization late in his career of his two sons painting backgrounds in his work. During all but his last few years, Jacobson enjoyed a comfortable lifestyle that reflected the financial success of his lifes work. Toward the end of Antonio Jacobsens career his clientele shifted from the steamship companies to the art dealers selling these paintings for a mere $10 apiece. Jacobsen suffered a number of tragedies towards the end of his life. In 1909 his wife, Mary died; in 1917 a fire destroyed part of his house; in 1918 his two sons were called up for military service in World War I; and as his life changed he became depressed and suffered a number of minor strokes. The last stroke left him in a coma for five days, and he died on February 2, 1921. Jacobsen deserves the dual title of marine historian and marine artist. His clients, mostly ships officers, crewmen, and owners demanded accuracy - and accuracy is what they received. He chronicled the transition from sail to steam and the full commercial magnetism of the port of New York. Jacobsen also painted a number of yacht portraits and yachting scenes that were commissioned by some of the most prominent families in the New York area. He worked from daylight to dusk, and often had several painting going at one time in order to meet promised deadlines. He was a prolific artist with over 2400 known works. Works by Jacobsen can be seen in most major collections of marine art. Two of the most extensive public collections are The Mariners Museum; Newport News, VA and the Peabody Museum in Salem, MA From Sail To Steam, The Story Of Antonio Jacobsen, Marine Artist by Anita Jacobsen, 1972 1850 - 1921 Antonio Nicolo Gasparo Jacobsen 1 Jacobsen Antonio Nicolo Gasparo 1848 Born in Paris, Jacque began his training, not in painting but in etching, as an apprentice to a map engraver. In this area, Jacque was unsurpassed among his colleagues in the Barbizon School. After military service, he went to England where he worked as an engraver for La Charivari. Returning to France after two years abroad, he made his Salon debut in 1833 and regularly contributed until 1870. Winning medals for both etching and painting, he was awarded the Legion d'honneur in 1867. During the 1840s, he and his friend Millet moved to the village of Barbizon where they felt they could more realistically portray nature. He drew criticism from his fellow Barbizon painters for his interest in nonartistic activities, such as land speculation and poultry breeding (about which he wrote a book, Le Poulailler, monographie des poules indigences e' exotiques, published in 1848), which kept him from fully devoting his life to art. However, even with his outside interests, Jacque continued to produce a great many works in the two mediums of painting and etching. 1813 - 1894 Charles Emile Jacque Jacque Charles Emile 1641 Known primarily for her beautiful watercolors of flowers. Exhibited for many years in the Paris Salon between 1833 thru 1843 and won a metal in 1838. Listed: Bellier v. 2 Benezit Dictionary Of Women Artists d. 1 - 1877 Adele Janet Janet Adele 1847 Frederick Jarvis was born in Monroe County, Ohio in 1898 and died in Dallas, Texas in 1966. He is considered an American landscape painter of the 20th century. Jarvis received his formal art education at the Art Students League in New York City. He also traveled to Munich, where he studied under Franz Mueller. He later studied with Silas Martin, Charles Bullette and Madam Schille. In 1922, Jarvis moved to Dallas, Texas. He opened his studio in the Bush Temple and taught at the Merrick Fine Art School. Jarvis was also a potter, which he exhibited along with his paintings. His painting became his love and eventually occupied all his time. Jarvis began traveling to New Mexico, the Grand Canyon, and various parts of Texas in pursuit of subjects of his very accomplished landscapes. Jarvis was quoted as saying,". . . my landscapes are impressions of the scenes in their vivid coloring." Jarvis exhibited his work in New York; Washington D.C.; Philadelphia; Norfolk, Va.; Columbus, Ohio; and various points in the West. He was awarded a gold medal for landscape at the Texas- Oklahoma Fair of 1922. He was a member of the Society of Independent Artists of New York, the Paint and Pallet Club of Washington, and is represented in many private and public collections. Listed: A History of Texas Artists and Sculptors Samuel's' Encyclopedia of Artists of the American West 1898 - 1988 Frederick Jarvis Jarvis Frederick 2171 Frederick Jarvis was born in Monroe County, Ohio in 1898 and died in Dallas, Texas in 1966. He is considered an American landscape painter of the 20th century. Jarvis received his formal art education at the Art Students League in New York City. He also traveled to Munich, where he studied under Franz Mueller. He later studied with Silas Martin, Charles Bullette and Madam Schille. In 1922, Jarvis moved to Dallas, Texas. He opened his studio in the Bush Temple and taught at the Merrick Fine Art School. Jarvis was also a potter, which he exhibited along with his paintings. His painting became his love and eventually occupied all his time. Jarvis began traveling to New Mexico, the Grand Canyon, and various parts of Texas in pursuit of subjects of his very accomplished landscapes. Jarvis was quoted as saying,". . . my landscapes are impressions of the scenes in their vivid coloring." Jarvis exhibited his work in New York; Washington D.C.; Philadelphia; Norfolk, Va.; Columbus, Ohio; and various points in the West. He was awarded a gold medal for landscape at the Texas- Oklahoma Fair of 1922. He was a member of the Society of Independent Artists of New York, the Paint and Pallet Club of Washington, and is represented in many private and public collections. Listed: A History of Texas Artists and Sculptors Samuel's' Encyclopedia of Artists of the American West 1898 - 1988 Frederick Jarvis Jarvis Frederick 1640 Elizabeth G. Jerome was born in New Haven, Connecticut on December 18, 1824 to Hezekiah and Rebecca Gilbert. By 1851 Elizabeth was studying with artist Julius T. Busch in Hartford, Connecticut as well as in New York at the National Academy of design and the Springley Institute. For a time she was also a student of Emanuel Leutz. In 1856 the artist married Benjamin Jerome. The couple settled in Hartford, in close proximity to fellow artist Frederick Church's residence. in the years 1866-1875 Elizabeth exhibited at the National Academy of Design. An 1869 Pennsylvania Academy of the Fine Arts show included a work by Jerome. Following the death of one of her daughters Jerome ceased to paint. At the time of her death in 1910 Jerome was, once again, residing in New Haven. In the Andes is a major work by this important early woman artist. It is also evident that she was influenced by her neighbor and Hartford compatriot, Frederick Church's South American paintings. One could speculate that he assisted in painting In the Andes. Even the beautiful 8 inch wide orientalist motif frame still on the painting owes a debt to Church. This style molding is frequently referred to as a "Church" frame. 1824 - 1910 Elizabeth Gilbert Jerome Jerome Elizabeth Gilbert 1985 John Christen Johansen was born on November 25, 1876 in Copenhagen Denmark and died in New Canaan, Connecticut at the age of 87 on June 23, 1964 (just five month to the day after his wife, Jean (Myrtle) MacLean (1878-1964). The Johansen family brought John Christen to Chicago as an infant. Johansen began is formal training, as an artist, at the Art Institute of Chicago and then with Frank Duvenek (1848-1919) in Cincinnati. John would then travel to Paris to study at he Academie Julian and briefly with James Abbott McNeil Whistler (1834-1903) in Paris. In 1905, upon his return to the United States, he would marry Jean (Myrtle) MacLean. Their studies were paralleled at the Art Institute and in Cincinnati. The newlyweds set themselves up in adjoining yet separate studios in New York and wherever else painted together. Summers would be spent in Stockbridge, Massachusetts and any sizable sale could send them off instantly on an extended sojourn in Europe. John Christen Johansen was elected Associate Member of the National Academy in 1911 and a full membership (NA) in 1915. He was a member of the National Arts Club, the Century Club, the Institute of Arts & Letters, the American Federation of Arts and the McDowell Club. Johansen was a regular exhibitor at the Art Institute of Chicago, where he won a prize in 1903, a medal in 1911 and a gold medal in 1928. He exhibited at the St. Louis Worlds Fair of 1904 and won a medal. At the 1910 Buenos Aires Exposition, he was awarded a gold medal and he was awarded a gold medal at the Nation Academy exhibition of 1911. He continued to actively exhibit both nationally and internationally. Museums: National Gallery, Santiago, Chile Pennsylvania Academy of Fine Art, Philadelphia Chicago Art Institute, Chicago, IL. Dallas Museum of Art, Dallas, TX Richmond Museum, Richmond, IN 1876 - 1964 John Christian Johansen Johansen John Christian 3129 Clarence Raymond Johnson (1894-1981), from Pennsylvania, painted the rural landscape with an Impressionist style and subjects focused on nature. He often selected a high vantage point for his paintings, with foreground clusters of trees and houses below, leading to extensive vistas of distant hills and sky. His color is rich with unexpected combinations of relatively high-key, atmospheric pastel shades. His forms have a rounded solidity (with just a subtle hint of Cezanne) and are more characteristic of American painting than the French Impressionist landscape painting of Monet and Renoir. Johnson studied at the Columbus, Ohio School of Art, the Pennsylvania Academy with Emil Carlson, and Cecilia Beaux, and in Paris. He exhibited at the Pennsylvania Academy , the National Academy, and the Art Institute of Chicago. He lived in Lumberville and Lansdowne, Pennsylvania. Source: Peter Falk, "Who Was Who in American Art" Mantle Fielding, "Dictionary of American Painters" 1894 - 1981 Clarence Johnson Johnson Clarence 1638 David Johnson was a successful landscape painter of the Hudson River School. His fine draftsmanship and rich colors portrayed picturesque scenes of upper New York State and New England. He was born in New York City in 1827. Although he spent most of his professional life there, his frequent journeys to the Hudson River Valley (particularly the Fort Putnam and West Point areas) and New England inspired some of his best landscapes. Johnson studied the great European landscape artists and had a few lessons from American landscapist Jasper F. Cropsey. He said that his greatest teacher, however, was nature, and his intense realism and richly painted rocks and trees attest to this. He first exhibited at the National Academy of Design and the American Art Union in 1849, and was made a member of the National Academy in 1861. At the Centennial Exhibition in Philadelphia in 1876, Johnson exhibited "Scenery on the Housatonic" and "A Brook Study, Orange County, New York" (dates and locations unknown) and received an award. His View of the Adroscoggin River, Maine (1869-1870, Museum of Fine Arts, Houston) demonstrates his exceptional ability with detail and color. His best work can be compared with that of John F. Kensett, but in later years Johnson's skills declined. Influenced by the Barbizon style, his work became monotonous and less articulate. Johnson died in 1908 at Walden, New York. His landscapes and several fine still lifes are not well known, but his work is beginning to find new attention and appreciation. Memberships: Artists' Fund Society National Academy of Design Public Collections: Museum of Fine Arts, Houston, Texas 1827 - 1908 David Johnson Johnson David 1639 Eastman Johnson, portrait and genre painter, was perhaps the most prominent and successful of the many American artists who came to the fore at the time of the Civil War. Born Jonathan Eastman Johnson in Lowell, Maine, July 29, 1824; died in New York, April 5, 1906. He studied in Dusseldorf, Rome, Paris and The Hague, and settled in New York, becoming a member of the National Academy of Design in 1860. He was the son of Philip C. Johnson, Secretary of State for Maine. He worked in a lithographic establishment in Boston in 1840 and after a year went to Augusta, ME, where he commenced making portraits in back crayon. He also visited Newport. In 1845 the family moved to Washington D.C., and young Johnson drew many crayon portraits, working in the Senate Committee Rooms at the Capitol. In 1858 he moved to New York, where he remained the rest of his life, except for a period spent in Boston and in visits to Europe in 1885, 1891 and 1897. He painted his best rural genre in Nantucket, during the 1870's. Member: National Academy of Design, 1860 Society of American Artists, 1881 Century Association Exhibited: Paris Exposition, 1889 (medal), 1900 (medal) Pan American Exposition, Buffalo, 1901 (gold medal) Louisiana Purchase Exposition, St. Louis, 1904, (gold medal) Public Collections (partial): National Museum of American Art, Smithsonian Institution, Washington, D.C. Metropolitan Museum of Art, New York City New York Historical Society, New York City Timken Art Gallery, San Diego 1824 - 1906 Eastman Johnson Johnson Eastman 3140 Francis Hans Johnston, known as Frank but soon to change his name to Franz, was a Torontonian, a gifted and versatile artist whose ability to work quickly and to create attractive designs was much admired. He had served briefly in the Canadian War Memorials program at home, with startling and large paintings of airplanes. He would leave the Group shortly after the initial exhibition to head the School of Art in Winnipeg, Manitoba. Soon he was highly critical of the Group and against most 'modern' art in any form. He organized exhibitions of his work, two or three hundred canvases at a time, at commercial venues like department stores and, unlike his colleagues, sold extremely well, a point that irked Jackson and others who believed that he had sold out by casting aside the desire to develop a strong and vibrant aesthetic. 1888 - 1949 Francis Hans Johnston 1 Johnston Francis Hans 1656 Francis Coates-Jones was born in Baltimore, Maryland in 1857 and died in New York in 1932. He is considered a genre-figure painter from the American school. Jones first expressed an interest in art in 1876 while visiting Edwin Abbey. Jones and his brother, Hugh Bolton Jones, a painter of landscapes, traveled to France to paint in Pont-Aven, Brittany, which was an artists' colony attended by Robert Wylie and Thomas Hovenden. Pont-Aven would soon become famous for Paul Gauguin painting there. In autumn of 1877, Francis Coates-Jones would return to Paris to attend the Ecole des Beaux-Arts. He studied with Henri Lehmann, traveling and sketching in France, Switzerland and Italy during the next five years. During the winter of 1879 to 1880, Jones traveled to London paint a mural commission of a panorama of military subjects. He also would continue his studies in France at the ateliers of the well-known academicians Jules Joseph Lefebvre and William Adolphe Bouguereau. Reflecting his teachers and his artistic education, Jones painted in an academically detailed style that was rich in paint handling. Although a genre painter of contemporary life, Jones' had a special feeling for richly furnished interiors and costumes. He later adopted Impressionism. The Berkshire Mountains of South Egremont, Massachusetts were a subject he pursued during the summer. Francis Coats-Jones taught at the National Academy of Design in New York City. He also illustrated views of historic houses in Washington, D.C., which appeared in Scribner's Magazine in October, 1893. He was also a mural painter, commencing in 1895. Francis Coates-Jones held memberships in many arts organizations including American Federation of Artists, American Watercolor Society, Century Association, Lotos Club, National Academy of Design, National Arts Club, National Institute of Arts and Letters, National Society of Mural Painters, Salmagundi Club and Society of American Artists. Public collections: Arnot Art Museum, Elmira, NY Art Institute of Chicago, Chicago, IL Gibbes Museum of Art, Charleston, SC Lauren Rogers Museum of Art, Laurel, MS Metropolitan Museum of Art, New York City, NY Museum of Fine Arts-Springfield, Springfield, MA Pennsylvania Academy of the Fine Arts, Philadelphia, PA Richmond Art Museum, Richmond, IN The Brooklyn Museum of Art	, Brooklyn, NY Source: Michael David Zellman, "300 Years of American Art" 1857 - 1932 Francis Coates Jones Jones Francis Coates 3343 Gerald Harvey Jones, better known as G. Harvey, grew up in the Texas Hill Country listening to his father and grandfather tell stories about ranch life, frontier days in Texas, and driving cattle across the Red River. Early in his career, he began to draw inspiration from that collective memory for paintings that would eventually earn him the reputation as one of America's most recognized and successful artists. His art is rooted in the scenic beauty of the land he grew up in and the staunch independence of the people who live there. He says, "My paintings have never been literal representations. They are part first-hand experience, and part dreams generated by those early stories I heard. They are a product of every place I have been, everything I have ever seen and heard." G. Harvey graduated from North Texas State University. He taught in Austin, but continued to study art in his spare time, eventually devoting full time to his painting. The year 1965 was a turning point when he won the prestigious New Masters Award in the American Artist Professional League Grand National Exhibition in New York. It is often said that in viewing a work of art, one is granted a unique look into the thoughts and expressions of values that give meaning to the artist work. Nowhere does this ring truer than the art of G. Harvey. Though Harvey has had nearly two decades of sell-out shows, an outstanding honor came with a series of one-man shows in Washington, D.C. in 1991. The first was at the National Archives featuring his paintings of the Civil War era, then a selection of paintings of notable Washington landmarks was exhibited at the Treasury Department, culminating in a one-man show of 35 paintings at the Smithsonian Institution during their exhibition of "The All American Horse." His work was featured in Gilcrease Museum exhibitions from 1992-1997. In 1987 his alma matter honored him with a Distinguished Alumni Award. One of Harvey's paintings was featured on the cover of Smithsonian Institution's 150th anniversary engagement book. He now has four books published, and resides with his family in The Texas Hill Country. Gerald Harvey Jones Jones Gerald Harvey 1657 H. Bolton Jones was an award winning landscape artist of the late nineteenth century, whose paintings of pastoral scenes were widely exhibited in the United States around the turn of the century. Born in 1848 in Baltimore, Jones began his formal studies at the Maryland Institute. In 1865, he studied under Horace W. Robbins in New York City, and two years later exhibited at the National Academy of Design. From 1865 to 1876, Jones painted many landscapes of well-known scenes of the Eastern United States, from Maryland and West Virginia north to the Berkshire Mountains of Western Massachusetts. In style and subject matter, his paintings of this period tend to reflect the dominant influence of the Hudson River School. In 1876, Jones traveled to Europe with his younger brother, eventually joining former Baltimore acquaintance Thomas Hovenden in the artists' colony at Pont Aven, Brittany. Here he painted his first mature plein-air works, depicting scenes of winter light, as in "Edge of the Moor, Brittany", (1877). The painting was acquired by the Minneapolis Institute of Arts in 2001. In 1880, Jones returned to the United States, where he continued to paint American landscapes in a manner emphasizing the effects of seasonal light or time of day on his rural subjects. He was elected an associate of the National Academy of Design in 1893; he received awards at the Paris expositions of 1889 and 1900 and the St. Louis exposition of 1904. He continued to paint until his death in 1927, in New York City. ASSOCIATIONS National Academy of Design National Institute of Arts and Letters PUBLIC COLLECTIONS Brooklyn Museum Corcoran Gallery of Art, Washington, D.C. Metropolitan Museum of Art, New York City. 1848 - 1927 Hugh Bolton Jones Jones Hugh Bolton 3094 Jongers was born on November 17, 1872, in Mezieres, France and died on October 2, 1945, in Montreal, Canada. He was in Old Lyme, 1900-04. The portraitist, Alphonse Congers, was one of the Lyme art colony's charter members, coming to Old Lyme at Henry Ward Ranger's suggestion in the spring of 1900. Born in France, Congers trained under Delaunay and Gustave Moreau at the Ecole des Beaux Arts, and then studied for two years in Spain. Congers moved to French Canada in 1895, where at the age of twenty-three he opened a studio in Montreal. It was probably there that Ranger and Congers met and became friends, as Ranger traveled to Montreal frequently in the late 1890s. In 1900, just before making his first of several trips to Old Lyme with Ranger, Congers moved to New York City. His first known exhibition in New York was a March, 1902, group show of seven painters (including fellow Lyme artists Louis Paul Dessar, George Bogert, and Ranger) at Durand-Ruel Galleries. Between 1900 and 1904, Congers spent each summer in Old Lyme. In 1903 he persuaded Florence Griswold to pose for her portrait, playing the harp her father had brought from England (cat. 191). He was unable to finish before returning to the city and asked Miss Florence to send the harp to his New York studio in order to complete the canvas. The portrait was sold to George A. Hearn and hung with the Hearn Collection at the Metropolitan Museum of Art. In 1918 the painting was sold to a New Haven dealer, who in turn sold it to the Lyme Art Association. As a tribute to Florence Griswold, the Association gave her the painting. Jongers played an important role in the early "Barbizon" years of the Lyme art colony. He also painted portraits of Henry Ward Ranger, now in the National Portrait Gallery and the National Academy of Design, as well as a portrait of Louis Paul Dessar in the National Academy. Additionally, Congers is represented in the Metropolitan Museum of Art, National Collection of Fine Arts, and the Montreal Museum of Fine Arts. He was a member of the Society of American Artists and was elected an Associate of the National Academy of Design in 1906. He received a silver medal at the the St. Louis Exposition in 1904 and the third class medal at the Paris Salon of 1909. Jongers returned to Montreal in 1924, where he was successful enough to be called "one of Canada's leading portrait painters.'' Two years after his death in 1945, a memorial exhibition of his work was held at the Montreal Art Association. Further reading: Alphonse Jongers Memorial Exhibition.'' Montreal Art Association Bulletin, No. 43 (Dec. 1947), pp. 2-3. "Among the Artists.'' American Art News, 3 (Nov. 26, 1904), 2. 1872 - 1945 Alphonse Jongers Jongers Alphonse 1994 Described as an artist whose "love of nature amounted to a passion," Charles Kaelin was a respected member of the artists' colony at Rockport, Massachusetts, during the early twentieth century. The son of a Swiss lithographer, he initiated his formal training in his hometown of Cincinnati, studying at the McMicken School of Design and privately under the Impressionist painter John Henry Twachtman. Moving to New York in 1879, he continued his studies at the Art Students League and then worked as a lithographer. Returning to Cincinnati in 1892, he joined the prestigious Strobridge Lithographic Company as a designer of theater posters and calendars and spent his free time making sketching trips to southern Ohio and Kentucky, where he made delicate pastel landscapes in the poetic manner of Twachtman. Kaelin made his first trip to Gloucester, Massachusetts, on the Cape Ann peninsula, in 1900 and continued to make seasonal visits there until settling permanently in the nearby town of Rockport in 1916. It was about this time that he evolved an advanced divisionist technique rooted in European Post-lmpressionism wherein emphatic strokes of crayon or oil paint are tightly woven together to create an intricate tapestry of line and color. He applied this method, which contemporary critics deemed "daring" and "experimental", to his many depictions of the harbors, coastlines, and woodlands of Cape Ann. 1858 - 1929 Charles Salis Kaelin Kaelin Charles Salis 2164 Rajmund Mojzesz Kanelbaum was born in Warsaw, Poland on February 24, 1897. He began his formal art studies in 1918 at the Academia Stuk Pieknych in Warsaw. After completing his studies at the Academia in 1919, Raymond would travel to Vienna, Austria to continue his art education at the Beaux-Arts Academie until 1922. Raymond Kanelba would return to Warsaw in 1923 to marry (possibly prearranged by their parents) a Maria Wohl, the wealthy daughter of a Polish industrialist. After a brief stay, Raymond and his new wife would leave for Paris. The French capital was Raymond’s dream fulfilled. He wanted to be part of the energy and to inhale its unique atmosphere, which would fulfill a promise of a life, released from the conservative constants of his Jewish heritage and the politics of Poland. The greatest influence was from a group of 100 central European artists who formed a colony in Montparnasse between 1910 and 1939, the l’Ecole de Paris. This movement had emerged on the footpath of Impressionism, Cubism and Fauvism. The term l’Ecole de Paris had been used prior to World I by German newspapers to identify all avante garde trends that were set against German Expressionism. Pablo Picasso was the most remarkable representative of the school, which included Matisse, Rouault, Utrillo, Foujita and Chagall. However since many of these artists were schooled in Berlin, they showed an influence and a leaning towards Expressionism, a trend never absorbed in France in its purist form, despite finding its roots in France. The Kanelba’s arrived in Paris in 1925. Raymond had dreamed of joining his bohemian friends whom he had met in Berlin. He and Maria did not exactly fit the social structure of this unique artistic community. When they arrived in Paris, they weren’t struggling to make ends meet. Raymond obviously had married well and was therefore able to afford an apartment and a studio without having to depend on paintings sales. However, he understood and related to their sorrows, their memories, their habits, their accents and dreams. He was drawn to the city by the stories of an exciting life in the Cafés of Montmartre and Montparnasse and the dozens of celebrated studios. These young artists were confronted with the same hostile prejudices making it necessary to regroup to protect themselves from the unfriendly atmosphere. They were not united by a movement but attached to l’Ecole de Paris through their place of residence. They all were viewed as aliens who instilled something Jewish in their paintings. It is not by accident that the great painters of l’Ecole de Paris, Marc Chagall, Amedeo Modigliani, Chaim Soutine, Moise Kisling and Julius Paschin, were Jews. Raymond Kanelba’s paintings would speak for themselves. He became a regular exhibitor at the Salon d’Automne from 1925 until 1956, at the Salon des Independents from 1926 to 1928, the Salon des Truileries from 1927 to 1938 and the Salon de l’escalier in 1928. As a member of l’Ecole de Paris, Kanelba would befriend and exhibit with artists like: Max Band; Moise Kisling; Mane Katz; Alfred Aberdam; Zygmunt Menkes; Eugène Zak; Léopold and Henryk Gottlieb; Roman Kramstyk; Pinchus Krenegne; Michel Kikoine; Vladimir Naiditch and Jacques Lipschitz. By 1925, several galleries in France started to take the risk and exhibit the growing number of artists from l’Ecole de Paris. Important galleries like: Galerie Berthe Weill; Galerie Bernheim Jeune; Galerie Bing; Galeries Druet; Galerie des Quatre Chemins; Galerie Chéron; Galerie Denise René; Galerie Georges Petit and the Galerie Zborovski. In 1927, after a successful exhibition in Bordeaux, Raymond was introduced to Marcel Berneim, the famous collector and critic, at Galerie Bernheim Jeune. He was also introduced to Leopold Zborovski, Amedeo Modigliani’s (1884-1920) agent and close friend, at Galerie Zborovski. Each gallery owner had an interest in representing his work. Berneim and Zborovski both laid claim to the discovery of Raymond Kanelba. Rather than loose the artist, Marcel Berneim and Leopold Zborovski agreed to jointly promote his work with exhibitions and one-man shows. Kanelba’s first major exhibition was at Galerie Zborovski in 1928. André Salmon, one of France’s most noted poets and critics of the time, would write the introduction to the exhibition catalogue. His successes continued with exhibitions in 1931 at Galerie Hartberg, Berlin, in 1932 at Galerie Berthe Weil, Paris, in 1932 at the Institut de Propagande de l’ Art, Warsaw and at the 1933 exhibition at the Institut de Propagande de l’Art, Lodz, Poland. After the exhibition at Galerie Zborovski in 1928, the French art critic Thiebault-Sisson of “le temps” would write “… of all the young people from abroad who flock here in order to be formed through contact with our artists, I know of no other who is more richly gifted than this Pole, Kanelba. His vision is as delicate as it is subtle, and his eye is extraordinarily sensitive to all kinds of modulations of color and all the variations of the atmosphere” Oct. 1928 Kanelba would be honored once again by André Salmon, who would write the monograph for his 1933 exhibition at Galerie Zborovski. After the 1933 exhibition, critic Georges Waldeman of “le reve mondiale” would write, “The Kanelba show, one of the young hopes of école de Paris has aroused great interest.” “painter of portraits and interiors, Kanelba is a painter of atmosphere.” April 1933 Kanelba would continue to exhibit at the Salons in Paris, Poland, Demark and Belgium. However, his last one-man exhibition in Paris was at the prestigious Galerie Zak, Place St. Germain-des-Près. At the outbreak of World War II, these painters were rejected and persecuted. Several of them fled France and many did not survive the war. In 1934, Raymond, his wife and their 6-year-old son, George, would leave Paris under pressure and immigrate to London. They would travel through out the British Isles, including Scotland and Wales. During their travels and prior to settling in London, Raymond began exhibiting paintings and accepting portrait commissions. Most noted were his commissions to paint Lady Beauchamp Tufnell and Lady Violet Astor’s grandchildren in London. In 1937, Kanelba was invited to have a one-man exhibition at Alex Reid & Lefèvre Gallery, one of London’s most prestigious galleries. During the 1930’s they represented Bonnard, Picasso, Utrillo, Dufy, Mondrain, Miro, Kandinsky, Giacometti, Moore and Calder. His sponsor for the exhibition was the Polish Ambassador, Count Edward Raczynski, whose portrait he would paint. During that period, he also was commissioned to paint Miss Margaret Dupont de Memours of Wellington, Delaware and Ms. Francis Day of London England. 1937, Kanelba would be invited to the United States for a one-man exhibition at the Reinhardt Galleries on 5th Avenue in New York and the Victor Hammer Gallery. His acceptance in the United States was incredible. The gallery’s clients included some of America’s prestigious social figures. Between 1937 and 1951, Raymond Kanelba would make several trips to the United States to participate one-man exhibitions and group shows. He would continue to accept portrait commissions and exhibit in London, Scotland and Paris. Kanelba’s portrait commissions included some of the world’s most famous and glamorous women. He was commissioned to paint the Baroness Eugene de Rothschield (1940), Miss Veronica Waugh (1940) and Lady Diana Jersey (1942) all from London. In the mid 40’s, he was commissioned to paint Mrs. Revson of New York (1947) and Mrs. Henry Lewis Dupont, Jr. of Delaware. The London list would grow to include Lady D’Avigdor Goldsmith (1948), Lady Patricia Bradbourne (1949) and Marchioness of Dufferin and Ava (1949). His list of American socialites would be equality impressive. Most noted were Miss Windy Vanderbilt, Mrs. Richard Rogers and Mrs. Spyro Skouras. 1951, Raymond and Maria would move permanently to the United States. Their son George would remain in London and live in his father’s painting studio. The Kanelba’s would set up residence at 799 Park Avenue in Manhattan, which he would also use as a studio. Kanelba would also rent a studio in West Port, Connecticut, where several of his clients had homes. For the next 10 years, Raymond would exhibit in selected one-man shows and participate in national and international group exhibitions. He had previously exhibited at the Chicago Art Institute in 1938, 1939 and 1941 and would exhibit in New York at the National Academy of Design in 1950. His many successes in New York would lead to important one-man shows at Victor Hammer Gallery at 21 E. 57th in 1952 (where he had previously exhibited in 1937 and 1947) and at the Associated American Artists Galleries at 711 5th Avenue in 1954. He would participate in exhibitions at the Pennsylvania Fine Art Academy in 1954 and 1960 and at the Detroit Institute of the Arts. In 1955, Raymond Kanelba would receive his most prestigious commission. England’s Grenadier Guards commissioned a portrait of Her Majesty Queen Elizabeth II dressed in the Uniform of the Colonel-in-Chief, an appointment she held shortly after her accession in 1952, to celebrate the Guard’s 300th anniversary. The portrait, painted in Buckingham Palace, was the centerpiece at the Regiment’s Tercentenary Exhibition at St. James Palace. Raymond Kanelba completed his dream in 1957 by becoming a citizen of the United States of America. Raymond Kanelba had traveled the world. He enjoyed a very active life and successful career as a painter and a portrait artist. He exhibited in prestigious galleries in America, Europe and the United Kingdom. The French, Polish and British governments had all purchased his paintings for there collections. His works hang in the National Museum in Warsaw, the Museum of Art in Kódz and the Norton Museum in West Palm Beach Florida. His portrait commissions are from some of the world’s most glamorous people and his paintings are in private collections on all the continents but on July 23, 1960, while on a trip to London Raymond Kanelba would die and it all would come to an end. In 1961, the Selected Artists Galleries 903 Madison Avenue in New York City would hold a memorial and retrospective exhibition. After the exhibition closed, Mrs. Kanelba would gather all of his paintings and the contents of his studios in New York, West Port and London and place everything into storage. The painting would remain in storage until the death of Maria Kanelba in 1995. 1897 - 1960 2 Raymond Kanelba 1 Kanelba Raymond 1988 Karl Kaufmann was born in Tropau, Austria on Nov. 7, 1843 and died in Vienna on May 24, 1901. He is considered a city and landscape painter from the Austrian school. Kaufmann began his formal art training in Budapest in 1861 at l’Ecole de Dessin. He would then travel to Vienna to continue his studies at the Trenkwald Academie. Kaufmann traveled to Paris to study briefly at l’Ecole de Beaux-arts. He debuted at the Salon Exhibition of 1866 and was awarded honorable mention. The following year he moved to Venice to study. In Venice, he was captured by it magic which would change his life forever. Kaufmann briefly joined a circle of painters working in plein air in Italy. These early paintings of the Italian countryside, Rome and quaint villages were typical of his early work. However, Kaufmann’s true passion was for the ageless city of Venice. He would render the city as never before with crisp lively colors, directly descriptive and infused with a poetic mood. In the 1870s and 1880s, under the influence of some of Europe’s more popular painters, Kaufmann’s style would change to a more loose and dramatic palette. Uncomfortable with these changes to his style, Kaufmann world return to Venice and continue his successful career as The Painter of Venice. Karl Kaufmann’s work can be found in some of the more important collections both private and public through out Europe. 1843 - 1901 Karl Kaufmann Kaufmann Karl 1846 Otis Kaye is considered the last of the great trompe l'oeil painters, recognized primarily for his pictures of American currency. Born in 1885 to European immigrants Kaye lived briefly in the United States before enrolling in engineering school in Dresden, Germany. Although Kaye sustained a successful engineering career up until the great stock market crash of 1929, his short stay in New York City from 1904-1905 sparked a life-long passion for art, specifically tromp l'oeil. Otis Kaye continued the tradition of the great nineteenth century trompe l'oeil painters, William Michael Harnett, John Frederick Peto, John Haberle and Nicholas A. Brooks. He even went as far as signing two of his own works "N. A. Brooks." His explanation lies under our nose in his painting entitled Trompe L'eil for Bessie Hoffman: "To the critic the artist replied, 'Imitation was the highest form of compliment to art, man, or nature.' One critic rose to complain of mere deception; however, he quickly sat down when the painter offered him a brush. The presence of this clipping not only explains the signature of Brooks, Kaye's "mentor"; it also strongly suggests that Kaye knew of the existence and meaning of Haberle's Imitation..." (B.W. Chambers, Old Money: American Trompe L'oeil Images of Currency, New York, 1988, p. 88) It is no surprise that Harnett, Peto and Haberle explored the subject of American currency at length through trompE l'oeil. It was only at the end of the nineteenth century, during their lifetime that the Federal Government began issuing paper money that could not be redeemed in precious metal. As Bruce Chambers writes, "It is easy today to overlook the passion with which not only bankers and industrialists but also farmers and factory workers approached the subject of paper money a hundred years ago. Monetary value for us is as often contained in a coded plastic rectangle or a series of electronic signals sent to a computer as it is in the bills we carry in our wallets, and over fifty years have passed since anyone could show up at a nationally-chartered bank and actually obtain gold in exchange for those bills." (Old Money, p. 14) Kaye, born only one year before Harnett stopped painting currency, preferred the subject of money thirty years later, continuing the tradition of his predecessors. Kaye commonly utilized currency as anthropomorphic symbols to illustrate social or historical events, past and present. 1885 - 1974 Otis Kaye Kaye Otis 3302 William Keith was born in Aberdeen, Scotland on Nov. 21, 1838. In 1850, Keith immigrated with his family to New York where, as a teenager, he was apprenticed to a wood engraver. He is believed to have come to San Francisco for two months in 1858 as an employee of Harper Brothers publishers. Following this assignment, he visited Scotland and worked in England for the London Daily News. Having saved enough money, he returned to San Francisco in 1859 and opted to remain. He went to work in the engraving shop of Harrison Eastman and later established his own engraving business with Durbin Van Vleck at 611 Clay Street. Keith became interested in painting and first studied with Samuel Brookes in 1863. The following year he married artist Elizabeth Emerson and, under her tutelage, began painting in watercolor. In 1868, he gave up engraving to devote full time to painting. The following year the Keiths were in Düsseldorf where he studied with Flamm and Achenbach. After visiting the galleries and museums of Dresden and Paris, they returned to the U.S. and had a studio in Boston, which they shared with artist Wm. Hahn. Upon returning to San Francisco in 1872, he joined the Bohemian Club and began exhibiting. Keith met naturalist John Muir who took him into the most remote parts of Yosemite, taught him the names of the trees and plants, and thoroughly acquainted him with nature's wonders. Keith's wife died in 1882, and one year later, he married Mary McHenry who was the first woman to graduate from Hastings Law School. In 1883, Keith made his second trip to Europe to study portraiture with Carl Marr in Munich for three years. Shortly after returning to California, the Keiths moved to Berkeley into a home at 2207 Atherton where Keith was to live until his demise on April 13, 1911. His oeuvre can be divided into two periods: his early works are often mountain epics in descriptive realism as espoused by the Düsseldorf School; whereas, the paintings done during the last two decades of his life are more closely akin to those of the Barbizon painters. His later paintings are darker, smaller and more intimate with emphasis on mood. Keith commuted daily by ferry to his San Francisco studio and many of his later works are pastoral landscapes of Berkeley with oak trees, cows, and ponds which he sketched en route. He painted nearly 4,000 oil paintings of which 2,000 burned in the fire of 1906. (In an effort to recoup, his losses Keith turned out hundreds of potboilers in his last five years.) The women artists who studied under Keith are many; he seldom took male pupils. Several artists copied his style and there are forgeries in existence. He has been called "Dean of California Artists" and "California's Old Master." Honors accorded Keith include an entire room devoted to his work at the PPIE of 1915; the Keith Gallery was opened in 1934 at St Mary's College in Moraga; and in 1956, the William Keith Memorial Gallery opened at the Oakland Public Library. Streets in Oakland and Berkeley are named for him. Exh: Calif. State Fair, 1872-94 (medals); SFAA, 1872-1911; Mechanics' Inst. (SF), 1874-1911 (medals); NAD, 1882; World’s Columbian Expo (Chicago), 1893; Calif. Midwinter Expo, 1894; London, 1897 (solo); Pan-American Expo (Buffalo), 1901 (bronze medal); Lewis & Clark Expo (Portland), 1905; Del Monte Art Gallery, 1907-12; Alaska-Yukon Expo (Seattle), 1909 (gold medal). In: LACMA; CHS; CGA; MM; Nevada Museum (Reno); Crocker Museum (Sacramento); AIC; Oakland Museum; Southwest Museum (LA); NMAA; Mills College (Oakland); UC Berkeley; Stanford Univ.; Boston Museum; Bohemian Club; De Young Museum; Calif. State Capitol; Cleveland Museum; Carnegie Inst.; Brooklyn Museum; Orange Co. (CA) Museum; Jonathan Club (LA). Source: Edan Hughes, "Artists in California, 1786-1940" From Frontier to Fire; Bay of San Francisco; California Art Research, 20 volumes; New York Historical Society's Dictionary of Artists in America (Groce, George C. and David H. Wallace); History & Ideals of American Art (Neuhaus); Keith, Old Master of California (Brother Cornelius); Art in California (R. L. Bernier, 1916); Art News, 4-22-1911 (obituary). 1838 - 1911 William Keith 1 Keith William 1655 The paintings of J.F. Kensett are among the finest and most sought- after work produced by the second generation of Hudson River School artists. With an engraver's eye for sharp detail and a sensitivity to atmospheric variation, Kensett created powerful portraits of rocks, water and sky, reflecting infinite depth, power and peace. He was considered a luminist painter, one of a group that was especially interested in weather effects. Stanford Gifford, a follower of Kensett, referred to luminism as "air-painting." Kensett was more a follower of Asher B. Durand than he was of Thomas Cole. He attempted to concentrate on compositions that were realistic and detailed, rather than contrived and dramatic. His work falls into four major categories: shorelines; mountain and water views from above; mountain and lake scenes from a lower point of view; and woodland interiors. In 1840, Kensett went to Europe with John W. Casilear, Thomas Rossiter and Asher B. Durand. He stayed for seven years, helping to support himself by doing engraving's for American companies. When he returned to America in 1847, he had no trouble selling his work. His timing was good: in 1846 he had sent several Italian landscapes home, two of which were purchased by the American Art-Union. His studio became a magnet for the art world. Travelers delighted in identifying precise locations in the Catskills or Newport or New England in the oil sketches and drawings that covered his walls. Memberships: National Academy of Design Public Collections: Art Institute of Chicago Brooklyn Museum Cummer Gallery of Art, Jacksonville, Florida Metropolitan Museum of Art, New York City New York Historical Society, New York City 1816 - 1872 John Frederick Kensett 1 Kensett John Frederick 3189 Jean Kevorkian (1933- ) Jean Kevorkian was born in Paris May 7th 1933. He styles himself an autodidact and has painted landscapes and marine— scenes since his youth. Extended stays at the Bretagne, Saint—Malo and its surrounding at Finistére, etc. have led to a widening of his artistic horizon. Kevorkian paints scenes of the Ile de France, the landscape on the banks of the Seine and Oise, showing them in autumn and winter. He concentrates all his endeavors upon the interpretation of nature and all its variation. Kevorkian was awarded numerous distinctions and awards. Kevorkian has exhibited his works in the great Salons in Paris, in various galleries throughout Europe and the United States. DISTINCTIONS/EXPOSITIONS 1978 Ier Prix de Peinture/Medaille/Salon de Bry sur Marne 1979 Honorable Mention/Salon Ile de France/Bourg la Reine 1980 Diplome dHonneur/Salon des Contemporains/Livry Gargan 1980 Prix des Provinces Francaises/Medaille de Bronze/Courbevoie 1981 ler Prix Concours sur Nature/Chaton 1981 Prix lie de France/Medaille/Salon Tie de France/Bourg la Reine 1982 3em Prix Concours sur Nature/Coupe/Paris 16 1982 Prix de l’Association/Medaille/La Frette sur Marne 1982 Exposition Personnelie/Saint Malo/du 2/11/82 au 5/12/82 1982 Exposition Personnelie/Kremlin—Bicetre/du 11/15/82 au 12/31/82 1982 Prix du Public/Medaille/ Salon des Beaux Arts des Gobelins/Paris 13 1983 Prix de la Ville de Pontoise/Medaille/Salon des Arts 1983 Exposition Personnelie/Douarnenez (Finistére)/du 11/15/83 au 4/30/84 1983 Exposition Personnelle/Chateleaudren (Cote du Nord)/du 12/15/83 au 12/31/ 1984 2eme Prix/Coupe—Biennale de Peinture et sculpture/Brest 1985 Roughton Galleries, Dallas Texas 1986 Roughton Galleries, Dallas Texas 1933 - Living Jean Kevorkian Kevorkian Jean 3260 The work of drawing water drops is the act of melting everything into water drops and purely to "nothing". When we return everything such as fear, anger and worry to "unpreparedness", we will be able to experience peace and tranquility. Some people expect the growth of 'ego', but I aim at disappearance of 'ego' so that I am looking for the way of its expression. Kim Tschang Yeul was born in Maengsan, South Pyongan province, Chosen on 24 December 1929. He is a Korean painter, who has spent most of his career focused on water drops. Kim attended the College of Fine Arts at Seoul National University from 1948 through 1950. He moved to Paris, France in 1969. In 1996 he was awarded the medal of Knight of Art and Letters, Embassy of France, Seoul. He currently lives in Paris. His works are shown at the Korean National Museum of Contemporary Art, Gwacheon, South Korea; National Museum of Modern Art, Tokyo; Fondation Veranneman, Ghent, Belgium; Museum of Fine Arts, Boston; Museum Boijmans Van Beuningen, Rotterdam, the Netherlands; Bochum Museum Art Collection, Bochum, Germany; and elsewhere. Among his solo exhibitions were ones at the National Museum of China, Beijing (2005); Gallery Hyundai, Seoul (2004); Galerie nationale du Jeu de Paume, Paris (2004); Draguignan Museum, Drauignan, France (1997); Sonje Museum of Contemporary Art, Korea (1994); Kongkan Gallery, Pusan, Korea (1994); SAGA (Matsumura Graphics, Tokyo), Paris (1993); The National Museum of Contemporary Art, Korea (1993); Chicago International Art Exposition, Gallery Hyundai, Chicago (1989); Naviglio Gallery, Milan, Italy (1987); Tokyo Gallery, Tokyo (1983); Antwerp Gallery, Antwerp, Belgium (1977); Kunsthaus, Hamburg, Germany (1975); and Knoll International, Paris (1973). Literature Ronny Cohen, Tschang Yeul Kim. Lewis Biggs. Working with Nature: Traditional Thought in Contemporary Art from Korea: Chung, Chang-Sup; Yun, Hyong-Keun; Kim, Tschang-Yeul; Park, Seo-Bo; Lee, U-Fan; Lee, Kang-So. Tschang (Chang)-Yeul Kim 1 Kim Tschang (Chang)-Yeul 3329 The following is from Fred R. Kline Clinton Blair King (b.1901 Fort Worth, TX--d.1979 Santa Fe, NM) Clinton King is generally associated with the regional art of Texas and New Mexico (Santa Fe Art Colony) from 1924 up to 1940 after 1940 and into the 1960s, he exhibited often in Chicago, New York City, and Paris. King was a painter of genre, portraiture, landscape, and still life a graphic artist a teacher and a talented pianist. His early modernist portraits and genre were often compared to Diego Rivera, a quality recognized in Mexico where King received his first One-Man exhibition at the State Museum of Guadalajara in 1932. Relative to his style of painting, Clinton King would have been very much at home in the Ecole de Paris (School of Paris). He was a modernist, and a Renaissance man of the art world, whose styles included Realism, Impressionism and Abstract Expressionism at various periods in his 40 years of artistic activity. Aside from his formal education at Virginia Military Institute, University of Texas, and Princeton, King's painting teachers included Charles Webster Hawthorne (Cape Cod School, Provincetown), Robert Reid (Broadmoor Art Academy, Colorado Springs), and Randall Davey (Studio, Santa Fe). His good friends in the art world included Pablo Picasso and the sculptor Ossip Zadkine. King's two wives were quite notable women. King met and married his first wife, Lady Duff-Twysden, in the Paris heyday of "the lost generation" (1927) she was socially prominent and already famous as the prototype of the romantic heroine Lady Brett Ashley in Hemingway's The Sun Also Rises (1926). The couple lived in Santa Fe for a year after they married and then moved on to Mexico, Texas, and New York until their divorce circa 1939. King's second wife, Narcissa Swift, whom he met through their mutual friends Georgia O'Keeffe and Mabel Dodge Luhan in Taos in 1941, was heiress to the famous meat packing company. She was a great champion of his work as well as a noted philanthropist and supporter of the 1960's civil rights movement after Clinton's death, she lived in Santa Fe until her death at 87, ca.1991. King gained early recognition in Texas at Annual Texas Artists Exhibitions (Fort Worth, 1924-37). A portrait, "Josefina," hung prominently in the legendary Texas Centennial Exposition (Dallas, 1936). His many One-Man exhibitions in Texas include Witte Museum, San Antonio(1933, 1955) Artists Guild, Fort Worth (1937) Texas Teachers College, Denton (1937) Elisabeth Ney Museum, Austin(1938) Dallas Museum of Fine Arts (1939) Corpus Christi Memorial Museum (1947). King's One-Man exhibitions elsewhere include Museum of Fine Arts, Santa Fe (two in 1938, for watercolors and oil paintings) Associated American Artists, Chicago (1948) plus nine other shows at various Chicago galleries from 1941-66 Feragil, New York City (1949, 1950). Two retrospective exhibitions were held in Santa Fe after his death at the Armory for the Arts (1985) and at Fogelson Library Center, College of Santa Fe (1986). During his lifetime, King's paintings won many prizes among them Annual Portrait Exhibition Prize (of Santa Fe writer Spud Johnson), at Museum of Fine Arts, Santa Fe in 1926 Carr Landscape Prize Art Institute, Chicago in 1943 Painting Prize at Petit Palais Museum, Paris in 1950. During his active career, his works were featured in 37 one-man shows and 18 group exhibitions in the United States and abroad. His group exhibitions include, at various times National Academy of Design, Pennsylvania Academy of the Fine Arts, Philadelphia Museum of Art Annual, Southern States Art League Annual Exhibition, Corcoran Biennial, Carnegie Institute, St. Louis Art Museum, Toledo Art Museum, Rochester Art Museum, Parish Art Museum, and many others. King's paintings are held in many public collections, including Modern Art Museum, Fort Worth California Palace of the Legion of Honor, San Francisco Library of Congress and National Collection of Fine Arts, Washington Ringling Museum of Art, Sarasota Indianapolis Museum of Art Baltimore Museum of Art Smith College Museum of Fine Arts, Santa Fe New York Public Library Philadelphia Museum of Art Victoria and Albert Museum, London Biblioteque Nationale and Municipal Collection, Paris. Sources Peter Falk, editor. Who Was Who in American Art. Sound View Press, 1985. John and Deborah Powers, Editors. Texas Painters, Sculptors & Graphic Artists A Biographical Dictionary of Artists in Texas before 1942. Woodmont Books, 2000. Library, Museum of Fine Arts, Santa Fe. Clinton King file. 1901 - 1979 Clinton Blair King King Clinton Blair 1654 Versatility, artistic maturity and mastery of technique and medium are hallmarks of Paul King's art. His diverse works -portraits, landscapes, rural scenes and illustrations- establish his reputation in the first quarter of the century. From1906, when his oil painting, "Hauling in the Anchor Line" (date and location unknown) captured the Salmagundi Club's top two prizes, King regularly received recognition. His merit was freely acknowledged by his artist peers, as well as by the critics and the public. King was born in 1867 to a Buffalo, New York goldsmith. Apprenticed there to a lithography firm, he became an accomplished printer. King later studied at the Art Students League of Buffalo and, from 1901 to 1904, at the New York Art Students League with H. S. Mowbay. While a student, he was an illustrator for Life and Harper's magazines. From 1905 to 1906, King studied in Holland with Willy Sluiter, Evert Pieters and Bernard Bloomers. He was a board member of the Philadelphia School of Design for Women, serving as vice president and acting president, from 1908 to 1921. In 1921, He moved from his long-time home in Germantown section of Philadelphia to Stony Brook, Long Island, where he died in 1947. Memberships: Allied Artists America Federation of Arts Artists Aid Society Artists Fund Society International Society of Arts and Letters Pennsylvania Academy of Fine Arts Philadelphia Art Club Salmagundy Club Public Collections: Albright-Knox Gallery, Buffalo Butler Art Institute, Youngstown, Ohio National Gallery of Art, Washington, D.C. Reading Museum, Penn. Los Angeles Museum Houston Art Museum New Pantheon, Nashville, Tenn. 1867 - 1947 Paul King King Paul 1653 Margaret West Kinney was born in Peoria, Illinois on June 11, 1872. She received her first formal art training at the Art Students League in New York under William M. Chase. She then traveled to Paris to further her studies. While in Paris, Margaret was accepted into the Academy Julian under the tutelage of Tony Robert-Fleury and Jules-Joseph Lefebvre. After a period at the Academy she entered the Atelier Bougereau and studied under Louis-Joseph-Raphael Collin (1850-1916). She then studied briefly at the Beaux Arts Academy under Luc-Oliver Merson (1846-1920). Margaret West returned to the United States and continued her studies in Boston. She then moved to Chicago to open a studio at the Fine Arts Building. In 1901, she exhibited one painting at the Art Institute of Chicago. While in Chicago, Margaret met and later married, Chicago painter Troy Kinney (1871-1938). Margaret West Kinney was elected into the Society of Illustrators in 1912. She and her husband illustrated together under the name "the Kinneys", for Century, Saturday Evening Post, Harper's and novels, etc. They also co-authored a book, "The Dance, It's Place in Art and Life." She became a very popular illustrator and etcher, also being a well recognized mural and portrait painter. Her death dates are unknown at this time. Margaret West Kinney's last known address was in Falls Village, Connecticut. Listed: Who was Who in American Art, p.338 Art Institute of Chicago annual Exhibition Record, p.509 American Art Annual, p.665 The Dictionary of American Painters & Sculptors, p.265 Woman Artists in America, 18th Century to Present Art Across America, two centuries of regional painting, v.II,p.327 Dictionary of Women Artists by Chris Petteys, p.397 b. 1 - 1872 Margaret West Kinney Kinney Margaret West 2918 Edmund Daniel Kinzinger (1888-1963) Modernist painter, sculptor and teacher Edmund Daniel Kinzinger was born to a minor aristocratic family in Germany in 1888. He studied in Germany and in Paris, France with Leger and Matisse. He fought in World War I with the German Army, suffering shell shock. He subsequently received his Ph.D. degree from the University of Iowa, Iowa City. In 1931-1932, Kinzinger taught at Hans Hofmann's School of Art in Munich, Germany, discussing Hofmann's theories of non-objectivity, that painting should be autonomous, without reference to reality. He worked in Texas from 1936-1953, living in Waco and chairing the art department at Baylor University. He exhibited at the Houston Museum of Fine Art, in Texas. His work is in the collection of the Muscarelle Museum of Art of the College of William and Mary, in Williamsburg, Virginia; and the Dallas Museum of Art, Texas. Edmund Kinzinger died in 1963. 1888 - 1963 Edmund Daniel Daniel Kinzinger Kinzinger Edmund Daniel Daniel 1652 Orpha Klinker's natural talent for art even appeared in her kindergarten days. She graduated from Polytechnic High School, L.A. and later studied at U.C.L.A. Art School and at the Cannon Art School. Artists Paul Lauritz and Anna A. Hills of Laguna Beach, were her first art teachers. She continued her study of art at the Julian and Colarosi Academies in Europe. Some of her earliest work was in designing. Many pages of her fine pen work drawings appeared in Los Angeles newspapers, illustrating the fashions of the day, not only in clothes but in furniture and other things. Then for a time she did her work in New York City and later with the LADIES HOME JOURNAL in Philadelphia. One of her first projects with which Orpha impressed the public was a notable series of her large color portraits of California pioneers in the L.A.TIMES under the heading of "Speaking Of Pioneers." This led to another series on landmarks and famous tales of early California including oil paintings of historic adobes, build-ings and trees of California. From the Mexican border to Death Valley she roamed, meeting and painting por-traits of such characters as Death Valley Scotty, Shoshone Johnny, the ancient Indian who supposedly saw the first white man come to Death Valley, Emanuel A. Speegle, "The Last of the 49'ers" (over 90 years of age) and others. Orpha was active in keeping alive the memory of one historical event in par-ticular, the signing of the Treaty of Cahuenga ending the Mexican War with Califor-nia in 1847. At the site of the signing in North Hollywood, there is now a large memorial building, The Campo de Cahuenga, containing Orpha's paintings and oil por-traits of the signers, Col. John C. Fremont and Jose Antonio Carrillo. She was vice president of the Campo de Cahuenga Association and was one of the best qualified and most genuinely interested historical painters in California. She is also noted for her oil paintings and portraits. She painted John H. Francis, founder and first principal of Polytechnic High School, L. A., Miss Mary Foy, first teacher and librarian of Los Angeles High School, and Dr. Joseph Widney, first president of U.S.C. and founder of its Medical School. She painted many famous and socially prominent people including Mrs. Alfonso E. Bell, founder with her husband of Bel Air, California, Madame Caroline Severance, founder of the first two Women's Clubs in the United States (the Boston Woman's Club and the Friday Morning Club in Los Angeles), the famous humorist Will Rogers, the early movie star, Miss Claire Windsor, comedian Edgar Bergen and his daughter Candice, and many others. Orpha was commissioned to paint a very large portrait of one of the earlier mayors of Los Angeles while he was in office, Mayor Frank E. Shawl. This portrait still hangs in the Los Angeles City Hall. She also did outstanding work as an illustrator, illustrating such books as "Artists of the Desert" and the “Enchanted Pueblo" by Ed Ainsworth of the L. A. TIMES, and many other books. In addition to all this, she designed some 150 china plates depicting histori-cal events and landmarks of principal cities of the United States, Alaska and Hawaii. They are now collectors' items as her beautiful oil paintings and etchings are fast becoming. Early in 1964 she had an exhibit at the WaldorfAstoria in New York and she was honored in 1963 by the Los Angeles City Council with an especially designed scroll and also again after her untimely death in 1964, at which time she was vice president of the California Art Club, an Associate Fellow of the American Institute of Fine Arts and was on the board of The Artists of the Southwest. She had also been president of The Women Painters of the West for three terms. In addition to her achievements in the United States, Orpha Klinker has been honored in France, Belgium, Mexico and India. Her paintings are in the collections of the late Winston Churchill, President Franklin D. Roosevelt, and her scenic and flower oil paintings grace the walls of lovely homes and art galleries all over the Western world. 1895 - 1964 Orpha Klinker Klinker Orpha 1651 Anna Elizabeth Klumpke, (1856-1942) Portrait and genre painter. Born in San Francisco, CA in 1856. As a small girl Anna was given a "Rosa" doll (the French animal painter Rosa Bonheur was so famous in the 19th century that dolls were made in her image), and from early childhood Anna was fascinated with the career of Bonheur. Anna's mother left her husband and moved to Europe, where Anna studied in Paris under Lefebve and Robert- Fleury at the Academie Julian (1883-84). While at the academie she won the grand prize for outstanding student of the year and her portrait of her mother was favorably received at the Paris Salon. She returned to the United States and taught in Boston for a few years. In 1898 she obtained an interview with Bonheur for the purpose of doing her portrait. Klumpke lived with Bonheur until her death the following year and was the inheritor of her estate. The ensuing years were divided between France, Boston and San Francisco After her return to San Francisco 1n 1930s, she exhibited at the Golden Gate International Exposition and on Sept.18, 1940 at Treasure Island she was nominated by popular vote as one of California's most distinguished women artists. She authored the biography Rosa Bonheur, "Sa Vie Son Oeuvre", as well as her own autobiography entitled Memoirs of a Artist (Wright and Potter Printing Company, Boston 1940). Anna Klumpke died in San Francisco at her 14th Av home on February 9, 1942. MEMBER: San Francisco Art Association Chevalier de la Legion d'Honeur American Federation of Art Society of Western Artist EXHIBITED: San Francisco Museum of Art, 1939 solo AWARDS: Honorable Mention, Paris Salon, 1885 Silver Medal, Versailles, 1886 Temple Gold Medal, Penn. Academy of Fine Art (best picture of the year), 1889 Bronze Medal, Louisiana Purchase Exhibition, St. Louis, 1904 Cross of Chevalier of the Honor, 1924 COLLECTIONS: California Palace of the Legion of Honor Luxembourg Museum, Paris Fontainebleu Palace Metropolitan Museum of Art, New York City University of Chicago de Young Museum, San Francisco Smithsonian Institute LISTED: Who Was Who In American Art 1936-1941 Mantle Fielding's American Women Artist, Rubinstein, pp.147,148 Benezit Artist of the American West Memoirs of an Artist 1856 - 1942 Anna Elizabeth Klumpke Klumpke Anna Elizabeth 1650 Little is actually known about Charles W. Knapp's formal schooling, which is the case in so many of the artist in the past century. Like several 19th century landscape painters he labored in relative obscurity. It is only now that the work of the nineteenth Century landscape painters' is getting so scarce that research to uncover some of the less known artist is taking the forefront. Charles W. Knapp was a good Philadelphia painter who worked briefly in New York City (1859-1861) and is known to have traveled in the Allegheny's and the Catskills. In 1859 he exhibited three paintings, all scenes of Massachusetts, at the National Academy of Design. The next year he exhibited three more paintings, all of the Catskill Mountains. As in most of Knapp's paintings, "The Valley" is a characteristic response to nature and of his implementation of the Hudson River principles. He seems to have been partial to prevailing calm, a general atmospheric clarity. One notices Knapp's careful rendering of specific details, his smooth paint surface, horizontal format, and the approximate division of the composition. These are basic considerations of a mode of painting within the general Hudson River School that have come to be referred to as "Luminism". Listed: Mantle Fielding's, Dictionary of American Painters, Sculptors and Engravers Who Was Who In American Art, Peter Falk The New York Historical Society's, Dictionary of Artists in America, 1564-1860 Mallett's Index of Artists, International Biographical, by Daniel Trowbridge Mallett E. Benezit, Dictionnaire of Painters, Sculptors and Engravers 1823 - 1900 Charles Wilson Knapp Knapp Charles Wilson 1649 Mr. Knaus, born at Wiesbaden, October 10, 1829. Genre painter, pupil of Dusseldorf Academy under Sohnand Schadow in 1846-52, studied then in Paris until 1860; visited Italy in 1857-58; lived in Berlin in 1861-66, and at Dusseldorf from 1866 to 1874. Professor at the Berlin Academy from 1874 to 1884, when he resigned. He is recognized as one of the leaders of the younger Dusseldorf school, and the foremost genre painter in Germany. Member: Vienna Academy Berlin Academy Munich Academy Amsterdam Academy Antwerp Academy Christiania Academy Medals: Paris, 2d class, 1853 Paris, 1st class, 1855, 1857, 1859 Medal of Honour, 1867 Legion of Honour, 1859, Officer, 1867 Knight of Prussian Order of Merit, etc., and many more honors, too many to mention. Public Works (partial): Dusseldorf Gallery Leipsic Museum Luxembourg Museum Kunsthalle, Hamburg Ravene Gallery, Berlin Wiesbaden Gallery Konigsberg Museum National Gallery, Berlin Dresden Gallery 1829 - 1910 Ludwig Knaus Knaus Ludwig 1548 Daniel Rigway Knight was born in Philadelphia to Quaker parents, Daniel Ridgway Knight overcame the culturally restrictive Quaker life, studying at the Pennsylvania Academy of Fine Arts in his native city before traveling to Parts in 1861. There he worked under Charles Gleyre along with other artists such as Pierre Auguste Renoir and Alfred Sisley. He returned to Philadelphia in 1863 to serve in the Civil War, remaining there for the following eight years. During this time Knight supported himself by painting portraits and genre pictures. In 1871, Daniel Rigway Knight's Philadelphia patrons sent him back to France, where he succeeded so well at painting in the European style that he remained abroad for the rest of his life. In 1872, Daniel Rigway Knight began studying under the realist painter Jean-Louis-Ernest Meissonier. Although unaccustomed to teaching, Meissonier made an exception with Knight whom he influenced greatly. In 1875, Meissonier assisted Knight in obtaining entry to the prestigious Paris Salon, helping to ensure a favorable judgment of Knight's entries in the Salon's annual juried exhibitions. Knight subsequently moved out of Paris to Poissy, a charming village on the Seine an hour away, where he continued working under Meissonier At Poissy he executed the peasant subjects for which he became so well known. Working toward a more natural lighting, a style that dominated painting at the time. Knight even built a glass house in his garden, permitting him to work in natural lighting the entire year. Knight became friendly with his neighbors in Poissy, and although his paintings of them are picturesque, he avoided an overly sentimental approach. His people carry on their daily tasks, and one can develop an understanding of their character from his sensitive renditions. The lush foliage in Knight's paintings conveys the beauty of the fertile French countryside. Knight's technique was to intensify certain colors in the foreground of his composition, contrasting them against gray skies and subdued backgrounds, which conveyed a heightened sense of reality. The transition from one form to another was accomplished through the exact use of color rather than through an emphasis on shadow and light. Knight's skillful use of lighting gradations frequently conveyed definite moods. The artist continued to explore the nuances of this style until his death in 1924. Daniel Ridgway Knight's paintings enjoy widespread popularity. They can be found in many museum collections, including the Metropolitan Museum of Art, New York 1839 - 1924 1 Daniel Ridgway Knight 1 Knight Daniel Ridgway 1908 Harold Knight was born in Nottingham and studied at the Nottingham School of Art where he met his wife to be Laura Johnson (1877-1970) (q.v.). He continued his studies at the Royal College of Art and then in Paris under Jean Paul Laurens and Benjamin Constant, a conventional academic training. However, following his return to England he and Laura painted in the Yorkshire fishing village of Staithes, where a colony of artists worked from the 1880's. The fisher people of Staithes provided a source of subject matter ideal for Knights 'plain air' realism, a style, following a visit with Laura to Holland, influenced by the Hague School. In 1907 the Knights moved to Newlyn, home to Stanhope Forbes' colony of painters. Here they associated with the group of artists surrounding their close friends Houghton and Samuel John Lamorna Birch (1869-1955), including Harold (1874-1941) and Gertrude Harvey, Ernest and Dod Proctor, Charles Simpson (1885-1971) and latterly Sir Alfred J. Munnings (1879-1959). The Newlyn years saw profound changes in Knight's palette, richer, more colorful, a clarity of light and a growing distance from the gritty realism of his early years. Portraiture, figures and interiors became the major part of his oeuvre, his talent for portraiture being seen in his Staithes fishing subjects. On their return to London the Knights moved to St. Johns Wood. Harold Knight was elected A.R.A. in 1928 and R.A. in 1937, portraits dominating his exhibited works from 1930 until his death in 1961. His works can be found in museums in Penzance, Penlee Art Museum; Nottingham, Castle Museum; Newcastle, Laing Art Gallery; slackpool and Merthyr Tydfil. 1874 - 1961 Harold Knight Knight Harold 1923 "Here was a great artist who never ceased working. She possessed the energy of six...Laura Knight could paint anything, be it a small watercolor or a nine foot canvas" so said Sir Alfred J. Munnings (1879-1959) in his autobiography. Laura Knight, nee Johnson, was born in Long Eaton, Derbyshire, the family soon moving to Nottingham where she studied at the Nottingham School of Art from the age of thirteen. Here she met Harold Knight (1874-1961) with whom she worked in Nottingham and Staithes in Yorkshire. Staithes, a fishing village, home to a flourishing colony of artists, provided material for the 'plain air' social realism to which Knight would have been exposed at Nottingham. The year 1907 saw Laura and Harold Knight marry and move to Newlyn, home to Stanhope Forbes' artist's colony. Here the Knights joined Lamorna Birch (1869-1955), Harold (1874-1941) and Gertrude Harvey, Ernest Proctor and later, Sir Alfred Munnings. These Lamorna years, 1907-1918, saw a change in Laura Knight's palette, from the sombre monochromatic tones of the Hague School, to a sunlit clarity full of color, years when she produced some of her best works in oils and watercolors. 1877 - 1970 Laura Laura Knight Knight Laura Laura 1648 Louis Aston Knight was the son of internationally famed American artist Daniel Ridgeway Knight. He was born in Paris on August 3, 1873, and died in New York City, May 8,1948. Starting in 1892, Aston Knight attended Academie Julian for several years, where he studied classical figure painting under Jules Lefebvre and Tony Robert-Fleury. Early on he and his Father realized that there should be a basic distinction between their respective artwork. They reached an informal understanding Ridgeway Knight always introduced one or more figures in his landscapes, whereas Aston Knight never placed figures in his scenes. Aston Knight was a regular exhibitor at the Paris Salons and was a member of the French and American Art Society. He also was a member of the Rochester Art Club in Rochester New York. Public Collections Toledo Luxembourg/Paris Rochester Memorial Art Gallery Museum in Newark, N.J Awards Bronze Medal, Paris Salon 1900 Honorable Mention, Paris Salon 1901 Gold Medal, Rheims Exposition 1903 Gold Medal, Nantes Exposition 1904 Gold Medal, Lyons Exposition 1904 Gold Medal, Geneva Exposition 1904 Third Class Medal, Paris salon 1905 Gold Medal, American Art Society 1907 Knighted into the Legion of Honor, 1920 Listed E. Benezit American Art Journal Mantle Fielding Who's Who in American Art Young Thieme Becker View the L.A. Knight Gallery 1873 - 1948 1 Louis Aston Knight 1 Knight Louis Aston 1664 Susan Knox displayed an ability for painting at a very early age. She received her formal art education at the Drexel Institute in Philadelphia and the Cooper Union Art School in New York under Howard Pyle, Douglas Volk and Clifford Grayson. She continued her studies in Europe working in Spain, Italy, Paris and London. Living in New York City, with a summer studio in York Harbor, Maine, she traveled to many areas of the United States and Mexico to paint. She painted a series of European immigrants at Ellis Island which were exhibited in the United States Capitol during the consideration of an important immigration bill. Her great love was the paintings of mothers and their children, one writer once wrote, "Her special attention to the sitters' character, or the spiritual, was a trademark of her work. She exhibited actively from ca. 1910-1943 throughout the United States and in Mexico with many solo shows at a variety of museums and galleries. LISTED: American Art Annual, v.10, 20, and 30 Earle, p. 178-9 Mantle Fieldings Samuels Encyclopedia of Artists of The American West Thieme- Becker Who was Who in American Art, v. 1-8 Dictionary of Women Artists, by Chris Petteys 1875 - 1959 Susan Ricker Knox Knox Susan Ricker 3116 Willem Koekkoek received his early training from his father, the famous Dutch marine painter Hermanus Koekkoek. He was raised in Amsterdam and became one of the most distinguished painters of townscapes, working in respectively The Hague (before 1878), Utrecht (1878-1880), Amsterdam (1880-1885) and Nieuwer Amstel (1885-1895). He is also recorded having visited London in 1888, where his brother Hermanus Koekkoek junior ran an art gallery. Many of Willem Koekkoek's townscapes ended up in British collections, gathering admiration for the refined style and nostalgic mood. A faithful representative of Dutch romanticism, Koekkoek stresses the picturesque qualities of Dutch towns. The present lot exemplifies his style, featuring his most successful subject: figures in a street of a Dutch town on a wintry day. It depicts Monnickendam, a town north of Amsterdam. Although Koekkoek frequently depicted existing towns like Amsterdam, Hoorn and Enkhuizen, he was not interested in capturing topographical exactitude and thus felt free to rearrange their location as it suited his composition. He has this in common with the famous Dutch townscape painters Adrianus Eversen and Cornelis Springer, who also took the liberty to adjust reality to fit their own vision. 1839 - 1895 Willem Koekkoek Koekkoek Willem 3344 Willem de Kooning was born in Rotterdam, in South Holland in the Netherlands, on April 24, 1904. His parents, Leendert de Kooning and Cornelia Nobel, were divorced in 1907, and de Kooning lived first with his father and then with his mother. He left school in 1916 and became an apprentice in a firm of commercial artists. Until 1924 he attended evening classes at the Academie van Beeldende Kunsten en Technische Wetenschappen, the academy of fine arts and applied sciences of Rotterdam, now the Willem de Kooning Academie. In 1926 de Kooning travelled to the United States as a stowaway on the Shelley, a British freighter bound for Argentina, and on August 15 landed at Newport News, Virginia. He stayed at the Dutch Seamen's Home in Hoboken and found work as a house-painter. In 1927 he moved to Manhattan, where he had a studio on West Forty-fourth Street. He supported himself with jobs in carpentry, house-painting and commercial art. De Kooning began painting in his free time in 1928 he joined the art colony at Woodstock, New York. He also began to meet some of the Modernist artists active in Manhattan. Among them were Stuart Davis, the Armenian Arshile Gorky and the Russian John Graham, who together de Kooning called the "Three Musketeers". Gorky, who de Kooning first met at the home of Misha Reznikoff, became a close friend and, for at least ten years, an important influence. Balcomb Greene said that "de Kooning virtually worshipped Gorky" according to Aristodimos Kaldis, "Gorky was de Kooning's master". De Kooning's drawing Self-portrait with Imaginary Brother, from about 1938, may show him with Gorky the pose of the figures is that of a photograph of Gorky with Peter Busa in about 1936.[4]184 De Kooning joined the Artists Union in 1934, and in 1935 was employed in the Federal Art Project of the Works Progress Administration, for which he designed a number of murals including some for the Williamsburg Federal Housing Project in Brooklyn. None of them were executed, but a sketch for one was included in New Horizons in American Art at the Museum of Modern Art, his first group show. From 1936, when De Kooning had to leave the Federal Art Project because he did not have American citizenship, he began to work full-time as an artist, earning income from commissions and by giving lessons. De Kooning's paintings of the 1930s and early 1940s are abstract still-lifes characterized by geometric or biomorphic shapes and strong colors. They show the influence of his friends Davis, Gorky and Graham, but also of Arp, Joan Mir, Mondrian and Picasso. In the same years de Kooning also painted a series of solitary male figures, either standing or seated, against undefined backgrounds many of these are unfinished. By 1946 de Kooning had begun a series of black and white paintings, which he would continue into 1949. During this period, he had his first one-man show at the Charles Egan Gallery it consisted largely of black and white works, although a few has passages of bright color. De Kooning's black paintings are important to the history of Abstract Expressionism of their densely impacted forms, their mixed media, and their technique. De Kooning's well-known Woman series, begun in 1950 the time after meeting his future wife and culminating in Woman VI, owes much to Picasso, not least in the aggressive, penetrative breaking apart of the figure, and the spaces around it. Picasso's late works show signs that he, in turn, saw images of works by Pollock and de Kooning. De Kooning led the 1950s' art world to a new level known as the American Abstract Expressionism. "From 1940 to the present, Woman has manifested herself in de Kooning's paintings and drawings as at once the focus of desire, frustration, inner conflict, pleasure, and as posing problems of conception and handling as demanding as those of an engineer. "The female figure is an important symbol for de Kooning's art career and his own life. This painting is considered as a significant work of art for the museum through its historical context about the post-World War II history and American feminist movement. Additionally, the medium of this painting makes it different from others of de Kooning's time. Some of De Kooning's paintings have been sold for (near) record prices. In November 2006, David Geffen sold his oil painting Woman III to Steven A. Cohen for $137.5 million, just below the then record $140 million transaction the same people had in the same month for Jackson Pollock's No. 5, 1948. A month earlier Cohen had already paid Geffen $63.5 million for Police Gazette. In September 2015 David Geffen, again, sold De Kooning's oil painting "Interchange" for $300 million to hedge fund billionaire Ken Griffin. As of 2016 this is the highest price paid for a painting, even when inflation is taken into account, perhaps matched by the sale for "close to $300 million" of Paul Gauguin's When Will You Marry? in February 2015. Source From Wikipedia, the free encyclopedia "I'm not interested in 'abstracting' or taking things out or reducing painting to design, form, line, and color. I paint this way because I can keep putting more things in it - drama, anger, pain, love, a figure, a horse, my ideas about space. Through your eyes it again becomes an emotion or idea." De Kooning Note After Jackson Pollock, de Kooning was the most prominent and celebrated of the Abstract Expressionist painters. His pictures typify the vigorous gestural style of the movement and he, perhaps, did more than any of his contemporaries to develop a radically abstract style of painting that fused Cubism, Surrealism and Expressionism... The Art Story Modern Art Insight 1904 - 1997 Willem de Kooning 1 Kooning Willem de 3357 George Kovach (1942-) George Kovach was born in the farmlands of Cleveland Ohio in 1942. It was in his early childhood when art became the focus of his life. After moving to Miami, Florida in his early teens, Kovach's interest was further stimulated, and his skill refined, by easier access to museums and art classes. He began his career in his hometown of Miami, Fla. Where he worked for an advertising agency. Though George enjoyed his work with the ad agency, he realized that his true love was fine art. However, it would be almost ten years before he took the plunge and became a full-time artist. George grew up admiring and studying the techniques of the Hudson River Artist. He studied and graduated from the Miami Art Institute. While there George began to express and develop his own natural talent in painting. Shortly afterward, George made Texas his adopted home, and after painting a thousand miles of country roads, windmills, oil derricks, oak trees, millions of blue bonnets and Indian Paint Brush, Kovach paintings now speak for themselves. George has always said that tenacity and determination are best friends to one's talent. Though the well-known Texas Hill Country has long had a claim on George's pallet, he has also devoted time to depicting home, family and community. His patriotic paintings easily awaken a sense of pride in our freedom and democracy, whether the scene is of a festive display of fireworks or of a family working or playing together. Kovach paintings and limited-edition prints are collected worldwide. Numerous foundations and vendors have licensed his work for collector plates, calendars, note cards, Christmas cards, puzzles and steins. George has enjoyed many awards and honors. From top selling prints and recognition as one of America's artist to "watch" in U.S. Art Magazine, to the most recent "National Guest Artist" for Milwaukee public television. https//georgekovach.com/about 5 George Kovach Kovach George 1968 Leon Kroll was born in New York to an impoverished music loving family. Kroll, however, was drawn to the visual arts, when as a child he would haunt the old red brick and granite Metropolitan Museum of Art. He was earning his own way at fifteen and earned his tuition for the Art Students League by sweeping floors and washing paint brushes. Kroll's first art instructor was John Henry Twachtman and it was at the League that Winslow Homer recognized his talent and encouraged the young Kroll to pursue a career in painting. From 1906 to 1908 he further studied at the National Academy of Design, there winning a scholarship to study at the Academie Julian in Paris under the tutelage of Jean-Paul Laurens. After one year of study he won the Grand Prix in the concours for painting the nude. On returning to New York in 1910, Kroll earned critical and popular success with his one-man exhibition at the National Academy of Design. He became associated with a circle of artists that included George Bellows, Robert Henri, William Glackens, George Luks, Ernest Lawson, and Edward Hopper. In 1913 Kroll participated in the now famous Armory Show that for the first time introduced 'modern' art to the American public and stimulated American artists to revise their attitudes to art and the tradition of representational painting. Leon Kroll's career was long and successful. He taught and lectured at such prestigious institutions as the National Academy of Design, the Pennsylvania Academy, and the Chicago Art Institute. He won almost every major prize in painting and is included in the collections of museums throughout the country. -Boca Raton Museum of Art 1884 - 1975 Leon Kroll Kroll Leon 1844 Fredrik Marinus Kruseman was born in Haarlem on 12th July 1816 to a family which included a number of artists amongst their relatives, including Jan Adam Kruseman, Director of the Academy of Art in Amsterdam. This latter artist's tutor had been Jan Reekers (1790-1858) and it was to him also that Fredrik was apprenticed. He subsequently studied under Nicolaas Roosenboom (1805-1880), the former pupil and son-in-law of Andreas Schelfhout (q.v.) and in 1837 received instruction in Kleve from Barend Cornelis Koekkoek (1803-62). Thus, by the age of twenty-one Kruseman could number two pillars of Dutch Romanticism amongst his teachers. In 1838 he was back in Haarlem and exhibiting in The Hague and Brussels, where his works were favorably reviewed. 1841 saw Kruseman move to Brussels. At that period, following the separation of Belgium from the Netherlands, the art market in Brussels was thriving in a country undergoing an economic revolution. Kruseman exhibited in neither the Salons nor the Living Masters Exhibitions between 1841 and 1857 from which can be inferred a relationship with an art dealer or a group of collectors; it was a prolific period for the artist. The years 1852-1856 saw Kruseman back in Haarlem before returning to Brussels for good. Here in 1851 he met Eugene Verboeckhoven (1799-1881), the great animal painter, and with whom he collaborated frequently over the following thirty years. In many ways an enigma, little is known of his life, he exhibited few works, yet Kruseman was clearly a successful and popular artist of the Romantic school. His works can be found in museums in: Leipzig; Kleve; Hamburg; The Hague; Amsterdam and Maidstone. 1816 - 1882 Fredrik Marinus Kruseman Kruseman Fredrik Marinus 1843 Auguste de La Brelay was born in Fuissé (Saône-et-Loire) in 1838 and died in Lyon, April 20, 1906. He received his formal training in Paris at the Beaux-Arts Academie under Marc-Gabriel-Charles Gleyre (1808-1874). Brelay debuted at the Paris Salon of 1863. Museum: Musée de Tournus "Jeune femme écrivant" Listed: E.Benezit, vol.6, pg.355 1838 - 1906 Auguste de La Brelay La Brelay Auguste de 2107 Born in Philadelphia to a prominent family, John Lambert, Jr., took an early interest in art which continued throughout his life. As a young boy, he traveled with his parents to Europe and England, and later enrolled at the Pennsylvania Academy of the Fine Arts. After ten years of study, first as an artist, then as an architect, young Lambert turned to painting full-time, traveling to Paris to study at the Academie Julien in 1888. Upon his return to the United States three years later, he exhibited his work for the first time and established himself quickly as a portrait painter. Portrait of Joseph Tuckerman Day was exhibited at the St Botolph Club in Boston the year it was painted, as well as in the annual exhibitions of the Pennsylvania Academy and the Art Institute of Chicago in 1899. Six years later, it was also included in the St Louis, Louisiana Purchase Exhibition. According to an 1898 review of the St. Botolph Club show: The portrait Is altogether delightful. This is a captivating little boy, with an expression of exuberant spirit and animation, and wearing a becoming suit of white with a beret on his head. In addition to his work as a portrait painter Lambert left a significant legacy to the arts in Philadelphia. Upon his death in 1907, he willed $30,000 to the Pennsylvania Academy of the Fine Arts, with instructions that it should be used by the institution to acquire works by undiscovered artists and "as far as possibie designate pictures by younger artists who have not yet made standard reputatiousn always choosing pictures of merit."2 According to a review of the Academy's 1938 exhibition of the LeLatbert purchases, the program represented "one of the most satisfying, and most successful, experiments in encouraging American art from the grass roots up."3 By 1961, the Lambert Fund had purchased over three-hundred pieces, including works by Edward Hopper, Stuart Davis and Charles Burchfield. LISTED: Who was Who in American Art Mantle Fieldings E. Benezit The Annual Exhibition Record of the Pennsylvania Academy of the Fine Arts 1876-1913 The Annual Exhibition Record of the Chicago Art Institute 1888-1950 American Art at the Nineteenth-Century Paris Salons EXHIBITED: Boston, St. Botolph Club, Exhibition of Paintings by John Lambert, Jr., November 21 -December 3, 1898 Philadelphia, Pennsylvania Academy of the Fine Arts, sixty-eighth Annual Exhibition, January 16-February 25, 1899 New York, Society of American Artists, twenty-first Annual Exhibition, April 1899 Chicago, Art Institute of Chicago, Twelfth Annual Exhibition of Oil Paintings and Sculpture by American Artists, November 6-December 17, 1899 St Louis, Louisiana Purchase Exposition, 1904 LITERATURE: "The Fine Arts," Boston Evening Transcript, November 26, 1898 "From the Twenty-First Annual Exhibition of the Society of American Artists," Harpers Weekly, April 1, 1899, p 310, illus. as Tuckerman Day "John Lambert: The Making of an Artist," Old York Road Historical So 1861 - 1907 John Lambert Lambert John 1749 Louis-Eugene Lambert was born in Paris, September 25, 1825 and died May 17, 1900. Lambert is considered a genre, animal painter and watercolorist from the French school. He received his formal training under two of France’s most important teachers at the Beaux-Arts Academie, Ferdinand Victor Eugene Delacroix (1798-1863) and Hippolyte Paul Delaroche (1897-1856). Lambert debuted at the Paris Salon of 1847 with still lifes and a bird. His most successful exhibition came at the Salon of 1957, where he exhibited the painting "Chat et Perroquet (Cat and the Perroquet)". The success of this exhibition was the deciding factor in launching Lambert’s career. He became known as the painter of cats both in watercolor and oil. Lambert continued to exhibit at the Paris Salons and was awarded medals in 1865, 1866, 1870 and bronze medal at the 1878 Exposition Universal. Lambert developed an enormous following when he illustrated, "Chiens and Cats of Cherville" in 1889. In 1874, Louis-Eugene Lambert was awarded France’s highest honor when he was elected chevalier de la Legion d’ Honneur. Listed: Benezit Dictionnaire Thieme-Becker Lexikon 1825 - 1900 Louis-Eugene Lambert Lambert Louis-Eugene 2063 Charles Landelle was born in Laval (Mayenne) on June 2, 1812 and died in Chennevières-sur-Marne on October 13, 1908. His body was placed in the family tomb located in the Montmartre cemetery just below the Sacre Coeur. Landelle is considered an important orientalist, genre, portrait and historical painter from the French school. He began his formal art studies in 1837 at the l’Ecole Royale des Beaux-Arts with Paul Hippolyte Delaroche (1797-1856), who was a follower of Alexander Bida (1813-1895), Léon Gérôme (1824-1904) and Jean Francçois Millet (1814-1875), and with historical painter Ary Scheffer (1795-1858). He would study at Academy for three years but did not pass Concours du prix de Rome. Landelle debuted at the Salon of 1841 with a self-portrait. At the Paris Salon of 1842, he registered as a historical painter and was awarded the bronze medal for "Fra Angelo recevant les inspiration de Dieu." During the Salon of 1844, d’Eugène Janvier, Conseiller d’Etat et Député of the Interior Ministry, would purchase (1200 franc) Landelle’s "Charité" for the collection of Napoléon III. In 1845, he was awarded a silver medal for "Vierge et les Saintes Femmes se rendant au tombeau du Christ" and a gold medal at the 1848 Salon for "Ste Cécile." In 1848, Landelle traveled over the Pyrénées to Tangiers and Morocco to study and gather to subject matter for future orientalist paintings. Starting in 1850. Landelle would be commission to decorate several important Churches and government buildings and in 1859, Napoléon would purchase "Pressentiment de la Vierge" for the Musée Luxembourg. And in 1862 the Musée de Montauban would purchase "Femmes de Jérusalem captives á Babylone" for 6000 francs. By age of 36, Landelle was a Chevalier in the Légion de Honour, completed an enormous commission to decorate the l’Eglise Saint-Sulpice and was Minister in charge of the Beaux-Arts Academie. At the 1855 l’Exposition Universelle de Paris, Napoléon III awarded Charles Landelle the Croix de Chevalier de la Légion d’Honneur. Landelle would marry Alice Letronne in the Saint-Thomas d’Acquin in Paris in 1859 and she would give two sons, Paul (1860-1880) and George (1861-1899). In 1866, Napoléon III would commission (one of several) Landelle to paint the portrait of Sultan du Marco á Fez. He would travel to Morocco with Baron Aymé d’Acquin, Ambassador to Napoléon III. The trip would take two months. It was also during this trip that Landelle would paint "Femme Fellah." which would be come his signature subject. From November 1875 and April 1876, Landelle would travel to Egypt. He would fall in love with ruins, the Nile Valley and ancient city of Jerusalem. Landelle would end his trip and rest in Palestine. Tragedy would strike in 1880 with the accidental death of the oldest son, Paul. Landelle would immediately leave Paris with his wife and son George for Algeria and just two short years later his 49-year-old wife, Alice, would die. Landelle continue his journeys to Algeria. During these trips he would visit Constantine and Tunis. In 1889, he would marry artist, Anaîs Beauvais and in 1894 he would make his fifth trip to Algeria with his new wife and young son. The family would live in Algeria until 1899. After the unsolved disappearance of Anaîs and his son George, Landelle would leave Algeria forever and return France to spend his remaining years painting at his atelier in Chennevières-sur-Marne. Charles Landelle had an incredibly successful career as an artist. He was awarded very honor imaginable. He exhibited in over 208 exhibitions in France between 1841 and 1908. Landelle also exhibited in the United States, Austria and London. His painting can be found in the following museums: Amsterdam, Algiers, Bourg, Caen, Compiégne, Digne, Laval, Montauban, Nantes, Reims, Paris-Louvre, London (Wallace Collection), Art Moderne-Paris, Strasbourg, Stuttgart, Sydney and Versailles. A web site that lists Landelle amoung French orientalist painters. Listed: E. Benezit Thieme-Becker Dictionnaire Universel des Contemporains, Paris Grand Dictionnaire Universel du XIX, Paris Our Painters and Sculptors, Paris 1873 Dictionnaire general des artists de l’école Français Dictionnaire historique, topographique et Biographique de la Mayenne Figures contemporaines tirées de l’album Mariani, Paris Etc. 1812 - 1908 Charles Zacharie Landelle 1 Landelle Charles Zacharie 1982 Sir Edwin Landseer is considered a London sporting, animal and portrait painter, and sculptor. He was the son of John Landseer, an engraver. As a boy, Landseer showed an incredible talent and fondness for drawing animals. Considered a prodigy child, he entered the Royal Academy at age of fourteen. Landseer received early encouragement from British historical painter Benjamin Robert Haydon (1786-1846). During his early years at the Academy, Landseer began studying dissection and anatomy of animals which helped perfect his knowledge of animals. This knowledge is evident is his wonderful paintings of animals. Sir. Edwin Landseer was elected Associate Royal Academy in 1826 and member of the Royal Academy in 1831. In 1834, Landseer began visiting Highlands, with landscape painter C.R. Leslie. The popularity of his first paintings of Highland animals and sporting scenes helped to establish the vogue for Scottish subjects. Queen Victoria was a great admirer of Landseer’ s work. She owned a large number, and also commissioned him to paint her dogs. Landseer also painted portraits of the Royal family, and designed sculpture. One of his more noted com-missions by Queen Victoria to design the bronze lions now located in Trafalgar Square. Landseer exhibited from 1815 to 1873 at the Royal Academy, British Institute, Suffolk Street and Old Water Society. He was knighted in 1850. Among his best-known works are "The Old Shepherd's Chief Mourner", "Dignity and Impudence", "Monarch of the Glen" and "The Stag at Bay". Enormous numbers of engravings were made after his works, which greatly increased their popularity. Landseer’ s two most popular engravings were "A Time for Peace" and "A Time for War." According to the Tate museum, the original paintings for these two incredible works were destroyed in 1928. Although a brilliant painter of animals, Landseer pandered to the Victorian taste for monkey pictures, comical dogs, and excessive sentiment. For this reason some of his pictures paintings find little favor today, but his sketches and drawings are much appreciated for their wonderful observation and superb brushwork. Landseer’s last years were marred by depression and illness. In 1865 he was offered the Presidency of the RA, but refused. In 1874 an exhibition of hit work was held at Burlington House, and another in 1961. After his death, his studio sale was held at Christie’s on May 8, 1874. Listed: E. Benezit The Dictionary of Painters, 2nd Edition, Christopher Wood Museums: National Gallery, London National Portrait Gallery, London Metropolitan Museum, New York Tate Gallery 1802 - 1873 Edwin Henry Landseer Landseer Edwin Henry 1839 Francois-Louis Lanfant de Metz is considered a genre and historical painter from the French school. He was born on August 23, 1814 and died in La Havre in 1892. Lanfant de Metz received his formal art training at the atelier of Dutch master painter Ary Scheffer in Orleans, France. The wonderful small genre paintings of "bourgeois" children and grand historical works at Versailles by Scheffer were the single largest influence on the style and subjects of Lanfant de Metz. He debuted at the Paris Salon of 1843 and continued as a regular until 1866. Museums: Muse de Reims: "Tte de jeune fil" (the head of a young girl) Listed: E. Benezit, vol. Vl, page 423 1814 - 1892 Francois Louis Lanfant de Metz Lanfant de Metz Francois Louis 2087 Julius Lange (1817-1878) Julius Lange is considered a landscape painter and architectural designer from the German school. He, the son of painter Ludwig Lange (1800-1868), was born in Darmstadt August 17, 1817 and died in Munich June 25, 1878. Lange received his formal training with landscape painter and architectural engraver Franz Hubert Muller (1784-1835). Considered a prodigy, Lange collaborated with his father on a commission to paint a series of works titled “Views of the Principle Villages in Germany” at the age of 14. After the death of his teacher in 1835, Lange moved to Düsseldorf to study at the Academie with architectural landscape painter and lithographer Johann Wilhelm Schirmer (1807-1863), who he would accompany on a painting trip to Switzerland. Lange’s journey with this remarkable artist would influence his work for the rest of his career as a painter and designer. In 1840, Julius Lange would move to Munich to open his studio. In 1856, he travels to Italy to complete a commission for number of architectural designs for Venice Academie, which he became a member in 1857. His designs for the Academie helped him become the master designer for Archduchess Charlotte, Imperial princess of Mexico and the Royal painter to King Maximilien of Bavaria. Later, he would be nominated full Court painter to the King. Museums: Munich Museum: “Lake Gosau at Night”, “View of Partenkirchen”, “At Sunset” Stuttgart Museum: “Chateau de Boheme” Listed: E. Benezit, Vol. 6, pg. 427 Thieme, Becker-Lexicon 1817 - 1878 Julius Lange Lange Julius 3230 Charles Keeling Lassiter was born in New York in 1926. He received a degree in sociology from Yale University and in art education from New York University. He went on to study at Skowhegan School of Painting and Sculpture where he was awarded a second prize in painting. Lassiter also took courses with such professors as Reubam Tam, Sidney Simon and Ann Poor at the Brooklyn Museum Art School, and then took up teaching for a while. He subsequently has devoted his time exclusively to painting and writing poetry. Drawing inspiration from the likes of Ensor, Dubuffet, Bosch, and Klee, and from the Cobra group's research projects, Lassiter has gradually forged his own plastic and pictorial language: an inventive and poetic approach that relies a heavily on irony and causticity. The innumerable characters staged by his works are the product of mixed techniques on supports of all kinds. The material context is but a pretext to underscore the mechanisms of our society, of our very civilization. Lassiter first put his work on display in 1956 at the group show for drawing held by New York's MOMA. While living and working in New York, the artist is a frequent visitor to Switzerland where, since 1981, his work can be seen at the Galerie Kara in Geneva, Switzerland. Charles Keeling Lassiter 1 Lassiter Charles Keeling 3130 Founder of the New Hope Pennsylvania Impressionist Colony, he was known as one of America's premier landscape painters in the late 19th and early 20th centuries. His style was Tonalist, which coincided with Impressionism but was not plein air nor focused on light, sunny colors. He was not innovative in style, but much admired for the strength and skillfully conveyed mood of his canvases. He avoided formula painting because he wanted to keep his work alive and spontaneous. He was born in Painesville, Ohio near Cleveland where he was raised on a farm, and his father was a doctor and his mother was Irish and a lover of the arts. As a boy, he did much carving from the local clay and bought his first paint at age twelve. He sent drawings and sketches to New York City editors, and received an art department job offer from Charles Parsons, editor of Harper and Brothers publishing. Parsons subsequently advised Lathrop to go back to the landscape he loved and not corrupt his natural instincts for painting with art school training. However, he turned to etching and returned to New York where he worked for The Photoengraving Company. There he met Henry Snell, who was to become his life-long friend. New York art dealer C Klackner exhibited his landscape painting, and although Lathrop never took formal training he learned from many artists, most especially John Twachtman, J. Alden Weir, and Henry Ward Ranger. He also painted with William Merritt Chase. In 1888, he married Annie Burt, but he failed to make much of a living for her and their two children, so J. Alden Weir helped supported them by letting them live on his property. Then Lathrop moved his family back to Painesville where he tried unsuccessfully for five years to farm. Deciding to try one more time in New York City, he entered the annual exhibition of the American Watercolor Society and won the top honor, the Evans Prize. Suddenly there was a market for his work, and because of a friend from Painesville who had settled in New Hope, Lathrop and his family from 1899 lived there at Phillips Mill on the Delaware River about forty miles north of Philadelphia. For thirty years, he had a successful career, and his home became the center of the growing art colony, which attracted many luminaries including Henry Snell and Daniel Garber. Lathrop was the unofficial father figure, and his wife the leader of the social life. Lathrop built a boat called the Widge from which he painted marine scenes, sailing up and down the Mid-Atlantic seaboard. A companion on one of these trips was Albert Einstein, who was teaching at Princeton. In 1938, Lathrop perished in a hurricane off Montauk, Long Island where he had anchored his boat to escape the storm. 1859 - 1938 William Langson Lathrop 1 Lathrop William Langson 1663 German born August Laux achieved a considerable reputation in the 1870s for his frescoes and decorative paintings, but switched to genre scenes and still lifes a decade later. His work, always traditional in style, was highly regarded in his day but forgotten soon after his death. He was born in the Pfalz area of the Rhineland in 1847 to French parents. Members of his mother's family held important positions in the government of Strasburg; one of his uncles and a cousin were sculptors in Paris. One story has it that, during a visit to his uncle's studio while he was a child, the young Laux took a mallet and a chisel to try his hand at sculpting, unbeknown to his elders, and managed to ruin a work in progress. True or not, the boy did show an aptitude for sculpting and was encourage to work in clay. Soon after his parents emigrated to New York City in 1863, he begun studying sculpture. In 1867, however, he switched to painting and enrolled in classes at the National Academy of Design. His first painting was exhibited there in 1870. Three years later Laux was commissioned to paint the scenery for the private theater of a club in Manhattan. The results were so successful that he was soon much in demand for frescoes and decorations in hotel and other buildings, as well as in such magnificent private homes as those of financier Jay Gould and Andrew Garvey. Laux turned to genre painting, still lifes and landscape sketches after 1880. He continued to work in this vein until his death in Brooklyn in 1921. Listed: Mantle Fielding's, Dictionary of American Paintings, Sculptors & Engravers, pg. 523 Falk, Who Was Who in American Art, pg. 320 Gerdts & Burke, American Still Life Painting, pg. 162 Zellman, 300 Years of American Art, pg. 421 1847 - 1921 August Laux Laux August 3349 Mark Lavatelli was born in Boston Massachusetts in 1949 and spent his youth in Champaign, Illinois. He earned an M.F.A. in Painting and Drawing from the University of New Mexico, a master's in Art History from the University of Illinois, and an A.B. in Art History from Cornell University. He has taught at Missouri Western State College, the University of Dallas, and since 1988 at Medaille College in Buffalo, NY. A painter, teacher, and Diebenkorn scholar, Lavatelli exhibited his work in the Southwest in the 1980's and subsequently in New York State. He had a one-person show at the Castellani Art Museum of Niagara University in 1996, His paintings were featured in The Albright-Knox Art Gallery's In Western New York in 1997. Lavatelli's encaustic paintings were featured in an exhibition entitled Trees Interpreted, Charles Burchfield and Mark Lavatelli, at the Burchfield Penney Art Center in Buffalo in 2006. As a freelance art critic, he has published numerous art reviews of regional exhibitions in The Buffalo News and Artvoice and he co-authored Diebenkorn in New Mexico, published in June 2007 by the Museum of New Mexico Press. Lavatelli has been awarded artist residencies at the Wurlitzer Foundation of New Mexico in Taos, the Saltonstall Foundation near Ithaca, NY, the Rocky Neck Art Colony in Gloucester, MA, and the Jentel Foundation in Wyoming. In 2010, his recent paintings and works on paper were shown in a solo exhibition, Arboretum, at Indigo Art in Buffalo. In 2011, his paintings were included in "Charged Brushes" at The Painting Center in New York City. In 2012, he collaborated with the Buffalo Chamber players, making artworks for each of Arnold Schoenberg's twenty-two "Sprechstimme" compositions from his seminal Op. 21, Pierrot Lunaire. In September of 2014, his solo show TreeHistoric debuted at Big Orbit Gallery in Buffalo. Here is a list of selected exhibitions One-Person Exhibitions 2012 "Schoenberg/Lavatelli Pierrot Lunaire, Buffalo Seminary 2010 "Arboretum," Indigo Gallery, Buffalo 2005 "Taos Paintings," Nichols School, Buffalo 2004 "Treescapes," Buffalo Arts Studio, Buffalo 2002 "Recent Encaustic Works," Bryant Street Studio, Buffalo 2000 "Recent Paintings," Olean Public Gallery, Olean, NY 1999 "Mark Lavatelli Ten-Year Mini-retrospective," Biac's World Bistro, Buffalo 1996 "Glade New Paintings by Mark Lavatelli," Castellani Art Museum, Niagara Univ., NY 1993 "Recent Work," Monroe Community College, Rochester, NY 1992 "Junctures," Conduit Gallery, Dallas 1991 "True Gravity," Calumet Gallery, Buffalo 1989 "Recent Paintings," Conduit Gallery, Dallas 1987 "Mark Lavatelli," The Watson Gallery, Houston 1986 "Recent Paintings/Works on Paper," Conduit Gallery, Dallas 1984 "Recent Work," Eastfield College, Dallas 1982 "Mainstream Abstractions," Mattingly Baker Gallery, Dallas 1980 "Psychic Landscapes," White Oak Gallery, Albuquerque Selected Invitational and Juried Group Exhibitions 2015 "Singular Impressions," Indigo Art, Bufalo 2013 "echo Art Fair," Central Library, Buffalo, NY 2012 "Buffalo Society of Artists 116th Catalogue Exhibition," Niagara Arts and Cultural Center, Niagara Falls, NY echo Art Fair, Buffalo "Community Supported Art," Indigo Art, Buffalo 2011 "Charged Brushes," The Painting Center, New York, NY "Buffalo Society of Artists 115th Catalogue Exhibition," UB Anderson Gallery, Buffalo, NY (Gold Medal) 2010 "Surface/Substance," 171 Cedar Arts Center, Corning, NY (two-person show) "Encaustic Monotypes," University at Buffalo Center for the Arts, Amherst, NY "Working in Wax," Bedford Gallery, Walnut Creek, CA 2009 "Winter," Indigo Gallery, Buffalo "Embedded Light," Grosse Pointe Art Center, MI (honorable mention) "Working in Wax," Bedford Gallery, Walnut Creek, CA "Treescape Works by Mark Lavatelli and Robert Schultz," Burchfield Nature & Art Center, West Seneca, NY "Word-Themed Art," Merge, Buffalo 2008 "Into the Forest," Insite Gallery, Buffalo (two-person show) 2007 "Yinyang," Insite Gallery, Buffalo "Night Cafe Portraits," (collaborative performance/installation with Dana Hatchett) for Nocturminal (20th Artists and Models Affair), Hallwalls Contemporary Art Center, Buffalo 2006 "Trees Interpreted Charles Burchfield and Mark Lavatelli," Burchfield-Penney Art Center, Buffalo, NY 2003 "A Walk in the Wood," Adams Art Gallery, Dunkirk, NY 2001 "2001 Rochester - Finger Lakes Exhibition," Memorial Art Gallery, Rochester, NY 2000 "Herd About Buffalo," Buffalo, NY (permanent installation at Medaille College) 1999 "Mark Lavatelli & Robert Wood," Gallery 101 Bistro, Buffalo 1997 "In Western New York," Albright-Knox Art Gallery, Buffalo Selected Collections Burchfield Penney Art Center Roswell Park Cancer Institute Marshall Field Nieman-Marcus IBM ARCO PepsiCo US West, Phoenix Dupont Penta Hotel, Atlanta Texas Instruments Green Collections, Tokyo Trans World Corp. Club Corporation of America Frito-Lay Societ Generale, Houston Branch Post Oak Bank, Houston Mountain Bell, Denver Southeast Banking, Miami Interfirst Bank, Dallas Southwestern Bell, Dallas Medaille College, Buffalo University of New Mexico Fine Arts Museum, Albuquerque First National Bank of Chicago Tam Brands Western Savings Corp., Lewisville, TX Illinois Bank and Trust, Houston. 2 Mark Lavatelli 1 Lavatelli Mark 1838 Robert Lavoine was born on October 18, 1916 in Caluire (Rhone) and died in Paris in 1999. (French School) He was mainly known as a landscape painter. His paintings are executed with an expressionist manner. He exhibited with the Salon des Independants. 1916 - 1999 1 Robert Lavoine Lavoine Robert 1662 Jasper Lawman was considered an American Landscape and portrait painter. He was born in Pittsburgh, PA in 1825 and died in Cleveland (Xenia), Ohio on April 1, 1906. In 1859, Lawman traveled to Paris to study at the atelier of Couture. Upon completion of his studies in Paris, he returned to the United States and opened his studio in Pittsburgh. It was at this time that he became a member of a new group of artists. The Scalp Level group, east of Pittsburgh near Johnstown, which became a local "Barbizon" and a favored painting ground from the mid-1860s, until well into the 1890s, when a coal mine was opened there. Here Mr. Lawman flourished as a painter of intimate, dark wooded scenes in which the human presence is subordinated to natural forms. Jasper Lawman was a frequent exhibitor at the Pennsylvania Academy of the Fine Arts and became a part of the early movement of the Hudson River School. After a time his fine art renderings earned him many important portrait commissions and he went on to become one of the more popular portrait painters in Western Pennsylvania. LISTED: Mantle Fielding Who Was Who in American Art The New York Historical Society's "Dictionary of Artists in America, 1564-1860" "Art Across America", Two Centuries of Regional Painting 1825 - 1906 Jasper Lawman Lawman Jasper 3074 Ernest Lawson was born in Halifax, Nova Scotia in 1873. He moved to Kansas City, Missouri in 1888 where his father was practicing medicine. Lawson enrolled in classes at the Kansas City Art League School, but without sufficient money for art studies, he accompanied his father the following year to Mexico City, where he found work as a draughtsman for an engineering company. By 1890, Lawson moved to New York and commenced studies at the Art Students League under J. Alden Weir and John Henry Twachtman, who had an immense impact on the young artist's work. In the summers, Cos Cob, Connecticut with his friends and Art Students League teachers John Twachtman and J. Alden Weir and other impressionist painters at that art colony. The exposure the new ideas and impressionists at Cos Cob shaped the remainder of his career. Although he admired both of his teachers, Lawson revered Twachtman. In 1893, Lawson traveled to Paris to study at the Academie Julian Academy Julian with Jean Paul Laurens and Benjamin Constant. In Paris, he shared a studio with Somerset Maugham, who used him as the prototype for Frederic Lawson in his novel, "Of Human Bondage." Traveling to Moret, he would meet French impressionist Alfred Sisley and his paintings during this period were glowing with color but thinly painted. In 1896, following a second trip to Paris, Lawson moved to Washington Heights in Manhattan where no buildings obstructed the view of the Hudson River. Quite in contrast to the other members of “The Eight”, who were all considered social realists, Lawson was the only member who exhibited pure landscapes. Lawson painted his most important canvases during his eight years in Washington Heights. As a member of “The Eight”, Lawson participated in the landmark exhibition for the group at the Macbeth Galleries in New York. Despite painting mostly urban New York landscapes in a pure impressionistic style, which stylistically separated his from the works of Robert Henri, John Sloan, Everett Shinn and the other members of the Ashcan School , Lawson was invited to participated in the monumental exhibition in the 1913 Armory Show and the 1915 Panama-Pacific Exhibition. The 1913 Armory Show Exhibition, which Lawson helped plan, is incredibly important to American art history because it was the first large-scale introduction of modernist art to the American public. In 1917, he was elected a Full Member of the National Academy of Design. In his later years despite his renowned reputation, Lawson suffered financial difficulties. In 1936, suffering from rheumatoid arthritis which allowed him to paint only intermittently, Lawson settled in Coral Gables Florida. On December 18, 1939, Lawson was found dead on the beach. It is unclear whether he suffered a heart attack, committed suicide, or was the victim of an attack on. Source: Michael David Zellman, "300 Years of American Art" Peter Falk, "Who Was Who in American Art" Harold Spencer, (Intro), "Connecticut and American Impressionism" 1873 - 1939 Ernest Lawson 1 Lawson Ernest 1833 London genre painter. Studied at the Royal Academy schools. Le Jeune exhibited at the Royal Academy from 1840 to 1894. He also exhibited at the Suffolk Street Gallery and at the British Institute. His main subjects were historical genre, country scenes, and pictures of children. In 1845, Le Jeune became the Drawing Master at the Royal Academy, and in 1848 the Curator. He was elected ARA in 1863. Works by Le Jeune are in the Manchester and Salford Art Gallery. Titles at the Royal Academy; "Field of Flowers,’ Tickled with a Straw’ and Little Bo-Peep.’ In the 1840’s and 50’s, LeJeune painted some historical and biblical subjects, but he later abandoned these in favor of more commercial genre themes. 1819 - 1904 Henry Le Jeune Le Jeune Henry 1977 Jules Le Roy whose birth and death are unknown is almost exclusively a painter of cats from the French school. The main subjects in most of Jules Le Roy’s incredible paintings are kittens. Each work captures the mischievous personality of each individual kitten that lent to his popularity in Europe, the United Kingdom and the United States. Jules Le Roy has a very distinct original style that is easily recognizable. However, his work can be easily confused with the works of French cat-painters Julius Adam, (1826-1874), Yvonne Marie Yo Laur, Eugene Louis Lambert (1825-1900) and Belgium artist Heneriette Ronner-Knip (1821-1909). Listed: E. Benezit Popular 19th Century Painting, A Dictionary of European Genre Painters, p.118 (illustrated) 19th - tury Jules Le Roy Le Roy Jules 3231 Henri Le Sidaner was born on the island of Mauritius in 1862. At the age of ten his family moved to Dunkirk and in 1880 Le Sidaner left for Paris where he was admitted to the Ecole des Beaux-Arts in 1882. He studied under Alexandre Cabanel until 1885 during which time he discovered the work of Edouard Manet whose Bar aux Folies Bergeres was to have a profound influence on his artistic development. Cabanel was strongly opposed to the work of the Impressionists which led Le Sidaner to break away from the strict regime of his atelier and move to Etaples where he began to develop the individual technique which was to become his own personal style in the years to come. Le Sidaner travelled extensively throughout his life, visiting Holland, Belgium, Venice, London and New York; he also moved constantly throughout France. In 1900 he visited the tiny village of Gerberoy (Seine et Oise) where Le Sidaner later bought the house which became the inspiration for many of his paintings and where he painted his beautiful still lifes. He exhibited at the Paris Salon, the Galeries Georges Petit in Paris and the Goupil Gallery in London. Although the work of Henri Le Sidaner appears to be impervious to the artistic changes taking place at the beginning of the twentieth century he was not totally unaffected by the development of Impressionism and neo-Impressionism. His work is very much in the realist style but at the same time evocative and poetic, if combines a dreamy quality with a technical expertise and his atmospheric paintings, whether they be landscapes or still lifes, are symptomatic of his unique personal vision. 1862 - 1939 Henri Le Sidaner Le Sidaner Henri 1837 Edward Chambers Leavitt was born in 1842 in Providence, RI and died in 1904. He was one of the best known painters in that city in the late nineteenth century. Leavitt was a successful fruit and flower specialist. Leavitt's still lifes were noted for their ideality and poetry - again in the tradition of LaFarge, who painted similar still lifes in nearby Newport. Leavitt, by contrast, was well known for the realistic and very tangible quality of his work, with its emphasis on costly bronze, bric-a-brac, and silver, and for its extremely careful finish. His work has been compared to that of Harnett. While there doesn't seem to be any influence from the Harnett School on Leavitt. Leavitt's finest works are those between 1880 and very early 1890's. The early pictures by Leavitt are extremely sharply focused, richly colored and illuminated, and precisely drawn. They often involve an accumulation of diverse objects; many different fruits, and flowers, costly tankards, pitchers, plates and salvers. As in Dunning's work (Fall River School), they often rest on a highly polished tables. Listed: Art Across America, two centuries of regional painting, Vol., I, William Gertz American Still-Life Painting, William, Gertz & Russell Burke 1842 - 1904 Edward Chambers Leavitt Leavitt Edward Chambers 2062 Albert Lebourg was born in Montfort-sur-Risle, France February 1, 1849 and died in Rouen January 7, 1928. He is considered a French Impressionist. Lebourg had an early interest in architecture and studied under the architect Drouin at the École Municipale de Dessin in Rouen. He became increasingly interested in art and through Drouin met the landscape painter Victor Delamarre (1811-1868) who advised and taught him. Giving up architecture altogether, Lebourg decided to attend the École Municipale de Peinture et de Dessin in Rouen under Gustave Morin (1809- 1886). In 1871, he met the collector Laperlier through whom he obtained the post of professor of drawing at the Société des Beaux-Arts in Algiers. He remained there from 1872 to 1877, producing works such as Street in Algiers (1875; Rouen, Muse. Beaux-Arts Academie) He also experimented with depicting a single site in a variety of different lights, in a manner similar to the late works of Claude Monet (1840-1926). In 1877, Lebourg gave up his teaching post in Algeria and returned to Paris. From 1878 to 1880, he would study at the atelier of Jean-Paul Laurens. It was at this point that he became aware of Impressionism. During this period Lebourg became friendly with Edgar Degas (1834-1917), Claude Monet and Alfred Sisley (1839-1899). He first exhibited at the Salon de la Société des Artistes Français in 1883 and again in 1886. In 1889, Lebourg would begin exhibiting at the foundation of the Société Nationale des Beaux-Arts and exhibit regularly from 1891 to 1914. Between 1884 and 1886, Lebourg spent most of his time in the Auvergne region, producing such Impressionist works as Snow in Auvergne (1886; Rouen, Muse. Beaux-Arts Academie), in which a river re-establishes the habitual presence of water in his work. After living and working in numerous places in northern France, Lebourg traveled in the Netherlands (1895—18977) and in 1900, he spent a short period in Britain, which confirmed his love of Joseph Mallord William Turner (1775-1851), John Constable (1776-1837) and Thomas Gainsborough (1727-1788). He continued working in a luminous Impressionist style with landscapes such as Small Farm by the Water (Ile de Vaux) (1903; Rouen, Muse. Beaux-Arts Academie) up until 1921 when he was paralyzed by a stroke. Museums: San Francisco Museum of Fine Arts, USA Foundation Bemberg Museum, Toulouse, France Musée Marmottan Monet, Paris Musée de Orsay, Paris Petit Palais, Paris Musée Bayonne Musée Clermont-Ferrand, France Musée Le Harve, France Musée Dunkerque, France Musée Lille, France Musée Strasbourg, France Musée Rouen, France Literature: Albert Lebourg, (Petit, Paris 1923) Léonce Bénédite Les Grands Peintres du Val-d’Oise, Marie-Paule Défossez Listed: E. Bénézit, vol. VI, page508 Thieme-Becker Dictionnaire Biographique des artistes Contemporains 1910-1924, Paris Dictionnaire des Petits Maîtres de la Peinture 1820-1920, vol. II, Gérald Schurr & Pierre Cabanne 1849 - 1928 Charles Albert Lebourg Lebourg Charles Albert 1836 Emile Lecomte-Vernet (1821-1900) was born in Paris in 1821 and died in the same city in 1900. He was considered a historical and figure painter from the French Orientalist school. As a member of one of Pariss most elite artist families; great grandfather Claude Joseph Vernet (1714-1789), grandfather Carle Antoine Charles Horace (1758-1836), son of d'Hippolyte Lecomte (1781-1857) and the nephew of Emile Jean Horace Vernet (1789-1863), Lecomte-Vernet was greatly influenced. However, the largest influence came from French masters (uncle) Horace Vernet and Leon Cogniet (1894-1880) at the lEcole de Beau-Arts. They recognized the genius in Emile Lecomte-Vernet. His great grandfather was considered a prodigy and they felt that Emile was as well. Under their guidance, they watched him bloom. Rarely had they witnessed such a young artist being able to grasp painting so easily and with such energy. Like a composer, Emile was able to develop an original approach to figure painting. His canvases were filled with color and each figure came to life because of his lavish attention detail. Lecomte-Vernet debuted at the Paris Salon of 1846 and was awarded a bronze medal. He was a regular exhibitor at the salons from 1883-1892. Two of his more important murals exist today at the leglise de Saint-Louis-en l'Ile and at the Plais de Justice de Paris. Museums: Musee d. Avignon Musee de Toulon Listed: E. Benezit 1820-1920 Les Petits Maitres de la Peinture Valeur de Demain, vol. VI, Gerald Schurr Popular 19th Century Painting, A Dictionary of European Genre Painters, Philip Hook and Mark Poltimore 1821 - 1900 Charles-Emile-Hippolyte Lecomte-Vernet Lecomte-Vernet Charles-Emile-Hippolyte 3363 Alexis de Leeuw (1848-1883) Born in 1848 in Bruges, Belgium. He is known for his landscape and animal paintings. The artist died in 1883. Listed E. Benezit, Volume 6, pg. 531 1848 - 1883 1 Alexis de Leeuw Leeuw Alexis de 1835 Jules-Joseph Lefebvre was born in Tournan (Siene-et-Marne) May 14, 1836 and died in Paris February 24, 1911. He was considered an important genre and portrait painter from the French School. In 1852, Jules Lefebvre began his formal training at the Ecole des Beaux-Arts as a pupil of Jules Louis Philippe Cogniet (1798-1860). Upon completing his studied, Lefebvre traveled to Italy to study. In 1861, he debuted and won the Prix de Rome. It wasnt until three years later that he debuted at the Paris Salon. After his return to France in 1867, he was increasingly successful, receiving the first award of the Legion d'Honneur in 1870, becoming a member of the Institute in 1891 and rising to commandeur of the Legion d'Honneur in 1898. He was awarded the medal of honour at the 1886 Salon and a grand prix at the 1889 Exposition Universelle. At the Alexandre Dumas Sale of 13 May 1892, Lefebvres Femme nue realized 25,000 francs. It was his teaching activities, particularly at the Academic Julian, which made him a figure of renown and respect amongst Salon applicants. Lefebvre himself was a stalwart Salon exhibitor. Museums: Muse Amiens Muse de Lyon Muse de Louvre Listed: E. Benezit, vol.6, ppg. 534-5 Bryans Dictionary Champlin & Perkins Cyclopedia Dictionaire biographique des Artists Thieme-Becker Lexicon Index of Artists Mallet Bibliography: The Studios of Paris, John Milner. Ppgs. 10,12,.25,50,56,91,106,127,52,123 The History on Impressionism, John Renwald, pg.406 American art at the Nineteenth-Century Paris Salons, Lois Marie Fink, pg. 134,136 Beyond Impressionism, the NaturalImpulse, Gabriel P. Weisberg, pg. 159,163, 65 1836 - 1911 Jules-Joseph Lefebvre Lefebvre Jules-Joseph 1952 David A. Leffel's interest in art developed during the years he spent in a hospital as a child. Born and raised in New York City, Leffel suffered from a bone disease called osteomyelitis. As a result he spent 11 years, from the time he was 4 until he was 15, in a hospital. He did go home for a year when he was 7, but for the most part, the other children in the hospital world were his family. He studied at the Art Students League in 1959 and 1960 on a Merit Scholarship and attended courses at Parsons School of Design and Fordham University. Since 1971 he has taught morning and evening classes at the Art Students League of New York in life drawing, painting, portraiture, figure, and composition. He also teaches workshops and gives demonstrations throughout the nation. In addition to one-man shows, Leffel's work has appeared in several group shows around the world. Numbered among his many prizes are First Prize in oil, Fourth Annual Exhibition, Oklahoma City (1983); Ralph Fabri Medal, Allied Artists of America (1983); and two gold medals in 1981, one from the National Academy of Western Art in Oklahoma City and the other from the Hudson Valley Art Association in Westchester, N.Y. He has also received prizes from the Allied Artists of America and the National Academy of Design. When it comes to his art, Leffel is passionate, and enthusiastically talks about his painting. "It's abstract realism," he says. "The best realistic painting is abstract. When you're learning to paint, essentially, you start out wanting to learn to paint things. After you reach a certain point, you try to paint things in space. You become concerned with the environment the thing is in, the space, the dimension. You're not painting things as much as light falling on things. "So the thing is not as important as the light and the space. As you go on, you start to have more balls to juggle, so you're not only playing with light and space, but movement of color across the face of your canvas, the pace of the picture, so it becomes very complex. The appearance of your picture is only a superficial appearance of what you're painting, because you're really painting all these abstract ideas underneath. The greatest art is the most abstract, where the subject matter is really extrinsic. The subject is just an excuse to do other things, solve problems, play other games." Leffel's own painting technique has grown from his emulation and study of past masters, particularly Rembrandt and Velasquez. His fascination is with light, and he makes frequent reference to his respect for Rembrandt's knowledge and mastery of the utilization and effects of light in painting. David's paintings, too, show his marked awareness of the role light plays in the visuals of life and his skillful expression of it in his art. His successful depiction of the contrast of light against dark characterizes his painting, and clearly is born of his acutely developed artistry and sense of creativity. COLLECTIONS J. B. Speed Art Museum; Louisville, KY Elizabeth T. Greenshields Museum; Montreal, Canada Princeton University; Princeton, NJ Yugoslav Embassy; New York, NY Wellington Fund; New York, NY Welna Galleries; Chicago, IL York Racing Association; New York, NY Many Private Collections Unknown David A. Leffel Leffel David A. 3256 Franz Lefler (1831-1898) Franz Lefler was born in Langenbruck, Bohemia (modern day Czech Republic) and died in Weissenbach on June 19, 1898. He received his formal training as an artist at the Academies of Fine Art in Vienna and Prague. Lefler is known primarily as a painter of allegories, historical scenes and genres, and his works periodically appear at major auction in Europe and the U.S. Today he is fondly known as one of the favorite nineteenth century painters of putti, and a number of his original paintings are commonly reproduced in print form. Listed: E. Benezit, vol. 6, page 537 1831 - 1898 Franz Lefler Lefler Franz 1834 Fernand Le Gout-Gerard was born in Saint-Lo in the department of La Manche on October 29, 1854, and spent his entire childhood there. At a very young age he was fascinated with drawing and painting, and by the age of 14 was copying works of the lesser masters of the 18th century. His grandfather first influenced him as an artist but he obliged his father and became a general financial agent of the Treasury of La Manche, then as a bank director. As a bank director, Fernand continued to persevere as a painter, working without respite and regularly frequenting the art world of Paris in the 1880-90’s where he had taken up residence. His efforts were quickly rewarded for he met Meissonnier, then at the height of his fame, who encouraged him; it is to Meissonier that he owes his first important prize during the Universal Exhibit of 1889. It was through the master’s son that he discovered Concarneau, and Le Gout-Gerard felt an immediate attraction for this port where, since the beginning of the 19th century, a colony of artists would pass through and sometime stay, finding in Concarneau a source of inspiration. For over 40 years, the artist would return regularly to Concarneau, even taking up residence in 1903. Upon the death of his parents, Fernand Le Gout-Gerard, freed form family pressure, devoted him entirely to painting, giving up his career as a banker. In 1903, he purchased villa Ker-Moor in Carcarneau, which he enlarged so that he could set up his studio. Very quickly Le Gout-Gerard’s house became the meeting place for all the artists passing through. Le Gout-Gerard along with the entire artists’ colony of the port would demonstrate their fondness for this small city in 1899, when the prospect of demolishing the ramparts of the walled city was raised. They signed a petition that Fernand Le Gout-Gerard would submit personally to the Secretary of State for the Arts, an old school friend from Saint-Lo. He was named painter to the Ministry of the Marine and founded the "Society of the Blue Nets" of Concarneau, in 1905, which he was elected president. 1854 - 1924 Fernand LeGout-Gerard LeGout-Gerard Fernand 1661 William Robinson Leigh was one of the most prolific and accomplished painters of the American West. He is especially well known for his dramatic paintings of Western plains, mountains, canyons, cavalry, cowboys and Indians. Born near Falling Waters, West Virginia in 1866, Leigh spent his childhood on a farm. He began his artistic training at age 14, when he went to study under Hugh Newell at the Maryland Institute in Baltimore. Despite Leigh's poverty, he was able to go to Europe, and he spent 12 years studying at the Royal Academy in Munich. He studied under Raupp, Gysis, Von Lindenschmidt and Von Loefftz. The painting technique that Leigh learned and mastered in Germany remained with him throughout his career. He began with a detailed charcoal drawing and painted over it. Starting with the most distant objects, such as the horizon and sky, Leigh slowly painted each object until he reached the foreground. Leigh's bold colors and clear lighting add to the dramatic intensity of his works. Because he used traditional European techniques in painting the American West, he was known as the "Sagebrush Rembrandt." Although Leigh had always wanted to paint the American West, it was not until he was around 40 years old that he finally realized his dream. He traveled to Chicago and offered the Santa Fe Rail-road Company a painting of the Grand Canyon in exchange for a ride to New Mexico. The company was so pleased with the finished painting that they commissioned five more pictures, giving Leigh more time to roam the West before he was forced to return to New York City to earn a living. Leigh returned to the West to paint whenever he could. Back in New York City, Leigh supported himself by illustrating scenes from American history for Scribner's and Collier's. In 1921 he married Ethel Traphagen, a women's-clothing designer, and together they founded the Traphagen School of Fashion in New York City. After Leigh's death in 1955, his widow gave his entire collection of work to the Gilcrease Institute of American History and Art in Tulsa, Oklahoma. Member: Allied Art Association American Watercolor Society Salmagundi Club Public Collections: Academy of Natural Sciences, Philadelphia American Museum of Natural History, New York City Thomas Gilcrease Institute of American History and Art, Tulsa, Oklahoma 1866 - 1955 William Robinson Leigh Leigh William Robinson 1922 Edmund Blair Leighton was born in London, the son of Charles Blair Leighton, a painter of historical subjects and portraiture who died shortly after his son's birth. Edmund studied at the Royal Academy Schools, later exhibiting at the Suffolk Street Gallery and at the Royal Academy itself between 1878 and 1920. He was a painter of historical and classical genre, much of his earlier work consisted of medieval historical subjects, to which he returned later in life. However, in the 1880's he turned to the Regency period c.1810-1820, as a source of inspiration. This specific area of historical genre had been brought to prominence by the works of William Quiller Orchardson (1832-1910) and Marcus Stone (1840-1921). They, together with Edmund Blair Leighton, were prime exponents of regency subjects, portraying a nostalgia for the pre-industrial golden age; subjects sought after by the very collectors to whom the Industrial Revolution had brought wealth and prosperity on an undreamed of scale. The number further underlines the popularity of these works, which were reproduced through the printing process of photogravure and widely disseminated. Edmund Blair Leighton lived in West London, in Priory Road, Bedford Park from 1889 to his death. He exhibited at the Royal Academy contemporaneously with his son J. E. Blair Leighton, a portrait and genre painter. 1853 - 1922 Edmund Blair Leighton Leighton Edmund Blair 3141 Landscape painter Harry Leith-Ross was born in Mauritius in 1886, a British possession in the Indian Ocean. He came to America as a seventeen year old. Before beginning, some ten years later in 1914, his studies at the Art Students League Summer School in Woodstock, New York at the relatively late age of twenty-eight, Leith-Ross had worked as a commercial artist. He studied with John F. Carlson and Birge Harrison at the League Summer School, and later with C. Y. Turner at the National Academy of Design in New York City. He then went to Paris, studying with Jean Paul Laurens at the Academie Julien and in England with Stanhope Forbes. Long associated with the Bucks County artists' colony in New Hope, Pennsylvania, Leith-Ross may have first gone there in 1912. It is definitely known that he visited the area in 1916 at the invitation of a student he had met when both attended the Art Students League Summer School in Woodstock, John Fulton Folinsbee. Birge Harrison, his former instructor at the League, whom he met again, was also there in New Hope during the winters from 1914 to 1916. The third and last generation of the New Hope colony would be comprised of artists like Leith-Ross, Folinsbee and Kenneth R. Nunamaker. It is somewhat ironic that Leith-Ross, so long affiliated with the New Hope School of American Impressionism, waited until 1935 to move permanently to that town on the banks of the Delaware River. Other artists in the community included Daniel Garber and the well-known Edward Willis Redfield, whose painterly style, Leith-Ross echoed in his landscapes of the region in the 1920s and 1930s. But, in the 1930s, Leith-Ross' style began to respond to the influences of modernism. Under the influence of Winslow Homer and Leith-Ross' grand-uncle, the well-known marine watercolorist Hendrik Willem Mesdag, 1831-1915, Leith-Ross painted his own realistic watercolors with a spontaneous fluency. As a boy, Leith-Ross had visited Mesdag's studio in Europe. Leith-Ross wrote The Landscape Painter's Manual, published in 1956. He taught painting in New Hope, Rockport and Gloucester, Massachusetts, and at the Art Students League Summer School. He was a visiting artist at the University of Utah, Southern Utah State College, and the University of Buffalo. Harry Leith-Ross was a member of the Allied Art Association, American Federation of Arts, Connecticut Academy of Fine Arts, the Salmagundi Club and National Academy of Design, in New York City, where examples of his work may be seen. He also exhibited at the Pennsylvania Academy of the Fine Arts in Philadelphia. Leith-Ross died in 1973. Source: Michael David Zellman, 300 Years of American Art 1886 - 1973 Harry Leith-Ross 1 Leith-Ross Harry 2065 Maurice Leloir is considered a historical painter, watercolorist, engraver, illustrator, playwright and film producer. He was born in Paris on the 1st of November 1851 and died on the 7th of October 1940. Leloir was born into a family of successful artists. He received his formal training with his father historical painter Jean-Baptiste Auguste Leloir (1809-1992), his mother watercolorist Héloïse Colin (1820-1874), daughter of Alexander-Marie Colin (1798-1873) and with his older brother Alexander-Louis Leloir (1843-1884). Maurice Leloir was elected President of the French Watercolor Society. He was an incredibly successful illustrator. Illustrating works by philosopher Jean-Jacques Rousseau (1712-1778), playwright Jean-Baptiste Molieré (1622-1673), and novelists Honoré de Balzac (1799-1859). He was also talented playwright. Leloir was the founder and president the Costume Society in 1906 and wrote the Dictionary of Costume, which he also illustrated. The career of Maurice Leloir illustrates the fin de siècle confluence of literature, theater, and cinema. Leloir's "Manon Lescaut, 1892" (Dahesh Museum of Art, NY) is based on the penultimate scene from the Histoire du Chevalier des Grieux et de Manon Lescaut, the 1731 novel by Abbé Prévost. In 1884, Jules Massenet's opera "Manon" premiered in Paris. The success of this lyric drama probably led Leloir, who designed theater posters for Massenet's operas, to illustrate a new edition of the novel published the following year. "Manon Lescaut" by Leloir, after its premiere at the 1892 Paris Salon, was exhibited in 1893 at the World's Columbian Exposition in Chicago, the same year in which Giacomo Puccini's "Manon Lescaut" premiered in Turin. The scene, found in the Puccini opera, but not Massenet's, depicts the Chevalier des Grieux with his dead lover Manon in the then wilderness of Louisiana. Leloir, himself, only crossed the Atlantic in 1928 at the invitation of the silent screen star Douglas Fairbanks to serve as an artistic advisor on the film The Man in the Iron Mask, staring Douglas Fairbanks and Mary Pickford and based on the final novel in Alexandre Dumas' Les mousquetaires trilogy (1844-1850). Leloir's much re-published 1894 illustrations for Les trois mousquetaires, the first novel in the trilogy, had long been accepted, in Hollywood and elsewhere, as the novel's authentic illustrations and Fairbanks conceived his screenplay for The Man in the Iron Mask, as a sequel to his own hugely successful 1921 film The Three Musketeers. Leloir was also commissioned to design theatre scenes for Sarah Bernhardt, André Antoine, Albert Carré and Firmin Gémier. Leloir was not only a recognized expert on the history of costume, but also one of the field's most important collectors. His 1920 gift to the Musée Carnavalet in Paris of 2000 costumes and accessories forms the core of the present-day Musée Galliera - Musée de la mode de la Ville de Paris. Books Illustrated Brillat-Savarin, Physiologie du goût, Carteret, 1923, en collaboration avec Henri Pille. Alexandre Dumas, Les Trois mousquetaires, Lévy, 1894. Diderot, Jacques le fataliste et son maître, 1884. Lesage, Gil Blas, Charavay, 1899. Guy de Maupassant, Une vie, Carteret, 1920. Abbé Prévost, Manon Lescaut, Launette, 1885, 225 ill. Sterne, Voyage sentimental, 1884. Illustrated by Maurice Leloir J.J. Rousseau, Les Confessions, new edition, H. Launette & Cie, Paris, 1889, illustrated by Maurice Leloir Voltaire's Last Visit to Paris, engraving by Maurice Leloir Dictionnaire du Costume: et de ses accessoires des Armes et des Étoffes des origines à nos jours [dir.] Maurice Leloir; pref. Georges G. Toudouze. - Paris: Librairie Grund, cop. 1992. - 390 p.: il. 29 cm.- ISBN 2-7000-2009-X Film: The Iron Mask, 1929. Directed by Allan Dwan. Screenplay by Elton Thomas (pseud. of Douglas Fairbanks). Cinematography by Henry Sharp. Art direction by Burgess Beall, Maurice Leloir. With Douglas Fairbanks, Marguerite de la Motte, Belle Bennett, Dorothy Revier, Rolfe Sedan, William Bakewell, Nigel de Brulier, Leon Barry, Stanley Sandford, Gino Carrado. Sequel to The Three Musketeers (Fred Niblo, 1921), this was Fairbanks' last silent film. He stars again as D'Artagnan, who must call on his old compatriots Athos, Porthos and Aramis in an effort to restore the rightful king to the throne of France. A poignant farewell to the art of the silent cinema. Museums: Dahesh, NY "Manon Lescaut" Listed: E. Benezit, vol. VI, page. 558 Dictionary of National Biography, London & New York, 1885-1927. Thieme, U., & Becker, F. Allgemeines Künstler von der Antike bis zur Gegenwart. Leipzig. 1851 - 1940 Maurice Leloir Leloir Maurice 3299 Jacques Francois Fernand Lematte (1850-unknown) Jacques Francois Fernand Lematte was born July 26, 1850 in Quentin (Aisne), France. He is considered an academic painter from the French school. Fernand Lematte studied at the Beaux Arts Academe with Cabanel and debuted at the Paris Salon of 1870 and was awarded the Prix de Rome that same year. He was awarded metals at the Salon exhibitions for the years 1873 and 1876. Lematte became know for his mythological and religious subjects as well as his portraits. Public collections: Alger Museum: Téte de Femme Caen Museum: La verve Mulhouse Museum: Le fils de la Vierge Nantes Museum: Dryade Nice Museum: Le rapt de Déjanire Reims Museum Etc. Listed: E. Benezit, vol. 6, page 565 Fernand Lematte Lematte Fernand 3225 Tamara de Lempicka is perhaps the most famous painter of the art deco period. She was born in Poland and moved to Russia where she lived until the Bolsheviks arrested her husband during the Russian Revolution. She secured his release and they fled to Paris. There she enrolled at the Academie de la Grand Chaumiere and studying privately. She was quite a prolific artist (in part facilitated by her spare simple style) and was much sought after as a portrait artist. If you are interested in learning more about Tamara de Lempicka I highly recommend Passion by Design by her daughter, Kizette de Lempicka-Foxhall. 1898 - 1980 Tamara De Lempicka 1 Lempicka Tamara De 3275 Charles Amable Lenoir’s paintings reflect the appeal of female beauty during the nineteenth century. Lenoir painted also religious subjects as well as portraits, and unlike the avant-garde artists of the time, Lenoir remained faithful to the academic tradition. He was particularly influenced by his teacher and friend, one of the most celebrated Academic artists William A. Bouguereau (1825-1905). Charles Amable Lenoir was born on October 22, 1860, in Chatellaillon, a small district located in the vicinity of La Rochelle in the province of Charente Maritime, France. Very little has been written about him until recently. Charles Trebbi, one of his grand nephews published a short monograph about Lenoir, The Painter Charles Amable Lenoir, which has uncovered few details about his life and career. Lenoir came from a very modest background; his father was a customs officer and his mother a seamstress. When Lenoir was young, his father was assigned to Fouras, a small town south of La Rochelle, and the family moved there. Despite the financial difficulties his family had, Lenoir took an interest in art early on. He aspired to become an artist, and wished to grow up to be like “Father R…,” an iron monger who displayed some bronze figures in his shop. (Trebbi, pg. 5) Later on, Lenoir admired a painter (unnamed) who specialized in pastel landscapes. Lenoir used to collect the scraps of pastels the painter had thrown away, to try to make his own drawings on paper. At one time, when that painter saw Lenoir collecting the scraps he gave him a number of pastel crayons, which Lenoir used till they were completely finished. Although Lenoir wanted to become a painter, he knew that his parents would not support such a vocation, so he decided to become a teacher. He left Fouras, and went to study at the Teacher’s College in La Rochelle. After graduating from the college, Lenoir became a maître d'études (study master), and then a teacher at a secondary school, the Lycee in Rochefort. Nevertheless, Lenoir could not overcome his desire to study art and become a painter, so he began to put money aside from his modest salary in order to pursue his dream. After saving enough money, Lenoir moved to Paris in 1883. He took with him a letter of recommendation from Bouguereau’s uncle Eugene Bouguereau, who was the parish priest of Notre Dame in Rochefort. In August of that same year, Lenoir was accepted at the École des Beaux-Arts (School of Fine Arts) in Paris. He became a student of Bouguereau as well Tony Robert-Fleury (1837-1911), the well-known academic painter who specialized in history and genre scenes. Like all aspiring artists, Lenoir tried to win the prestigious, yet grueling, Prix de Rome competition (Rome Prize) organized by the École des Beaux-Arts. He made it four times to the final part of the competition, where it was customary that each of the final ten competitors would be confined to a loge (competition cell) for 72 days to complete their work of a history painting. Finally, in 1889, Lenoir was awarded the Second Grand Prix de Rome for his Jesus et le paralytique (Jesus and a Sick Man with Palsy), and in 1890, he won the Second Grand Prix de Rome, first grade for Le Reniement de Saint Pierre (The Denial of St. Peter). Lenoir made his debut at the Paris Salon in 1887. At first he exhibited mostly portraits, but focused later on genre paintings, as well as religious and mythological subjects. While he painted according to the academic teachings at this early stage of his career, he experimented with several other styles. Soon afterwards, Lenoir devoted himself only to academic painting in the style of his teacher Bouguereau, and on which he ultimately built his reputation. His paintings came to reflect those academic values of accurate drawing, contour, and smooth paint surfaces. Like Bouguereau, his subjects included mythological, allegorical, and religious themes, as well as contemporary genre pictures. His favored images were those of beautiful women and girls, coyly erotic nudes and cupids. As the “realistic depiction of a naked model in a contemporary setting,” was acceptable during that time, Lenoir painted a number of this genre, as well as numerous female nudes set in antiquity, distant places, and from Classical mythology. There is little information about Lenoir’s private life, except that in 1900 he married Eugenie Lucchesi. Like Bouguereau, Lenoir returned each summer to his native Charente province where he and Bouguereau used to meet either in La Rochelle where Bouguereau had a home or in Fouras where Lenoir had built a house. It was in Fouras that Lenoir died and was buried on August 1, 1926. A monument was erected there for him in 1937. Throughout his artistic career, Lenoir exhibited his works in several venues and received official recognition for his art. From 1887 until 1926, he exhibited at the Paris Salon; where he won a 3rd-class medal in 1892, for Le Grenier a Vingt Ans (The Garret at twenty years) and a 2nd-class medal in 1896 for La Mort de Sappho (The Death of Sappho). In 1900, he won a bronze medal for Le Calme (The Calm), which was a portrait of his wife. In addition, he exhibited in Sao Paulo and Rio de Janeiro in Brazil from 1918 until 1926. In 1903, Lenoir was awarded the Chevalier de la Légion d’Honneur (Knight of the Legion of Honor). Lenoir’s works can be seen in several museums in France including: Musée des Beaux Art (Museum of Fine Arts), La Rochelle; Saintes Museum, Saintes; Musée D’Art et D’Histoire (Museum of Art and History), Rochefort; École Nationale Supérieure Des Beaux Art (National School of Fine Arts), Paris; Musée des Beaux Art, Niort; Musée des Beaux Art, Angers; and Musée des Beaux Art, Cognac. 1861 - 1940 Charles Amable Lenoir 1 Lenoir Charles Amable 2916 Georges Paul Leroux (1877-1957) Georges Leroux is considered a painter, engraver and illustrator from the French school. He was born August 3, 1877 in Paris and died in 1957. He received his formal art training at the Beaux-Arts Academie under Leon Joseph Bonnat (1883-1922). At the outbreak of the First World War, Leroux joined the French Army and served on the Western Front in France and Belgium. He later recalled how on one reconnaissance mission he saw "a group of French soldiers taking shelter in a great shell-hole full of water". That evening he made sketches of what he had seen and later painted "L'Enfer (Hell)." One critic remarked that the Leroux had "produced a work which attempts to represent as accurately as possible the Unreprehensible reality of war". Another one of Georges Leroux's more notable works "Dans la grande Galerie du Louvre", which was painted for an exhibition at the Louvre, has been compared with the works of hyperrealist Edward Hopper. George Leroux was a regular exhibitor at the Salon des Artistes Française where he was awarded the third class medal in 1903 and the Prix de Rome of 1906. In 1908, Leroux was honored with one of France's awards to Chevalier in the Legion of Honor. He won a second class medal for 1911 and the Prix de Henner in 1920. Museums: Musée de Dijon: "Le Parc de Saint-Cloud en Automne" Art Moderne, Paris: Paysage d'Iltalie Musée de Tours, France: "Salomé reçoit la tête de Saint Jean-Baptiste" 1877 - 1957 Georges Paul Leroux 1 Leroux Georges Paul 1660 Auguste Leroux was considered a portrait and historical painter from the French school. He was born in Paris on April 14, 1871 and died in 1925. Leroux studied with Bonnat. He became an important figure at the Salon des Artistes Francais and was elected into full membership in 1904. He won numerous awards in his short-lived career. He was also an illustrator of numerous books throughout his career. Public Collections: Bayeux Dijon Modern Art Museum, Paris Saint-Omer Awards: Prix de Rome, 1894 Prix de Rome, 2nd class, 1898 Universal Exposition, Bronze, 1900 Listed: Benezit 1871 - 1925 Jules Marie Auguste Leroux Leroux Jules Marie Auguste 1832 Throughout the eighteenth century, History Painting, in England and France, was considered the highest form of art. The first half of the nineteenth century saw the rise of the historical novel, through the writings of Walter Scott (1771-1832), disseminated throughout Europe. In France this new vogue was exemplified by the plays and novels of authors like Alexander Dumas (1802-1870) with his "Henry III'' or "The Three Musketeers". In the mid-nineteenth century in England the Pre-Raphaelite Brotherhood and their highly romanticized view of the past continued this widespread interest. This interest in the past led to the development of a new genre of history painting. Foremost in this genre was Jean Louis Ernest Meissonier (1815-1891) whose meticulously researched and detailed compositions of an idealized view of the past paved the way for the likes of Adolphe Alexandre Lesrel. Lesrel was born 19th May 1839 in Genets; greatly influenced by Meissonier, an artist whose popularity extended throughout Europe and the United States, Lesrel adopted his highly detailed and finished style. Costume, gowns, objets d'art, furniture, all were researched to ensure the historical accuracy of his work. Lesrel exhibited at the Societaire des Artistes Francais in 1885, and in 1889 received an honorable mention. In 1890 he became an Associate of the Salon Nationale des Beaux-Arts. Lesrel's historical scenes, an idealized and romantic interpretation, found a ready market in France, England and the United States. This popularity has remained unchecked; his subject matter and technical virtuosity of his brushwork ensures his continuing popularity. His works can he found in museums in: Nantes; Rouen; Sydney and New York. 1839 - 1929 Adolphe Alexandre Lesrel Lesrel Adolphe Alexandre 1659 Hadley Lever was a dedicated and prolific artist, highly respected for his seascapes, yet never allying himself with any one school of painting. His eclectic assemblage of styles, which stemmed from French impressionism, helped establish him in Europe before 1910. Born in 1876 in Adelaide, Australia, he made the voyage to England in 1893. After studying art in London for a time, he settled into an artists' colony on the seacoast at St. Ives in Cornwall in 1900. There he began his seascape painting. During the next 10 years, Lever's paintings reflected the English movement to modify impressionism. His Cornish-coast seacapes, which, were executed in the loosely-stated "English impressionist" manner, brought him substantial recognition in Europe during that period. In 1908, he was profoundly influenced by the works of Vincent Van Gogh. He created a series of paintings called "Van Gogh's Hospital, Holland" 1908, and Van Gogh's influence remained clear in the Lever paintings. Upon moving to New York City in 1911, Lever developed a prosperous career and reputation, and obtained citizenship. He painted a number a number of scenes of Manhattan. He later opened a summer studio in Gloucester, Massachusetts that he would keep for years to come. From 1919 to 1931, he taught at the Art Students League in New York City and entered many exhibitions. Though his sales dropped during the depression, Lever continued to paint, even through the ill health of his last years. He died in 1958 in Mount Vernon, New York. Memberships: National Academy of Design National Arts Club New Society of Artists Royal British Artists Royal Institute of Oil Painters Royal West of England Academy Public Collections: Baltimore Museum of Art Brooklyn Museum Corcoran Gallery of Art, Washington, D.C. Detroit Institute of Arts Los Angeles County Museum of Art Metropolitan Museum of Art, New York City Pennsylvania Academy of the Fine Arts, PhiladelphiaPhillips Collection, Washington, D.C. 1876 - 1958 Richard Hadley Lever Lever Richard Hadley 1831 Leon Lhermitte was born in 1844 and was still executing works in the French rural tradition at his death in 1925, making him the last in an illustrious group of artists. He showed artistic talent at a young age and in 1863 left his home at Mont-Saint-Pere, Aisne for the Petite Ecole in Paris where he studied with Horace Lecoq de Boisbaudran. Lecoq was known for his program of training the visual memory of his students, and his theories had a profound effect on Lhermitte. It was in his studio that Lhermitte formed a lifelong friendship with Cazin and also became acquainted with Legros, FantinLatour and Rodin. Lhermitte sent his initial entry to the Salon in 1864 when he was nineteen, and continued to exhibit charcoal drawings and paintings regularly, and pastels after 1885, winning his first medal in 1874 with La Moisson (Musee de Carcassonne). Other prizes and honors came to Lhermitte throughout his long career, including the Grand Prix at the Exhibition Universelle, 1889, the Diplome dhonneur, Dresden, 1890, and the Legion of Honor. He was a founding member of the Societe Nationale de Beaux-Arts. Lhermittes subject matter rarely deviated from the peasants and rural life of his youth. The most profound influence upon his work was certainly Jean Francois Millet who, like Lhermitte, was equally adept with pastel as with oil. While one could not characterize Lhermitte as an innovator, it is fair to say that he remained true to his own artistic conscience, creating beautiful, light-filled works in the Barbizon tradition. Reinforcing the dignity of peasant life and the glory of the French rural landscape in the face of encroaching technology. He has been accused of simply marrying traditional academic practices to the brighter colors of the Impressionists for the sake of his considerable commercial success, but this criticism is probably unjust. He was a talented artist, much admired by his peers. Van Gogh wrote, He [Lhermitte] is the absolute master of the figure, he does what he likes with it proceeding neither from the color nor the local tone but rather from the light as Rembrandt did there is an astonishing mastery in everything he does, above all excelling in modelling, he perfectly satisfies all that honesty demands. 1844 - 1925 Leon A. Lhermitte 1 Lhermitte Leon A. 3241 Jonas Lie was born in Moss, Norway, on April 29th, in 1880. His father was Norwegian and his mother an American from Hartford, Connecticut. In 1892 his father died and 12-year-old Jonas was sent to stay with his aunt and uncle, Thomasine and Jonas Lie, in Paris. Having already received drawing instruction from Christian Skredsvig (1854-1924) in Norway, he now attended a small private art school. The following year at age 13, he joined his mother and sisters in New York who lived in a boarding house run by a sister of his mother. Lie entered Dr. Felix Adler’s Ethical Culture School, also called the Workingman’s School where he was encouraged to develop his talent for painting and drawing; he also attended evening classes at the National Academy of Design. Only once did he receive plein-air instruction, this was in 1896 when his teacher, Dewing Woodward, took him to the historic fishing village Provincetown, on Cape Cod in Massachusetts. When Jonas finished at Felix Adler’s School in 1897, he had to help support his family and got a job at Manchester Mills in Duane Street, New York, designing calico shirts, a position he had for nine years. He was disciplined from the start. After work he continued his art training in evening classes at the National Academy of Design, later at Cooper Union and the Art Students League. In 1905 Lie exhibited 34 pictures in the Pratt Institute, Brooklyn Museum of Art. Between 1905 and 1938 Lie had 57 one-man shows, each including from 12 to 45 paintings. He participated in important annual and biennial exhibitions at the National Academy of Design, the Pennsylvania Academy of the Fine Arts, the Art Institute of Chicago, and the Corcoran Gallery of Art in Washington as well as most of the world fairs. Lie had won critical acclaim before his major breakthrough, and his work continued to receive positive critical commentary throughout his career. As early as 1905, at the Pennsylvania Academy exhibition, Charles H. Caffin commented that the three pictures exhibited “include quite a wide range of expressions and mark the painter as sincere and original.” This was in the company of painters such as Winslow Homer, Thomas Eakins, William Merritt Chase and Mary Cassatt. In 1906 Jonas Lie went back to Norway for the first time. On his way home from Norway in 1906, Lie visited Paris and was profoundly influenced by Monet’s use of colour and light, an influence that is particularly apparent in his seascapes. Upon his arrival in Plainfield from Norway, Jonas quit his job at the cotton mill and decided to earn a living as an artist. This was the beginning of a remarkable career. In the course of the following years he could afford a good studio in New York and gradually became quite affluent. Lie was more radical in his choice of subject at the start of his career. Together with The Eight, he was among the first artists to paint the city with skyscrapers, bridges and industrial scenes and structures. Occasionally he painted a still life, for instance The Black Teapot, which was included in the famous Armory Show in New York in 1913 and Nasturtiums and Asters, which was shown at the Anglo-American Exposition in London in 1914. Landscapes and seascapes stand out as favourite motifs throughout his career. In 1912 he was made an associate of the National Academy of Design. Together with The Eight, he was among the organizers of the Armory Show in 1913. In 1919 he was asked to join a group of young artists who wanted to change the jury system of the National Academy of Design. They did not succeed, but their efforts led to the founding of the New Society of Artists. This was one of his first acts of protest against the jury system of the Academy which did not allow the entries of young, radical artists. Nevertheless, he continued as an associate and was elected a National Academician in 1925. Late in 1928 he was asked to do a series of paintings of Lake Kora and the Francis P. Garvan camp in The Adirondacks. The Adirondack landscape resembles Norwegian valleys. In the late 1920s and the 1930s he concentrated on seascapes with sailboats and small fishing harbors and found many of his motifs on the coast of New England and Canada, as well as in Bretagne and Cornwall. Prizes and medals marked every step of his career. He won his first medal in the St. Louis Purchase Exposition in 1904, a silver medal for A Mill Race, and another silver medal in the Panama-Pacific International Exposition in San Francisco in 1915 for The Gates of Pedro Miguel. Between 1914 and 1939 he received several prestigious awards and medals. Rockbound Coast, painted at Bar Harbor, Maine, which had already earned him a prize at the annual exhibition of the National Academy of Design in 1937, was purchased by the International Business Machines and selected by Mr. George Blumenthal, then President of the Metropolitan Museum of Art, to represent the United States at the New York World’s Fair in 1939 at an exhibition entitled "Contemporary Art of 79 Countries", where it won third prize. In 1934 Lie was the first foreign-born person to be elected president of the National Academy. This was one of the highest tributes possible in the art world. In the fall of 1939, however, his health failed. As President of the Academy he had been working extremely hard with the organizing of the art exhibition of the 1939 New York World’s Fair. Three years before he died, Lie was elected to the American Academy of Arts and Letters. Jonas Lie died January 1940 from complications following a heart attack and is buried at Hillside Cemetery in Plainfield together with his wife Inga and their son, Erik Jonas. MUSEUMS AND GALLERIES (to numerous to list all) Amherst, MA, Amherst College, Andover, MA, Addison Gallery of American Art, Philips Academy Ann Arbor, MI, University of Michigan Museum of Art Atlanta, GA, Haverty Collection, High Museum of Art Baltimore, ME, The Peabody Art Collection Boston, MA, Museum of Fine Arts Brooklyn Museum of Art, NY Charlottesville, VA, University of Virginia Art Museum Chicago, IL, The Art Institute of Chicago Cincinnati, OH, University of Cincinnati, Fine Arts Collection Cleveland, OH, The Cleveland Museum of Art, Ingalls Library Dallas, TX, Dallas Museum of Art Detroit, MI, The Detroit Institute of Arts, Culebra Cut (Panama Canal Series) Huntington, West Virginia, Huntington Museum of Art, Switzer and Daywood Galleries, Iowa City, IA, University of Los Angeles, CA, Los Angeles County Museum of Art Milwaukee, WI, Milwaukee Art Museum, Samuel O. Buckner Collection, Minneapolis, MN, Minneapolis Institute of Arts Newark, Delaware, University of Delaware Newark, NJ, The Newark Museum New York, The Metropolitan Museum of Art, The George A. Hearn Fund New York, National Academy of Design New York, NY, American Academy of Arts and Letters Paris, France, Musée d'Arte Moderne Paris, France, Musée Luxembourg San Francisco, CA, Fine Arts Museum of San Francisco Washington, DC, The Corcoran Gallery of Art Washington, D.C., Navy Art Collection West Point, NY, United States Military Academy 1880 - 1940 Jonas Lie 1 Lie Jonas 1658 Jacques Lievin (Eugene Galien-Laloue, 1854-1941) is considered to be one of the foremost Parisian street scene masters in the field of impressionism. For over five decades his art has dominated those of his contemporaries in both quality and price. His paintings stand as a landmark in art history. Born in Paris, France in December 1854 to French-Italian parents, with the name Eugene Galiany. He later changed it as a tribute to his teacher Charles Laloue whom he studied with in 1877. He received his first training as an architect which helped Jacques Lievin (Galien-Laloue) with popularizing the subject matter of Paris street scenes and his very natural rural landscapes. Since the camera could not accurately record motion, and perceived only black and white, Jacques Lievin (Laloue's) paintings were in a sense picture postcards for the public, and they were highly prized by both tourists and the townspeople. His attention to detail accuracy of perception, reproduction of architecture, clearly set him above other street scene painters. The country of France also selected Jacques Lievin (Laloue) to work as a military illustrator, capturing both the Franco-Prussian and the WW I in watercolor. These very rare paintings exhibit Jacques Lievin (Eugene Galien-Laloue's) true genius. Jacques Lievin (Laloue) rendered the uncompromising beauty of life in France, depicting popular monuments, structures, villages and Harbors recognized throughout Europe. Preferring the medium of gouache for the great body of his work, although there are several oil paintings and watercolors recorded, his pieces took on a painterly quality that few have come to perfecting. Today Jacques Lievin (Galien-Laloue's) gouaches are treasured as artistic jewels. Listed: Benezit, Vol. 4 pg. 589. 1854 - 1941 Jacques Lievin Lievin Jacques 2921 Amy Cooper Lindner had an early interest in art. Growing up in the heart of Dallas, she traveled to the country every afternoon to ride her horses. She was taken by the beautiful landscape settings of her equestrian adventures—round hay bales glowing orange in front of the setting sun, dapples of sunlight glimmering in the forest on a trail ride, the majestic presence of Mount Ranier on a horse buying trip. Encouraged by art teachers throughout her school years, these experiences found their place on the first canvases she painted. In college, she took as many art classes as would fit into her schedule, and went on to win a National Championship riding horses on the equestrian team at Texas A & M University. After graduation, she married Brett Lindner, who encouraged her to pursue her dream of being a professional artist and sent her to hone her painting skills on the East Coast. There she began the technical research that would bring her to the point where she is today. A purest, Lindner prefers to personally stretch and prepare her linen, grind her paint, and cook her mediums in the tradition of the old masters. She works from life in order to observe the subtle nuances of color and light that only the eye can detect. Her masterly use of glazes, half-pastes, and impasto, combined with accuracy in the rendering, breathe the life into her paintings for which she is known. She and husband, Brett, travel to beautiful locations throughout the United States to hike, sketch and collect reference material for paintings. She continues to take commissions for custom paintings—portraits, landscapes, animals, and still life—available through Roughton Galleries. Her home and studio is located in picturesque Austin, Texas. Amy C. Lindner Lindner Amy C. 1958 William Henry Lippincott was born December 6, 1849 in Philadelphia and died March 16, 1920 in New York City. He began his formal art training at the Pennsylvania Academy of Fine Art. He initially studied to become an illustrator and later a scenic painter. In 1874, Lippincott traveled to Paris where he shared an apartment with American artists Edwin Blashfield, Charles S. Pearce and Milne Ramsey. He began his studies under Léon Joseph Florentin Bonnat (1833/4-1922) at the Société de Artistes Français. Lippincott remained in Paris for eight years. He became a regular exhibitor at the Paris Salons along with his American counter parts. Lippincott returned to the United States in 1882 and established a studio in New York City at 1293 Broadway. He became the professor of painting at the National Academy of Design. Lippincott pursued his career painting portraits, figure compositions and landscapes. He also was a regular contributor to American Exhibitions at the Chicago Institute, Pennsylvania Academy of Fine Art and the National Academy. His most noted works were “The Duck’s Breakfast, Brittany,” Love’s Ambush,” and “Pleasant reflections.” He also exhibited at the 1878 Universal Exposition, Paris. He was elected Associate Member of the National Academy in 1884 and received full academician in 1896. Lippincott was also a member of the American Watercolor Society, Society of American Etchers and the Century Association. Museums: Metropolitan Museum, NY Listed: Mantle Fielding’s Dictionary of American Sculptors & Engravers Exhibition Records of the National Academy 1861-1900 American Art Analog, vol.II 1849 - 1920 William Henry Lippincott Lippincott William Henry 3142 Arthur Lismer was born in Sheffield, England, and received his training there and in Antwerp before emigrating to Canada in 1911. A gifted writer and educator who had early established his own design business in Sheffield, he brought the sense of the pioneer with him to Canada, where he sensed the opportunity for unlimited creation and the possibility of Utopian ideals. By 1920 Lismer had made a considerable mark as a teacher and educator, and his paintings, strongly influenced by Impressionism, had gained wide admiration. He had also contributed major works to the Canadian War Memorials domestic program. 1885 - 3142 Arthur Lismer 1 Lismer Arthur 1907 Timoléon Marie Lobrichon was born in Cornod, France on April 26, 1831 and died in Paris in January 1914. He was considered a genre painter from the French school. Lobrichon received his formal training at the Beaux-Arts Academie with François Edouard Picot (1786-1868). His debut was at the Paris Salon of 1859. He later was awarded the first place medal at the Paris Salon of 1868. In 1882, Lobrichon was elected Chevalier de la Légion d’honneur, one of France’s most coveted honors. Lobrichon became one of the most sought after and celebrated painters for portraits of children. He was able to capture the character and personality of each child. Rather than being just a portrait, Lobrichon created a story which involved the child’s personality. In 1884, he illustrated the very popular book "La chanson de l’enfant (The Song of A Child)" by Jean Aicard. He also exhibited regularly in Germany and Melbourne. Museums: Amsterdam Municipal Museum Musee Besançon Musee Chalons-sur-Marne Musee Limoges Mulhouse Museum Listed: E. Benezit, Grund, vol. VI, pg. 708 Thieme Becker Lexikon Index of Artists, Mallet 1831 - 1914 Timoleon Marie Lobrichon Lobrichon Timoleon Marie 3265 Born in Austria, Gisella Loeffler was noted as a Taos, New Mexico artist of decorative child folklore figures and illustration talents. Her cheerful Austrian and Mexican motifs were popular among her peers including Mabel Dodge Luhan. Loeffler signed her work simply "Gisella." From the Austrian Alps, she came with her family to the U. S. in 1908 and settled in St. Louis, Missouri where she, age five, was very disappointed in the drab appearance of her surroundings compared to where she had come from. Instead of flowers in her front yard, she found paved bricks. She studied art at Washington University, created posters for the St. Louis Post Dispatch and began working in batik on textiles. An exhibition of Taos painter, Ernest Blumenschein, also from St. Louis, aroused her interest, and in 1933 she, divorced and moved with her two daughters to Taos where she lived the remainder of her life and found the happiness that had eluded her with her first husband. She married Frank Chase, a New Englander, and traveled extensively in Mexico and South America, and did paintings and illustrations of Navajo and Pueblo children in children's stories, and also did numerous murals for childrens' hospitals across the United States. A description of Loeffler and her home in Taos was provided by Claire Morrill in her book, A Taos Mosaic: "Color is her life. She wears it, peasantlike---raw yellows and purples, reds, high blues, shocking pinks and greens, all thrown together in full woolen skirts, gaily embroidered blouses and Latin-American shawls and rebosos. . . Color runs uninhibited in her house studio, which might be mistaken for the Black Forest cottage of Hansel and Gretel." (131-132) Source: Claire Morrill, A Taos Mosaic Peggy and Harold Samuels, The Illustrated Encyclopedia of Artists of the American West 1903 - 1977 Gisella Lacher Loeffler Loeffler Gisella Lacher 3182 Alexander Francois Loemans created striking, sweeping vistas of the northern United States and Canada in the mid-nineteenth century. Born in the Netherlands, Loemans is believed to have trained in France before settling in North America. From there, he moved between the United States and Canada, painting in New York, Boston, Minnesota, Ontario, Manitoba, and Vancouver. The majority of his landscapes were created along the Hudson River, in the Sierra Mountains, or at St. Anthony Falls on the Minnesota River. Featuring towering mountains, thundering waterfalls, and stormy skies, Loemans’ paintings reveal a grand, dramatic vision akin to that of Albert Bierstadt and Hermann Herzog. Exhibited: National Academy of Design Museums & Public Collections: Washington County Museum of Fine Arts Museum of Fine Arts in St. Petersburg, Florida Greenville Museum of Art in North Carolina, the Musee de Beaux Arts in Montreal The New Brunswick Museum The National Gallery of Canada Literature: "Moccasins and Wooden Shoes: American Indians and Dutch Artists", a manuscript-in-progress by Pieter Hovens, curator at the National Museum of Ethnology "Art Across America (West)", Gerdts, William H., vol. 3, 396, "Tropical Renaissance North American Artists, Latin America 1839-1879", Manthorne, Katherine Emma, page 235 "Artists of the American West: A Biographical Dictionary (3 vols)", Dawdy, Doris, page 1184 "American Paintings, The Landon Collection", Mint Museum, page 83 "The Way West Art of Frontier America", Hassrick, Peter H., page 240 "Painting and Sculpture in Minnesota 1820-1914", Coen, Rena Neumann, page 146 "19th Century American Topographic Painter", Lowe Art Museum, page 95 "Exhibition Record 1861-1900 National Academy of Design (2 Vols)" Naylor, Maria, page 1075 Died 1898 Alexander Francois Loemans Loemans Alexander Francois 2129 Luigi Loir was born December 22, 1845 in Goritz, Austria and he died February 9, 1916 in Paris. He began his first formal art education in 1853 at the Beaux-Art Academy. Upon finishing his studies in 1865, Loir had his debut in the Salon of Paris with " Paysage a Villiers-sur Seine" for which he received the highest acclaim. Loir then enrolled into studies under Jean Amable Amedee Pastelot (1810-1870) to become a mural painter. He became a very popular ceiling and mural painter. One of Loir's first commissions was to paint the murals and ceilings at the Chateaux du Diable in 1866. Many of Loir’s works, which include oils, watercolors, and lithographs, were acquired by the city of Paris and by French museums. During the Salon des Sciences at the Hotel de Ville, Loir exhibited “Les Preparatifs de la fete foraine.” The painting overwhelmed the museums. Loir had finally received the recognition he was due. Their response would also influence the Municipal Council of Paris to purchase to “Le Marche a la Ferraille”, the city of Paris would acquire “La Rue de la Pitie, vue du Val de Grace” and The Empress of Russia to purchase the watercolor entitled “The Celebration of the Throne”. In 1870, he was commissioned into the military to record the battles of Bouret. Loir concentrated exclusively on painting views of Paris. In these works, Loir caught and expressed the many faces of Paris, at all hours of the day. Though some thought him excessively methodical, he was undeniably endowed with exceptional powers of observation and craftsmanship. It was because of his work during this campaign of 1870, that Loir was elected to be the official painter of the Boulevards of Paris. This boosted his career and reputation. In 1879 in was awarded the Bronze metal from the Exposant Fidele des Artistes Francais. Loir was also elected into the Legion of Honor in 1898. Listed: E. Benezit, Dictionnare des Peintres, Sculpteurs, Dessinateurs et Graveurs, Paris, 1976, Vol. 6, p. 717 Museums: Auxerre Bar-Le-Suc Bordeaux Moscow Nancy Nantes Le Puy Rouen Palais-Beaux Arts Prague Saint-Louis Vienna 1845 - 1916 Francois-Joseph Luigi Loir 1 Loir Francois-Joseph Luigi 2937 Gustave Loiseau (1865-1935) Loiseau was born in Paris in 1865, where he grew up and studied at the Ecole des Arts Decoratifs. When he was 25 he moved to Pont-Aven in Bretagne to work with Gauguin and other members of the Pont Aven School. During Loiseau's time in Pont Aven, he also met and became close with two other post-impressionists, Maxime Maufra and Emile Bernard. The time he spent with these artists led Loiseau to a stronger structure and freer brushstroke in his subsequent work. In addition to Gauguin's style of cloissonism, one can also see the influence of Pissarro and the pointillism of Seurat in Loiseau's technique. Loiseau was a great traveler whose paintings are very diverse; his oeuvre includes landscapes, marines, flowers, and still-lifes, amongst other subjects. From 1893 Loiseau exhibited in Paris at the Salon des Independants and at the Salon de la Société Nationale des Beaux-Arts from 1895. Between 1890 and 1896 he regularly exhibited at the Post Impressionist shows. Museums: Albright-Knox Art Gallery (Buffalo) Chateau Museum (Dieppe) Nelson-Atkins Museum of Art (Kansas City) Ashmolean Museum (Oxford). Robert Lehman Collection of Art, The Metropolitan Museum of Art (New York) 1865 - 1935 Gustave Loiseau 1 Loiseau Gustave 3285 Newman Long was a businessman in Dallas, Texas. Studied with Texas artist Reveau Bassett. 1 Newman Long Long Newman 1979 Carl Antonio Longi was born in Livorno in 1921 and attended the Art Institute of Florence and the Liceo Artistico and the Academy of Fine Arts in Rome. He has had shows throughout Italy in great profusion, also in New York and Philadelphia. He began showing at Phillips Galleries in 1971. Longi's work shows a beautiful regard for the design of a painting, his treatment of space and an impeccable sense of visual rhythm show him to be a painter of enduring quality. But added to this sense of design is a glorious feel for luxuriant color that bursts upon the viewer, the rich buttery look of his paint quality give us a painter who has mastered his medium. When a painter reaches this level of expertise, there is a danger he may go off into visual pyrotechnics just for the sake of it. Not so with Longi. His work has the calm, clear pensive feel that holds everything in balance. His subjects are often young women, capturing an ideal of womanhood that is mostly lyrical, posed against everyday settings that have a calming effect. Principally, Longi would be considered a colorist, but there is much more involved. Within each of his paintings is a feeling of light, so that they almost glow from within, giving them a sort of incandescence. This is an artist of both stature and strength... a force to be reckoned with in the art world. 1921 - 1980 Carl Antonio Longi Longi Carl Antonio 2040 A talented fleuriste, Paul de Longpré began his career in his native France, where he painted flower decorations on fans, first in Lyons and later in Paris. Although he is said to have studied briefly under Leon Bonnat and Jean-Leon Gerome in the French capital, he was basically a self-taught artist who drew inspiration directly from nature. He began exhibiting watercolors of flowers at the Paris Salon in 1876 and did so intermittently until 1890, at which time he lost his savings in a bank failure and immigrated to New York. De Longpré worked in relative obscurity until 1895, when, on the occasion of a major exhibi-tion of his work at New York's American Art Galleries, a penman for Art Interchange hailed him as "America's foremost flower painter." Two years later, a writer for the New York Times lauded his ability to combine mood and poetic effect with "the knowledge of a botanist and a marvelous fidelity in the reproduction of both form and color." De Longpré became so successful that in 1898 he decided to settle in California, building a lavish Moorish-Mission style villa in Hollywood. He also cultivated a three-acre flower garden, which provided him with the fresh specimens he so loved to paint. De Longpré depicted a variety of blossoms, favoring simple, harmonious arrangements shown against unadorned backgrounds. His firm draftsmanship, sensitive colorism, and awareness of the symbolic language of flowers contributed to his immense popularity at the turn of the century. 1855 - 1911 Paul de Longpre Longpre Paul de 2007 Raoul de Longpre came from a family of fleuristes associated with Lyons, France, an important center of flower painting during the nineteenth century. His father, Jean-Antoine, was a decorator of fans who exhibited floral still lifes in both Paris and Lyons, while his brother, Paul, was a professional flower painter, first in Paris and later in the United States. In contrast to his sibling, who painted a wide range of flowers, Raoul was drawn to informal arrangements of lilacs and roses depicted individually or together, which he portrayed in one of three ways: arranged on a stone ledge or plinth, newly cut and strewn on a floor or other surface, or as a bouquet floating mysteriously in the air. Like other flower painters of the nineteenth century, his choice of motifs was likely inspired by the language of flowers literature available in France and elsewhere in Europe. Working in watercolor or gouache, he employed a style that combined surety of touch with a poetic and wistful interpretation of his subject. Although he never lived in America, his work found its way into many public and private collections in the United States, possibly through the efforts of his brother, Paul, who may have acted as his agent. 1843 - 1843 Raoul Maucherat de Longpre Longpre Raoul Maucherat de 3245 Ralph Love was born in Los Angeles, California April 18, 1907. He died May 26, 1992 in Escondido, California.For many years, Ralph Love taught as well as painted. His students were made up of avid artists throughout Southern California, and their classroom was the wide-open spaces. On rainy days, the class would meet in the old Art Shack in Temecula, California, which Love opened in the mid-fifties. It was from this Art Shack that his work received national recognition. Ralph Love was perhaps most well known for painting the Grand Canyon and California landscapes. "Arizona Life" (magazine) featured his work on the cover and on the inside spread, showing several of his original oils. Senator Barry Goldwater owned several of Love's Grand Canyons, and a letter from him stated,"...Love is the finest living American artist I know, and I could look at his work all day long." Love's desert scenes are immortalized in Palm Springs at the Palm Desert Museum through dioramas. Another of these unique displays can be seen at the historical Mission Inn in Riverside, California. The Frontier Museum in Temecula, California has honored Ralph Love in their museum publication with two pages of his contribution to the area through his art. The late Erle Stanley Gardner, who commissioned a Love painting of his ranch, is the only other person in this publication. Ralph Love paintings are hanging in several other museums throughout the West, including the Noirthern Arizona Museum in Flagstaff, Arizona, the Phillips 66 Museum in Oklahoma, and the Leanin' Tree Museum in Boulder, Colorado. Ralph Love is listed in "Who's Who of International Art", in the Tenth Anniversary edition of the "Southwest Art Magazine" hardcover contemporary artist listings, Prize Winning Paintings published in New York, and has been featured several times in Southwest Art, Artist of the Rockies, Western Art Digest, and Art of the West. He is listed in the Edan Hughes reference book of Early California Painters from 1840 to 1940. Though art was his career from his youth, Ralph Love was also an ordained minister. He often used his art in the ministry, and would combine the two in special meetings in churches all over the West. A very special treat for the congregation was when he would pick up the violin and play a medley of favorite hymns. In his studio, he always painted to classical music, and would often stop painting to play his favorite passages on the violin. Ralph Love received no formal art training, but was literally self-taught. It was when he was about eleven or twelve, his teacher took the class to the Los Angeles Museum of Art, and he discovered what he wanted to do. He remembered standing in front of one of the old Flemish masters, and it just came to him. . . "I can do that!" And he did. As a young artist, he had the privilege of painting for two years with Sam Hyde Harris. This was the only real "formal" training Ralph Love had. The rest was from avidly devouring all the art books in the library he could find. Bertha, Ralph Love's wife of 62 years, passed away in 1996. She handled the business part of the art for many years. Together, they raised four children. Marian Brown owns a secretarial service in Oakland, California; Evelyn Norris lives in Carlsbad, California; Corwyn Love is retired from McDonald-Douglas Corporation and living in Garden Grove, California; and Lee Love Youngman owns the Lee Youngman Galleries in Calistoga, California. 1907 - 1992 Ralph Love 1 Love Ralph 1921 Lowry's extraordinary standing and popularity owe everything to his reputation as an urban realist, a painter of mill towns populated with a myriad of 'stick' figures. In truth, for more than a third of his career he had left the urban scenes behind and turned to more solitary subjects, reflecting perhaps his own loneliness. Lowry was born in Manchester to relatively prosperous parents, who in 1909, moved to the industrial district of Pendlebury. He studied at Manchester and Salford Schools of Art until 1928, while working as a clearly very sympathetic rent collector, one of Lowry's teachers being Adolphe Valette. From 1932 Lowry exhibited regularly at the Royal Academy and in 1934 was elected R.B.A. The year 1939 saw his first one-man exhibition and sadly the death of his mother with whom he had lived, his father having died in 1932. Lowry stayed in Pendlebury until 1948, then moved to Mottram in Longdendale Cheshire, which from all accounts he disliked, and where he died in 1976. Lowry was belatedly elected A.R.A. in 1955 and R.A. in 1962. Lowry was perhaps surprisingly, a great admirer of the Pre-Raphaelites, he owned works by Rossetti and Ford Madox Brown, and works by Lucien Freud. His early work owes something to an anglicized form of impressionism, while his industrial scenes, far from being naive or primitive, show careful observation and character, the work of an artist who studied at art school a considerable time. Without question Lowry is a unique artist, his works a product of his environment and character, one of the great names in twentieth century British art. His works can be found in museums in Manchester; London, Tate Gallery; Salford; Nottingham and New York, The Metropolitan Museum of Art. 1887 - 1976 Laurence Stephen Lowry Lowry Laurence Stephen 3240 A painter, lithographer and draftsman, Maximilien Luce was born in Paris on March 13th, 1858 and died in the same city on February 6th, 1941. As a youth he apprenticed to become an engraver and took evening courses to deepen his knowledge in the field. In 1876 he entered the shop of the engraver Eugène Froment (1844-1900), a graduate of the Ecole des Arts Décoratifs, as a qualified craftsman. There, Luce worked on engraving, numerous illustrations for French newspapers as well as some for foreign periodicals. In 1877 Luce left Paris with Froment and went to London. When he returned to France in 1879 he was called for military service, first in Brittany and then in Paris were he continued with his career as an engraver. It was during his military service that Luce met Charles Emile Carolus-Duran (1837-1917), the famous French painter and sculpture whose students included countless artists -- both French as well as foreign, John Singer Sargent (1856-1928) for example -- who would go on to carve their niche in art history. Luce entered Carolus-Duran’s studio, a move which not only gave him meticulous training as a draftsman, but introduced him to the leading painters of the time. One such artist Maximilien Luce met was Camille Pissarro (1830-1903), with whom he became very good friends and who gave Luce much artistic advice. Along with Pissarro, Georges Seurat (1859-1891) and Paul Signac (1863-1935) Luce was one of the founders of the Neo-Impressionist School (i.e. the Pointillists). For many years Luce adhered to the Divisionist technique of color separation and theories of the scientists Michel Chevreul, Charles Henry and Ogden Rood. In 1887, Luce joined the Société des Indépendants, after which time he consistently participated in the avant-garde group’s exhibitions. Though landscapes made up most of his oeuvre, Luce executed some marvelous paintings of people in the Pointillist style – an aspect of his style that differentiated him from many of his fellow Neo-Impressionists. Luce was always very interested in the worries and pains of ordinary people and attempted to honestly transmit such human plight in his portrayal of lockers, masons and other laborers whose daily work he witnessed. In fact, in his youth, Luce had been quite struck by the notion of ‘the commune’ and he subscribed to Anarchist magazines such as La Revolte and L’assiette au beurre (literally translated as "The Plate Cooked in Butter") and was implicated in 1894 for politically incorrect behavior, for which he passed a stint in prison and subsequently recounted his adventures in his lithographic series Mazas. Maximilien Luce was, for a period of time, a strict Pointillist. After 1920, however, when he began spending a large amount of time around Rolleboise, Luce started to paint in a freer manner. Concerned very little with accolades, he did, however, accept the position of President of the Société des Artistes Indépendants in 1935 subsequent to the death of Signac, a position from which he would resign as a statement against the society’s growing posture towards restricting Jewish artists from exhibiting. Luce made a significant contribution towards exporting Neo-Impressionism and maintained strong ties with the Belgian Pointillist Théo van Rysselberghe (1862-1926). He has left us a sizable amount of work in various mediums, as he was an indefatigable artist. Maximilien Luce remains a very important figure in French Post-Impressionist Art, as a Pointillist and a social realist. Museum Collections include: Museum D'Orsay, Paris; National Gallery, Oslo; Museum of the Annunciation, Saint-Tropez; Kroller-Muller National Museum, Netherlands; Goteburg Art Gallery, Goteburg, Sweden; Phoenix Art Museum, AZ; Minneapolis Institute of Arts, MN; Petit Palais, Geneva; National Museum of Modern Art, Paris; the Musée D’Orsay in Paris, the Metropolitan Museum in New York, N.Y., the National Gallery of Art in Washington, D.C., the National Gallery of Canada in Ottawa, Ontario, and the Legion of Honor museum in San Francisco, California. Bibliography: Henri Perruchot. La vie de Seurat. Hachette. 1966 Impressionist Art 1860-1920. Edited by Ingo F. Walther. Benedikt Taschen Verlag GmbH. 1997 Painting of Europe XIII-XX centuries Encyclopedic Dictionary Iskusstvo 1999 Neo-Impressionist Painters: A Source book on Georges Seurat, Camille Pissarro, Paul Signac, Theo Van Rysselberghe, Henri Edmond Cross, Charles Angrand by Russell T. Clement, Annick Houze. Greenwood Publishing Group, 1999. 1858 - 1941 Maximilien Luce 1 Luce Maximilien 1671 Born in Malnate, Italy in 1900, Luigi Lucioni became one of America's most brilliant landscape painters, whose works have been noted for their heightened realism and photographic attention to detail. Lucioni came to the United States in 1911. Five years later he began studying at Cooper Union with William Starkweather. In 1920 he studied with William Auerbach Levy at the National Academy of Design. Lucioni's attention to detail can be traced to his early work as an etcher in 1922; mastering a technique which stressed sharp linear precision was instrumental in developing Lucioni's precise painting style. In 1924, Lucioni won Tiffany Foundation Fellowship, which enabled him to go back to his homeland to study Italian primitives. He responded immediately to the realism of early Renaissance painting, which left a lasting impression on his work. As he incorporated realism into his own work, Lucioni's paintings became more meticulous. His crisp, somewhat flat pattern and detail have been likened to the microscopic approach of the fifteenth-century Flemish masters. Beginning in 1929, he spent part of each year in Vermont, where he painted still lifes and landscapes of the hills and barns. He later taught at the Art Students League in New York, won many honors during his distinguished career. He took first prize in 1939 at the Carnegie International, and his 1941 portrait of John La Farge was voted best painting by a visitors to the Corcoran Biennial in Washington, D.C. Despite his lack of conscious effort toward the experimental or avant-garde, Lucioni's work has always been popular. Lucioni lives in Union City, New Jersey. Memberships: Allied art Association Brooklyn Society of Etchers Public Collections: Metropolitan Museum of Art, New York City Whitney Museum of American Art, New York City b. 1 - 1900 Luigi Lucioni Lucioni Luigi 1670 George Luks's lack of sentimentality and his understanding of the cruder and coarser strata of civilization made him one of the most powerful realists of the Ashcan School, the group of painters who were tremendously influential in creating realism in twentieth-century American painting. Luks's habit of embroidering or even manufacturing his past makes it difficult to trace his life. The son of two amateur painters, he was born in Williamsport, Pennsylvania in 1867. His father was a doctor. In 1884, he attended the Pennsylvania Academy of the Fine Arts in Philadelphia, where he studied under Thomas Anshutz. He then proceeded to Europe to study in Dusseldorf, Paris and London. In 1894, Luks joined the art department of the Philadelphia Press. He covered the Cuban front as artist correspondent for the Philadelphia Evening Bulletin in 1896. He also did comic strips and caricatures. With Everett Shinn, William Glackens, John Sloan and their mentor, Robert Henri, Luks became one of the famous Eight. This group was later known as the Ashcan School, for the darkness of their palette and the urban dinginess of their subject matter. Luks drew his technique from Frans Hals and Rembrandt, and his subjects from the city streets. He continued to work as a newspaper artist, the equivalent of today's news photographer. As one by one his fellow artists left Philadelphia for New York City, he joined the New York World as a cartoonist. Simultaneously, Luks developed into an accomplished painter, working swiftly and with great energy. His street urchins, wrestlers and coal miners were painted with brutal vitality and uncompromising affection. "The Wrestlers" (1905, location unknown), perhaps his most widely reproduced work, illustrates both his ability to capture with absolute clarity the essence of a moment, and his reckless and slapdash approach to technique and anatomy. In 1908, with Maurice Prendergast, Ernest Lawson and Arthur B. Davies, Luks and the other members of his group exhibited at the Macbeth Gallery in New York City, a show which was intended as a rebuke to the conservative art establishment. This show by The Eight became a rallying point for the forces of change, which eventually resulted in the Armory Show of 1913, in which Luks also exhibited. Ironically, the Vigor and new ideas of the modernist foreign painters who participated in the Armory Show overshadowed the American realists who had organized it, and Luks and his friends were passed by. Luks taught for several years at the Art Students League, and then founded his own school, where the students divided their time between painting under his inspiration and keeping their bellicose master under control. He was found dead in a New York street at age 66. Member: American Painters and Sculptors National Association of Portrait Painters New York Water Color Club Public Collections: Detroit Art Institute Harrison Gallery, Los Angeles Metropolitan Museum of Art, New York City Milwaukee Art Institute Munson-Williams-Proctor Institute, Utica, New York Museum of Fine Arts, Boston National Gallery, Washington, D.C. New York Public Library, New York City Phillips Gallery, Washington, D.C. Whitney Museum of American Art, New York City 1867 - 1933 George B. Luks 1 Luks George B. 3095 Lumis was born on May 29, 1870, in Salem Oregon, and died on April 6, 1953, in Springfield, Massachusetts. She was in Connecticut steadily, 1870-92; and periodically, 1892-1933. Although Harriet Randall Lumis lived most of her adult life in Springfield, Massachusetts, she considered Connecticut second home. She was born and grew up in the state, her birthplace the country village of Salem, near Norwich. The interest she showed in sketching from nature when she first attended school at Bacon Academy in Colchester was encouraged by her father. But when she was a boarding student at the Connecticut Literary Institution at Suffield in the early 1880s, she reluctantly chose not to enroll in art courses: "To be sure I was filled with a great desire to paint the atrocious flower pieces . . . but my family thought music the most fitting medium.'' Her family by then had moved to a farm a little north of Colchester, in Hebron. In 1892 Harriet Randall was married to Fred Williams Lumis, a native of Norwich, who had just settled in Springfield, Massachusetts, where he would become an architect and the city's building commissioner. It was there that her art career began. In 1883 the Lumises enrolled in an evening drawing class sponsored by the Springfield school system. The training was academic but the experience developed Harriet Lumis's early interest in art into a total commitment. She had several instructors in Springfield — among them Mary Hubbard, James Hall, Roswell Gleason Shurleff, and Willis S. Adams — all academic draftsmen or tonalist painters. In 1910, at forty years old, and again in 1911, she went to Mianus in Cos Cob to study with Leonard Ochtman in the New York Summer School. Ochtman, something of a tonalist himself, nonetheless shared with Cos Cob artists such as Twachtman and Hassam a desire to depict specific locales in a subtle, intimate way. Lumis began to share those attitudes. She developed an interest in American Impressionism. Once she committed herself to Impressionism — just at the time that it was essentially over as a force in American art — she remained fiercely loyal to its ideas and style for the rest of her long life. In 1949 she would help found an Academic Artists' Association in Springfield to support realistic art against what she called modernist "propaganda." In 1913 Lumis began to participate in the exhibitions of the fairly young Connecticut Academy of Fine Arts and she soon became an active member. She was stimulated by the professional contacts with artists such as Charles Noel Flagg, Henry C. White, and Guy Wiggins. Presumably her strong interest in the Connecticut-Academy led her to help form a similiar group in Springfield in 1919, the Springfield Art League. Lumis won more recognition in the 1920s. She was elected to the National Association of Women Painters and Sculptors in 1921. In 1925 she won her first major prize— in a Connecticut Academy annual. She was fifty-five years old. Her training had been limited and had come late, and her exhibition activity had been essentially local. Springfield commercial galleries had, however, shown her work with that of artists such as Charles H. Davis, Bruce Crane, and Birge Harrison. Her reputation had grown slowly but steadily. Her style, never static, had become personal. Lumis continued her training (at the Breckinridge Sum¬mer School of Art, Gloucester, Massachusetts) and she increased her participation in exhibitions, including those at the National Academy of Design, the Pennsylvania Academy of Fine Arts, and the Women's National Exposition in St. Louis (1926). The Chicago department store Carson, Pirie Scott began to sell her art. She had several one-woman exhibitions at the Casper Rand Art Museum in Westfield, Massachusetts. After her husband died in 1938, Lumis taught landscape panting until her own death in 1953, because she needed the income. Despite developments in American art in the 1940s, she taught only American Impressionism, because she still believed so completely in its ideals. Throughout her career, she painted near her home or on the Massachusetts shore, but she often visited family and friends in Connecticut, and when she was in the state she painted local scenes. Richard H. Love, who organized a major retrospective of her work in 1977, says that a significant part of Lumis's work was done n the state that had been her girlhood home. Further reading: Harriet Randall Lumis, 1870-195.1; An American Impressionist. (Exh. cat., R. H. Love Galleries, Chicago, 1977). 1870 - 1953 Harriet Randall Lumis 1 Lumis Harriet Randall 1669 Joseph Lyman was born in Ravenna, Ohio, on July 17, 1943. He studied with John Henry Dolph (1835-1903) and Samuel Colman (1832-1920) in New York City. After his studies in New York he went abroad to complete his education. Upon returning to the United States he became associated with the second generation "Hudson River School". It seems that his most sought after paintings were of coastal areas where light and shadow played a major role in his luminist orchestrations. His painting titled, "Magnolia, MA" was an area that was a hotbed for most of the major painters of the period. Dating from the early 19th Century with such greats as Fitz Hugh Lane, through the 1870's when William Morris Hunt frequented the area. Magnolia, which lies just at the beginning of Cape Ann, was probably an inspiration for artist such as Joseph until the turn of the century. Mr. Lyman exhibited religiously at the very prestigious National Academy of Design. From 1874 to 1900 he exhibited paintings every year. He became an associate member in 1886. Listed: Who Was Who in America, p.385 Mantle and Fielding's, p.563 Memberships: Century Associates Nation Academy of Design, 1886 Exhibited: St Louis Exposition, 1904 (medal) National Academy of Design, 1874-1900 1843 - 1913 Joseph Lyman Lyman Joseph 3137 James Edward Hervey MacDonald, usually called `Jim' by his colleagues, was born in Durham, England. His Canadian father brought his family back to Canada when MacDonald was fourteen. After his commercial art training and apprenticeship in Canada, he returned to England from 1901 to 1903. By the time he met Harris in 1911, MacDonald was a leading commercial artist in Toronto, an excellent writer, and a poet. He was a keen admirer and follower of the transcendental American writers Ralph Waldo Emerson and Henry David Thoreau, after whom he named his son. When Harris saw MacDonald's paintings at a little exhibition at Toronto's Arts and Letters Club, he thought that he had finally discovered the work of someone who saw Canada in an original and truthful way. Harris and MacDonald sketched together frequently after they met and, in January 1913, traveled to Buffalo, New York, to see the Exhibition of Contemporary Scandinavian Art at the Albright Art Gallery. From the way the artists of Finland, Sweden, and Norway (particularly Edvard Munch, J.F. Willumsen, Prince Eugen, and Harald Sohlberg) depicted their countries, Harris and MacDonald were able to give shape and conviction to their then vague feelings about how to paint Canada. MacDonald wrote later: 'We felt "This is what we want to do with Canada."' The northern light, the patterns of snow, the profiles of conifer trees, and a sense of the mystery embedded in the rawness of nature all touched a nerve for Harris and MacDonald. Certainly the correlation of the landscapes of Canada with those of Scandinavia was greater than with Italy, Holland, or England. The trip to Buffalo, which began in curiosity, profoundly influenced the work of all their artist friends thereafter. 1873 - 1932 James Edward Hervey MacDonald 1 MacDonald James Edward Hervey 2920 Stanton Macdonald-Wright was born in Charlottesville, Virginia in 1890 and grew up in a well-off hotel-managing family. His father treated him to painting lessons when he was five years old. Mystery writer S.S. Van Dine was his brother. At fifteen young Stanton rebelliously went to sea on a windjammer, and got so seasick that he was put off at Hawaii. Private detectives sent by his father brought him back home. His family solved his wanderlust by sending him off to Paris at sixteen to study art at the Sorbonne and the Beaux Arts, Colarossi and Julian Academies. He and Morgan Russell developed the style they called Synchromism. The idea was that color generates form. Returning to the United States, he lived in New York from 1914 to 1919, and then returned to Los Angeles where he turned from Synchromism to a more Oriental style. He also produced the first full-length motion picture in color. MacDonald-Wright was a man given to confounding the experts. Art critics pronounced him through at thirty; his doctors, unable to diagnose a mysterious illness, gave up his case as hopeless at forty-seven. Both doctors and critics were wrong. He painted for many years with a rich, more serene art, with formal soaring movements and pure color that suggest visualized orchestral music. In the 1930s, he was a seven-state regional director of the WPA art program, and one of his commissions was a very large mural of the Santa Monica Public Library. From 1942 to 1952 he taught iconography at the University of California at Los Angeles and after retiring divided his time between Los Angeles and Kyoto, Japan. He died in 1973. Written and submitted by Jean Ershler Schatz, artist and researcher from Laguna Woods, California. Sources: Time Magazine, March 5, 1956 From the internet, AskART.com 1890 - 1973 Stanton MacDonald-Wright 1 MacDonald-Wright Stanton 1668 Angus Peter MacDonall, who came from Saint Louis (studied at the Saint Louis School of Fine Art) he was one of the early group of artists who settled in Westport, Connecticut, to make it a famous art colony. MacDonall was especially popular with fellow illustrators because of his three beautiful daughters who were in great demand as models. MacDonall illustrated for most of the magazines including Scribner's, Harper's, American, and The Ladies Home Journal. For several years he did a regular double spread illustration of human interest or social commentary for the old Life magazine. He also did the cover for the Saturday Evening Post, October 8, 1921 edition. Member: Society of Illustrators. Established in 1901, New York City Guild of Free Lance Artists. Established 1920, New York City Chicago Watercolor Club, Chicago, IL Author's League Palette and Chisel Club Listed: Who Was Who In American Art Mantle Fielding's, Dictionary of American Painters, Sculptors and Engravers The Illustrator In America, 1880-1980 1876 - 1927 Angus Peter MacDonall MacDonall Angus Peter 1667 MacEwen, Walter (1860-1943) Walter MacEwen was born in Chicago Ill, February 13, 1860, son of John and Elizabeth (Brannon) MacEwen. His father was a native of Scotland, but resided for sometime in Canada, and in 1851 moved to Chicago, where he became well known as a builder and manufacturer. His mother was a native of Oswego, NY. Walter began his formal education at Lake Forest Academy and in the fall of 1876 entered Northwestern University, Evanston, Ill, but withdrew the following spring. Having decided upon art as a vocation, he went to Munich, and spent a year at the Royal Academy of Arts in that city. His proficiency was such that at the end of the year he was awarded a solver medal for his work. He was inpatient to start study painting, but as there was no room for him in the studio of Prof. Dietz, whose instruction he preferred, he began by himself, aided by the friendly criticisms of Frank Duveneck, Frank Currier, David Neal and other American artists residing in Munich. In 1880, he went to Holland, and the somber tones of the Munich school that he adopted were exchanges for the light and silvery tones of contemporary painters of the Netherlands. In the following year, Walter opened a studio in Hattem, near Zwolle, in the heart of Holland, and nearly every summer since was spent there. In 1883, Walter exhibited in the International Exhibition at Munich, and in the same year revisited the United States, taking a collection of some fifty finished works and studies, which were placed on view at the Stevens Art Gallery, Chicago, and the St. Botolph Club, Boston. Since 1895, he contributed regularly to the Paris Salon, and in 1881 he moved to that city, where he became a pupil and friend of Ferdinand Cormon and Tony Robert Fleury. Among Walter's principle works are "Return form Labor", and "Judgment of Paris" (1886), the latter receiving honorable mention at the Salon and eventually hung in the Muuger collection in the Chicago Institute; "Ghost Story" (1888); "Dutch Children" (1889), now in the collection of Potter Palmer, Chicago; "The Absent One on All Souls' Day" (1890), now in the Museum of Liege, Belgium; "The Sisters" (1891), Museum of Magdeburg, Prussia; "The Witches" (of Salaam, Mass.), 1892; "The Madeleine" (1894), collection of James Dearing, Chicago; "Dutch Family" 1895 and "Two Friends," the former purchased by the Belgian government for the Museum at Brussels; "Sunday in Holland' (1895) and "Pieter Van Wint" (1899), and "A Study" (1900). " The following honors have been conferred upon him: Second medal, Universal Exposition, Paris, 1889, making Walter "hors concours"; silver medal, London (1890); large gold medal of the city of Berlin, given by the emperor in 1891, for his "Portrait of a Lady" and "At the Burgomaster's"; medal (builders) , Colombian Exposition, Chicago (1893); medal of honor (grand prize), Universal Exposition, Antwerp (1894); medal of honor Winter Exhibition, San Francisco (1894); gold medal, Munich (1897); cross of the Legion of Honor (chevalier's cross), (1896). In 1892, Walter MacEwen painted two large canvases, "Music" and "The Textiles" for the corner pavilion of the Liberal Arts Building at the Colombian Exposition, Chicago, and also served on the French advisory committee and jury for the exposition, thereby placing himself out of the competition for the awards in 1893. Also in 1892, Walter would marry Mary Ward, widow of Robert Graham and daughter of General John Hobard Ward, all of New York. In 1895-6, he painted nine large panels and a number of small ones for the hall of heroes in the library of congress, Washington, the subjects were taken form Greek mythology. After a long and successful career as a painter and an important contributor to American art history, Walter MacEwen died March 20, 1943 in New York City. Museums: Luxembourg Museum, Paris Museé Budapest Museé Ghent Corcoran Gallery of Art, Washington, D.C. Los Angeles County Museum Indianapolis Art Museum Cleveland Museum of Art Art Institute of Chicago Pennsylvania Academy of Fine Art Richmond Art Museum, VA Telfair Museum, Savannah, GA Honolulu Museum The National Cyclopaedia of American Art, page 166 1860 - 1943 Walter MacEwen MacEwen Walter 3311 An illustrator for fifteen years before the Great Depression, he had work in leading magazines including the Saturday Evening Post, Country Gentlemen, Harper's, and Youth's Companion. He also did landscape painting and carved his frames. The following was submitted by Anne Smallwood who obtained the information from fliers she received when buying the artist's work in Taos, New Mexico in the mid 1970s: "LEAL MACK'S paintings fall mainly within three categories. THE WORKING WEST The men and horses, and the cattle they tended, during the later years of the 19th century and six decades of the 20th. THE TRADITIONAL WEST That period in our nations' development when the West's undulative hill and plain, the far reaches of the wind-swept grass, lay open to the buffalo herds, to the Comanche and the Sioux, to the plodding wagon trains; when the high Rockies challenged mountain men of the ilk of Jim Bridger and Kit Carson to come on in for beaver but to keep a sharp eye for the hazards. THE NEIGHBORLY EAST AND MIDWEST The life of the towns and farms that Leal Mack knew as a boy; the fold that he came to know as he grew to manhood and for some years worked among, and who, in hi through, remained throughout his life as friends and neighbors. LEAL MACK studied at the Pennsylvania Academy of the Fine Arts, in Philadelphia, then at Chadds Ford, became one of the most productive members in N. C. Wyeth's coterie of young artists of unusual potential. Eventually Mack moved west to Taos, where he painted most of his intimately discerning portrayals of the America he knew and loved. ESPECIALLY NOTABLE IS Mack's use of color, which on his canvas seems to be transformed into shimmering, glowing--even symbolic-light. In the paintings too are distinctive features characteristic of the Chadds Ford group, an understanding and respect for the simpler elements of life, and that same quality of artistic integrity found in the work of such other individualists as Peter Hurd, Henriette Wyeth Hurd, John McCoy, Pitt Fitzgerald, Carolyn and Andrew Wyeth." 1892 - 1962 Leal Mack Mack Leal 1992 Ranked among America's foremost watercolorists of the early twentieth century, Dodge Macknight established a notable reputation in Boston art circles at the turn of the century. A native of Providence, Rhode Island, he served an apprenticeship with a theatrical scene and sign painter before joining the Taber Art Company in New Bedford, Massachusetts in 1878. In 1883 he went to Paris, studying under Fernand Cormon from 1884 to 1886 and exhibiting his work at the Salons. In 1886 he met the Post-lmpressionist painter Vincent van Gogh, whom he later visited in Arles and who influenced his penchant for bold colors. Between 1886 and 1897 Macknight traveled and painted throughout Europe and the Mediterranean. Returning to the United States in 1897, he lived in Mystic, Connecticut before settling in East Sandwich, on Cape Cod, in 1900. Thereafter he spent his summers in locales that provided him with interesting scenery and strong sunlight, such as the Grand Canyon, Spain, Jamaica and Morocco. Characterized by the use of intense hues, his watercolors shocked many contemporary reviewers but were admired by such progressive-minded critics and artists as Philip Hale and Denman Ross. Macknight's patrons included Boston's foremost collectors, among whom was Isabella Stewart Gardner, who displayed his striking watercolors in a specially created Macknight Room at Fenway Court. 1860 - 1950 Dodge Macknight Macknight Dodge 2111 Jean MacLane was born on September 14, 1878 in Chicago and died on January 23, 1964 in New Canaan, Connecticut. Her first studies were with John Vanderpoel at the Art Institute of Chicago. She later studied with Frank Duveneck in Cincinnati, Ohio. MacLane later moved to New York to study with William Merritt Chase. Chase was the first to purchase a painting of her early works. MacLane and her husband, artist John C. Johansen (1876-1964) help found the National Foundation of Portrait Painters in 1912. In that same year, she was invited by a group of philanthropists to depict the Allied Leaders from W.W. I. McLane provided the only female subject, Queen Elisabeth of Belgians. This painting now hangs in the National Museum of American Art, Washington, D.C. Also in 1912, she was elected associate member of the National Academy of Design and a full academician in 1926. McLane became noted for her portraits of women and children. In 1931, she was elected to the American Academy of Arts and Letters. Her portrait of actor William Gillette hangs at the Academy. Public Collections: Museum of Art, Toledo Art Institute of Chicago San Antonio Museum, Texas Syracuse Art Museum, New York National Museum of American Art, Washington D.C. Awards: Bronze Medal, Louisiana Purchase Exposition, St. Louis, 1904 First Prize, International League, Paris, 1907-08 Elling Prize, New York Women's Art Club, 1907 Burgess Prize, New York Women's Art Club, 1908 Julia Shaw Prize, National Academy of Design, 1912 Third Hallgarten Prize, National Academy of Design, 1913 Lippincott Prize, Pennsylvania Academy of Fine Art, 1914 Silver Medal, Panama-Pacific Exposition, San Francisco, 1915 Harris Silver Medal and Prize, Art Institute Chicago, 1924 1878 - 1964 7 Jean MacLane 1 MacLane Jean 3274 Emile Elisée Maclet (1881-1962) Emile Elisée Maclet was born in Lihons-en-Santerre April 12, 1881 and died in Paris in 1962. Elisée Maclet began his career as something of a ‘Sunday painter’, who experimented in oil painting. He moved to Montmartre in 1906. At that point he began doing paintings of the Montmartre landscape—anticipating the themes that Utrillo would eventually depict in his work. After the First World War, his views of Paris earned him an increasing amount of recognition and success. Writers Colette, Francis Carco, and other well-known figures, as well as an American art dealer were all great supporters. Max Jacob wrote about him. In approximately 1920, a wealthy supporter gave him the means to spend an extended period in the Mediterranean. He returned with sumptuous paintings of the Mediterranean, all reminiscent of paintings by Matisse. In 1933, Maclet was institutionalized for mental difficulties from which he never completely recovered. Elisée Maclet Biography: 1881 Born, “Jules-Emile-Elisée MACLET” in Lyons-en Santerre, (Lyon) Picardy, France 1892 “discovered” sketching in a Picardy field by artist Puvis de Chavannes 1906 Set-up studio in Montmartre and became friends with the writer, Collette. 1907 - 1908 decorated floats for evening shows at the Moulin Rouge in Montmartre. 1909 Chef on a ship from Marseilles to Indochina 1912 Returned to Paris 1914 Served as a medical attendant in a temporary hospital run by The Little Sisters of the Poor, when the war broke out 1918 - 1919 painted seascapes in Dieppe, in a house loaned by Francis Carco 1919 Returned to Montmartre 1920 Exhibited by art dealers Dosbourg and Hugo Perlsall 1923 - 1928 moved to Arles, the South of France, subsidized by Austrian patron, Baron Von Fray 1928 Moved to the island of Corsica in the Mediterranean 1929 - 1930 Lived and worked in Bretagne, France 1930 Returned to Picardy, France 1933 Institutionalized for several months 1935 Returned to Paris and resumed his painting career 1945 “Around the Mouslin”, (solo exhibition), Paris 1957 Retrospective exhibition, Paris 1962 Died, Paris, France 1881 - 1962 1 Emile Elisee Maclet Maclet Emile Elisee 2130 Giovanni Madonini was born March 21, 1915 in Milan, Italy and died in 1989. He received his formal art education at the Academy Brera in Milan where he received his Bachelor of Arts Degree. (The following is an excerpt from Moseda Edoardo "Contemporary Paintings and painters of Italy" ed. Alfa Carpa vol. #8.) "Guided by his father, Antonio Madonini, Giovanni entered the Academy of Brera in Milan, at a very young age. He completed his studies in a short time with a Bachelor of Arts degree. His first personal show was put together at the age of 14 at Salesiani of Milano, where he took first place. In speaking of his cultural settings Madonini follows, almost by vocation, traditional and pictorial forms. Points of modernism appear on most of his paintings, following that imitative feeling; an artistic touch of "Macchiaioli". Charged with expression that gives the viewer incomparable vigor and a sense of competency of the visual phenomenon. This is achieved through the most natural and less researched. Sometimes richness of composition, violence of colors, and strength of subjects are well sustained through the miracle of those illusive images of reality; poetic in a sense of remaining in your mind and heart. It does not make sense to give a particular media to the art of Madonini; impressionistic or any other, only because we would lose in the dialectical. Madonini has his very personal style, the transparency of his work, the boldness of his characters and the approach of portrayals of everyday life in his own way. It reminds us of our childhood and when things were simple, and times were happy or sad for that matter." FEELINGS By Walt Hamma (Reporter for the Herald News) "The paintings by Prof. Madonini are warm and impressionable. I feel his landscapes are built on the classical recall. Madonini can be defined as a poet in human nature; his forms and expressions; his work is genuine. He tends to collect the last imprint of the great personalities; of the farms, of the woods, of the road that are today disappearing. His portrait of a drunkard is a drunkard; His fisherman is a fisherman; his gypsy is a gypsy. This is the extraordinary force of Madonini. I feel this is his greatest achievement. You can not judge his work with ruler or scale, you need something more. You need something within yourself; the joy of living that can sing fantasies, poetry, romanticism or reality. That in your veins run abundant blood, warm and violent, then and only then, can the paintings of Madonini enter your heart and soul and never leave." Madonini is greatly absorbed in the National and International markets such as: Canada, U.S.A., England, Switzerland, etc. He is rarely able to put together shows, which require a great deal of time, due to the tremendous demand of his work around the world. Throughout the years, shows have taken place in the following cities: Florence, Italy, at Galleria Masina Venice, Italy at Galleria San Marco Milan, Italy at Galleria Dagrada & Ars Italica Bergamo, Italy at Galleria La Simonetta & Locatelli Beverly Hills, HYPERLINK http://Calif.at Calif. at Galleria Venezia New York, N.Y. at Inter-Art Gallery Lyndhurst, N.J. at International Art Gallery London, England at Swiss Cottage COMMISSIONS: 1934 Milan, Italy-"Church of Santa Augustino"-Altar section showing San Giovanni Bosco "afresco" 1936 Milan, Italy	"Church of Santa Augustino"-Right-side of main altar showing the "Sacred Family" 1938 Italy-Red Cross Headquarters-large "afresco" Listed: "Contemporary Paintings & Painters of Italy", ed. Alfa Carpa, Rome, Italy, vol. 8 pages 105 & 106 Annual "Comanducci", ed. Patucci, Milano, Italy, 1974-page 116 Annual, "Comanducci", ed. Petucci, Milano, Italy, 1975-page 188 page 198 National Catalogue "Bolaffi", Torino, Italy, vol. 7-page 194 National Catalogue "Bolaffi", Torino, Italy, vol. 10-page 182 "Contemporary Paintings & Painters", ed. 11 Quadrato 1972-page 723 Magazines: "Art Calendar" ed. Bela Bogart 1967, La Cienega, Calif., Catalogue #7 page 72 "The Art Market" ed. Otto Giorni, Milano, Italy, 1964, No. 7 front cover "Galleria D'Arte" Simonette of Luciano Capoferri, Bergamo, Italy, May 19, 1971 Newspapers: "L'Eco Di Bergamo" 11/9/73-11/22/74 "Herald News", Passaic, N.J., 9/10/69 "Los Angeles Times" 10/7/66 National & International Shows: 10/01/1971 Bergamo, Italy "Europa Unita" (Bi-annual contest organized by Galleria La Simmonette of Bergamo). 05/03/1975 "Scarpina D'Oro" Organized by the city of Vigevano 10/1971 "Diploma to the Merit" "Europa Unita" 04/1973 "Ambrogino D'Oro" city of Milano, Italy presented by the City Assessor, Sig. Luigi Valentini ACADEMY "Academy of Belle Arte Brera" Milano, Italy 1915 - 1989 Giovanni Madonini Madonini Giovanni 1666 Jean Madou was born in Brussels, January 26,1796, died there, April 3, 1877. Genre painter, pupil of P.J. C. Francois: one of the most original among modern Belgium artist. His genre scenes from the 19th century were usually taken directly from life around his home. Member of the Brussels and Antwerp Academies. Medal, and Legion of Honour, 1855 ; Order of the Lion : Commander of Order of Leopold, 1863. Museums: Brussels Museum Antwerp Museum Museum Fodor, Amsterdam Stettin Museum 1796 - 1877 Jean Madou 1 Madou Jean 3321 Dominique Antoine Jean-Baptiste Magaud (1817-1899) Dominique Magaud was born in Marseilles, France on August 4, 1818 and died on December 22, 1899. Magaud is known as a painter of portraits, historical and genre subjects from the French school. In October 1839, Magaud entered the l’ Ecole des Beaux-Arts to study with historical painter Leon Cogniet (1794-1880) and with August Aubert (1760-unknown). Magaud would have his debut exhibition at the Salon of 1841 was awarded a third class metal at the salon of 1863 and that same year, Magaud was nominated director of the Beaux-Arts de Marseilles. French Museum Collections: Musee du Viell Aix, Musee Bagneres-des-Bigoire, Dignes, Marseilles, Toulon 1817 - 1899 1 Dominique Antoine Jean-Baptiste Magaud Magaud Dominique Antoine Jean-Baptiste 1830 Cesare Maggi was born in Rome on January 13, 1881 and died in 1961. He is considered a landscape and portrait painter from the Italian post-impressionist school. Maggi journeyed high into the Engadine Mountains to study with one of Italy’s most celebrated artists, Giovanni Segantini (1858-1899). It was the influence of Sagantiniís system of spontaneous inspiration laced with "impasti" that Maggi used to develop his impressionistic style of painting atmospheric plein-aire mountain landscapes. Drawn by the virginal snows, the unbroken silence, the light and air of the majestic Italian Alps, Maggi remained in the Thuile Mountains at the Grand Saint Bernard for several years. The works executed during this period (1900-1920) are considered his best. Museums: Sydney Museum, Australia "Le Val d’ Aosle" Listed: E. Benezit, Vol. VII, pg.62 1881 - 1961 Cesare Maggi Maggi Cesare 2053 Henry Malfroy was born in Martiques (Bouches du-Rhône) on January 15, 1895 and died in Paris in 1944. He is considered a postimpressionist painter of landscapes and seascapes from the French school. He could be the son of Charles Malfroy, with whom he is often confused. He exhibited regularly at the Paris Salons and with the Independents. Malfroy painted the French country hillsides, the ports of Bouches du-Rhône and of Var. He also became known for his authentic Paris street scenes. Listed: E. Benezit, Vol. VII, page 119 1895 - 1944 Henry Malfroy Malfroy Henry 2917 Little is known about 19th century about the life of 19th century Spanish artist José Maria Manresa. After extensive research, we have located both figurative works in both watercolor and oil. All are of superb quality that you find only in well educated professional painters of the 19th century. You can easily compare the quality "Afternoon Repose" by José Maria Manresa with fellow Spanish painters; Edouard León Garrido (1856-1949), Antonio Salvador and Casanovay Estorach (1847-1896). The academic quality of his paintings both in oil and watercolor can easily hang side by side with the likes of his Spanish peer Román Ribera Cirera (1848-1935), one of Spain's most known painters to moved Paris. Like Estorach, Manresa may have discovered that there was a ready market in Paris for paintings depicting the glittering "New Paris" of Baron Hausmann. Artists from Belgium, Italy, Spain and Germany descended on Paris to open ateliers and studios. They exhibited at the Salons and studied at the Beaus-Art Academie. In fact, there were over thirty-thousand professional painters in Paris alone at the turn of the century, which may account for little or no information on many very accomplished painters during this period. Does this make José Maria Manresa or any of the rest of these fine painters any less an artist? No, it just means that no one has taken the time to do research on his life. Jose Maria Manresa Manresa Jose Maria 1829 Amedee Julien Marcel-Clément was born in Paris on September 15, 1873. His death date is unknown but thought to be circa 1950. Marcel-Clément is considered a landscape, wildlife and marine painter. He debuted at the Salon of 1903 with scenes of Paris. He became a regular exhibitor at the National Beaux-Art Salons and with the Independents. Marcel-Clément was mostly known for his sober atmospheric detailed views of Paris. He was capable of capturing a grand subject with minimal effort using a very natural simple palette. He also had the unique ability to place the viewer in the painting, as a participant in the scene. Museums: Le Petit Palais, Paris Musée de Nimes, France Musée se Strasbourg, France Tokyo Museum Listed: E. Benezit, vol. IV, pg. 160 Dictionnaire des Petits Maîtres de la Pieture, 1820-1920, vol. II 1873 - C 1950 1 Amedee Julien Marcel-Clement Marcel-Clement Amedee Julien 2037 A major figure in early-twentieth-century modernism, John Marin captured the colliding energies of the American urban scene and the vibrant contrasts of natural elements in the coastal landscape of Maine and other countryside locales. As one of the premier watercolorists of his era, Marin developed a light, spontaneous style ideally suited to conveying the freshness and flux of city and country experience. His watercolors are often considered to match in strength those created by Winslow Homer in the previous century. At the same time, Marin's sensitivity to mass, form, color, and line, and their dynamic interchanges, provided a precedent for the Abstract Expressionist movement of the late 1950s. He was born in Rutherford, New Jersey, and studied at the Pennsylvania Academy of the Fine Arts in Philadelphia and at New York's Art Students League. He was a significant figure in the expatriate community in Paris from 1905 to 1910. Marin's art was featured at all three of the New York galleries run by Alfred Stieglitz. His unique style, characterized by luminescent colors, agile brushwork, and a simultaneously delicate and strong handling, involved a melding of aesthetic approaches influenced by the art of the French Fauves as well as that of Paul Cezanne, Henri Matisse, and the French Cubists. 1870 - 1953 John Marin Marin John 2926 Lajos Mark was born in Marosvasarhecy, Hungary (Budapest), in 1917 and died in Houston, Texas in 1993. Markos earned a scholarship to the National Royal Academy of Budapest. He came to the United States following World War II and quickly established himself in New York City as a major portrait artist, with many of his subjects being celebrities such as John Wayne and Pablo Casals. Markos also painted the portraits of the founders of the Zigler Museum, Fred B. and Ruth B. Zigler. In the 1960’s he moved to Houston Texas, where he expanded his interest to western art. Examples of his work are in the Cowboy Hall of Fame in Oklahoma City. Museums: Zigler Museum, Jennings, LA Cowboy Hall of Fame, Oklahoma City, Okla. Listed: Contemporary Western Artists, Peggy and Harold Samuels Who Was Who in American Art, Peter Hastings Falk (Ed.) 1917 - 1993 Lajos Markos 1 Markos Lajos 1665 Landscape painter. Born in New York City on February 16, 1827. Sailing by clipper ship to San Francisco via Panama in 1849, Marple mined for awhile in the mother lode country around Placerville. Abandoning his pursuit of gold, he worked as a sign and house painter in that area and, as a self-taught artist, began painting landscapes. After moving to San Francisco in 1866, he established a studio at 432 Montgomery Street and in 1867 participated in a sale of paintings with several other artists including Denny ( Countrywide Collection), Young, Holdredge and Bush. He visited Paris, Munich and, after a short stay in New York City, returned to San Francisco in 1871. In that year he was instrumental in founding the San Francisco Art Association and entered thirty six pictures in the association's first exhibition. The silver-gray effects of his paintings received favorable comments at the annual Mechanics' Institute Fairs. Solomon Gump became his friend and patron, and in 1872 they opened a gallery called, "Marple &Gump's, Importers of Painting." Gump provided the financial backing and was exclusive agent in the sale of Marple's paintings. During the 1870's, Marple was considered one of the top artists in San Francisco and was financially successful. In 1877, he left San Francisco for New York City and during 1879-1880 was active in Chicago and St. Louis where he was founder and director of the St. Louis Art Association. In October of 1880, he was in Colorado doing prospecting and painting with Harvey Otis Young. He died in Aspen, Colorado on February 23, 1910. Public Collections: Society of California Pioneers Oakland Museum Crocker Art Gallery, Sacramento, California California Historical Society Listed: California Landscape Painting 1860-1885 Art and Artists in Santa Cruz Catalog Samuels' Encyclopedia of Artists of the American West Artists in California 1786-1940 1827 - 1910 William Marple Marple William 1920 Born in Toulouse, Martin entered L'Ecole des Beaux-Arts in Toulouse in 1877. Three years later in 1880 he first exhibited, at the exceptional age of 20, at the Salon des Arts Francais, and in 1883 won a first-class medal at the Salon. 1885, Martin followed the well-trodden path to Italy with fellow painter Aman Jean, a journey undertaken by numerous French artists who were encouraged by the state to study the Italian masters. In 1899, his work "Serenite" was praised by no less than Puvis de Chavannes, further consolidating his reputation. 1900 Martin's career moved into the phase for which he is now justly renowned. He purchased 'Marquayrol' in Labastide du Vert in Lot where he lived and painted for the rest of his long life. Marquayrol, an old farmhouse with a beautiful garden and extensive views provided much of his subject matter over the years to come. 1905 saw Martin elected as an Officer de la Legion d'Honneur and in 1907 "La Crepuscule" won the medal of honour at the Salon. Martin was favored with a number of State commissions including murals in the Capitol in Toulouse, a triptych for the staircase in the Prefecture du Lot in Cahors and in addition a war memorial for the same town. Martin exhibited at the Galerie Mancini in 1896; and in 1910 and 1926, exhibitions of his work were held at Galerie Georges Petit, and in 1935, a retrospective exhibition was held at the Musee du Petit Palais in Paris. Henri Martin was a symbolist, a painter of murals, but above all, an impressionist and it is in this oeuvre that his reputation lies. A true painter of southern France, his paintings, particularly those of Marquayrol, reflect the clarity of light and vivid coloring of the south. His works can be found in museums in: Bayonne; Beziers; Bordeaux; Carcassone; Cahors; Dijon; Douai; Lille; Montpelier; Mulhouse; Nantes; Paris, Musee d'art Moderne, Palais des Beaux Arts and Montreal. 1860 - 1943 Henri-Jean Guillauman Martin 1 Martin Henri-Jean Guillauman 1547 Horacio Lengo y Martinez whose birth date is unknown was born in Madrid and died in the same city, July 12, 1890. Lengo was considered a genre painter from the Spanish school. He received his formal training in Madrid and Paris at the Beaux-Arts Academie. Museums: The Modern Art Museum, Madrid, Spain. Listed: E. Benezit, vol. VI, pg. 579 Died 1890 Horacio Lengo y Martinez Martinez Horacio Lengo y 3144 Antonio Pietro Martino was born in Philadelphia on April 13, 1902. His father Carmine, a stonecutter and mason, and mother Clementina (Baranello) Martino had both emigrated from Italy. There were seven brothers in the Martino family, each of whom painted) Antonio's younger brother, Giovanni, was also a well-known artist. As a child Martino expressed an interest in art, particularly sculpture. When he was thirteen he began taking free art classes at the Graphic Sketch Club in his neighborhood in South Philadelphia. There his lifelong interest in drawing and two-dimensional art took root. By 1917 he was studying on weekends at the Spring Garden Institute and the La France Art Institute and attending evening classes at the Pennsylvania Museum School of Industrial Art (now the University of the Arts). At the same time he began working as a $3-a-week apprentice in the art department of a Philadelphia lithography firm, Associated Artists. Years later, in 1941, his brother Frank founded Martino Studios at 27 South 18th Street, where Antonio worked until the 1960s. Martino began exhibiting his work when he was just seventeen years old and experienced almost immediate success. By 1925 he had won honorable mentions from the Art Club of Philadelphia and the Philadelphia Sketch Club, and his paintings were exhibited at the Pennsylvania Academy of the Fine Arts, Philadelphia. The following year, at the age of twenty-four, Martino was awarded a bronze medal at the Sesquicentennial International Exposition in Philadelphia. Edward Redfield and Daniel Garber were part of the nine-member jury that selected the bronze medal recipients for this exhibition. In his lifetime Martino amassed more than eighty awards for his oils and watercolors, and had ten solo exhibitions. Other awards included the Jennie Sesnan Gold Medal, Pennsylvania Academy, 1938; gold medal, DaVinci Alliance Annual Exhibit, Philadelphia, 1942; Hugo Kaster Prize, Salmagundi Club, New York, 1953; gold medal of honor, National Arts Club, New York, 1959; Saltus Gold Medal of Merit, National Academy of Design, New York, 1964; and both first prize and gold medal, California State Exposition, Sacramento, 1973. Martino's early paintings of landscapes around New Hope and along the Delaware River show a strong impressionist influence. He and his brother Giovanni spent weekend mornings painting in Bucks County, returning in the afternoon to their studio in Philadelphia. On June 22, 1927, Martino married Mary J Hofstetter. The marriage lasted sixty-one years. They had two children, Anthony and Marie Clementina, and nine grandchildren. The family eventually moved from Philadelphia to Grady¬ville Road in Newtown Square, Pennsylvania. By the early 1930s Martino had begun painting the richly colored, darkly atmospheric landscapes of Manayunk, Pennsylvania, for which he is best known. The tiny factory town along the Schuylkill River with its canal and hillside houses would remain his favorite subject for almost forty years. In 1968 Martino told a reporter that he didn't know why he painted Manayunk, but he added, "I like hills and I like houses and Manayunk has lots of both. They tell me the villages in Abruzzi, where my father came from, arc something like this." Martino was a friend of the Bucks County artist Walter Baum, founder (with the help of Mr. and Mrs. Charles Kline) of the Kline-Baum School (later the Baum School of Art) in Allentown, Pennsylvania. During the 1950s Martino briefly taught and exhibited his work at the school. Throughout his life he was highly respected by his professional colleagues. He was a life member of both the Water Color Society of New York and the National Academy of Design, to which he was elected in 1938. He was also a member of the DaVinci Art Alliance, Philadelphia Sketch Club, Audubon Artists, Salmagundi Club, Association of National Academicians, Philadelphia Water Color Club, and the American Watercolor Society, which selected him for a Dolphin fellowship. His work has been exhibited at major institutions such as the Metropolitan Museum of Art, the Whitney Museum of American Art, the Corcoran Gallery of Art, the Art Institute of Chicago, the Virginia Museum of Fine Arts, and the Carnegie Institute. His paintings are represented in more than twenty-five permanent collections in the United States, among them the Pennsylvania Academy, the Woodmere Art Museum, the Allentown Art Museum, and the Reading Museum, all in Pennsylvania; the National Academy of Design; the University of Delaware, Newark; the American Watercolor Society; and the Butler Institute of American Art, Youngstown, Ohio. Martino lived in Newtown Square until 1971, when he moved to Thousand Oaks, Ventura County, California. There he began painting West Coast landscapes and seascapes in the Santa Barbara and Westlake Village area. These scenes, many featuring sailboats and waterfront views, were much lighter and brighter than his Manayunk work, and these too garnered awards for Martino. Always a hard worker, he continued to paint up until a few months before his death on September 3, 1988, in Thousand Oaks, California. His wife Mary died eighteen months later. 1902 - 1988 Antonio Pietro Martino Martino Antonio Pietro 1947 Lois Marx was born in Cleveland, Ohio, and raised in the community of Shaker Heights, in a house overlooking a lake. In Cleveland, she studied at the Cleveland Art Institute. When her family moved to Los Angeles, California, Lois resumed her art studies at Chouinard Art Institute. Later, after World War II, she became an interior decorator, having a successful career lasting twenty-seven years. After retiring from decorating, Lois went back to her first interest, drawing and painting. She began combining her knowledge of interiors with color combinations in her work. She also drew inspiration from her love of flowers and country scenes which she remembered from her childhood in Cleveland (Shaker Heights), and which greatly influenced her choice of subject matter. b. 1 - 1922 Lois Marx Marx Lois 1969 Jan Matulka's paintings - ranging from the traditional to the abstract - are a measure of the dynamism of American art during the 1920s and the 1930s. Additionally, through his teaching, Matulka was able to interpret this artistic evolution for many of the aspiring artists of the time. Born in 1890 in Bohemia, Matulka studied art for two years in Prague before coming to the United States with his family in 1907. Shortly after settling in the Bronx, Matulka's parents separated, leaving the young artist and his siblings to be raised by their mother. The family faced financial difficulties. Matulka attended the National Academy of Design from 1908 to 1917. There he became the first recipient of the Joseph Pulitzer traveling scholarship. This award gave Matulka his first financial independence and enabled him to travel to the Southwest and to Florida. When he returned to New York City a year later, Matulka's paintings showed a marked change. As seen in his Indian Dancers (1917 to 1918, The Anschutz Collection, Denver) a more abstract style had replaced his earlier realism. Still more artistic change would come for Matulka after his first trip to Paris in 1919. Exposure to cubism would directly affect his work at the time, and the cubist influence can be felt in virtually all of Matulka's subsequent works. Matulka had his first one-man exhibit in New York City in 1925. His paintings included early watercolors (Matulka almost never dated his works) and cubist-inspired cityscape lithographs. During this period, Matulka became interested in politics, and began doing illustrations for New Masses, a magazine oriented to the communist experiment. These drawings, often focusing on the plight of the working class, expressed the satiric side of the artist's personality. From 1929 to 1931, Matulka was an instructor at the Art Students League. His teachings about abstract art and newly emergent artistic styles inspired a nucleus of later-popular artists, including David Smith, Dorothy Dehner, George McNeil and I. Rice Pereira. In the late 1930s, Matulka painted abstract murals for the WPA Federal Art Project. As exemplified by his Still Life Composition (c. 1934, National Museum of American Art), his paintings during that decade were often still lifes of enigmatically linked objects, seemingly evocative of the artist's private symbolism. He continued to paint until his death in New York City in 1972. Excerpts taken from 300 Years of American Art, Michael David Zellman, The Wellfleet Press, New Jersey, 1987. 1890 - 1972 Jan Matulka Matulka Jan 3096 Anton Mauve was born in Zaandam as the son of a Baptist preacher. It soon became evident that he wanted to become a painter. At the age of sixteen, he studied with the animal painter Pieter Frederik van Os. After finishing his training at Van Os' studio, he briefly continued his education with the renowned horse painter Wouterus Verschuur Sr. Mauve spent many summers in the rural village Oosterbeek. Here, he met several members of the Hague School, like Willem Roelofs, Paul Gabriel and Gerard Bilders. Van Os' old-fashioned ideas were soon replaced by a new aesthetic based on painting out of doors (en plein air) and the personal impression of unadorned nature. However, Mauves paintings do not have the casualness that typifies the paintings of the other members of the Hague School, but are in general more thought over and more colourful. In the 1860s the young Mauve frequently visited the picturesque fishing village of Scheveningen. Ten years later he settled in the nearby town of The Hague. Here, he encountered a congenial artistic climate and kindred spirits like Hendrik Willem Mesdag and the brothers Willem and Jacob Maris. In the 1870s Mauve worked mostly in the dunes near the Dekkersduin, where he had a wooden shed built that served him as a studio. Mauve often painted in Scheveningen, depicting the village's two faces: at one side the women selling fish and workhorses dragging flat-bottomed boats ashore, on the other hand elegant ladies and smartly dressed gentlemen on a horseback. This latter, more mundane character was something of an exception in Mauve's oeuvre, for he particularly made a name for himself as a painter of simple rural life. 1838 - 1888 Anton Mauve 1 Mauve Anton 3264 Merritt Mauzey was born in 1897 near Sweetwater, Texas, the youngest of nine children born to a devout Presbyterian sharecropper family. He became a cotton sharecropper himself, but the combined effect of grasshopper infestation, hail storms, and army worms convinced him to abandon that way of life. He did a variety of jobs in Sweetwater, but in 1927 he, his wife Maggie, and son, Merritt Jr., moved to Dallas where Mauzey began work as a clerk in a cotton exporting firm. Mauzey and his brother had taken correspondence art classes as boys and Merritt continued his interest by taking evening art classes at a local technical high school in 1933. In his first two years of study he created 24 designs on copper, many of them depicting his beloved Texas cotton country. He also began painting in oils at this time, and two of his oils were selected for an art show at the Texas Centennial Exposition of 1936. After deciding on lithography as his primary artistic medium, Mauzey began sending his drawings to a Philadelphia printer who pressed the drawings onto lithograph stones and then made prints from them. Mauzey later purchased his own lithographic stones and press, allowing him to print not only his own creations, but those of other lithographic artists as well. Once Mauzey discovered his talent, he quickly became consumed with what he deemed "the fanatical pursuit of my obsession." His artistic pace exhausted him and affected his health. He left his job at the cotton exporting firm and did odd jobs while teaching lithographic drawing technique classes. In 1943 he went to work for the Firestone Tire and Rubber Company of Dallas, staying there for the remainder of his career. He worked more than 50 hours per week at his daytime job while continuing to draw, paint, and write at night. This hectic schedule resulted in a bleeding ulcer, a condition which occurred off and on for the rest of his life, hospitalizing him as often as every other year. Perhaps the highlight of his artistic career came in April 1946 when he became the first Texan to receive the John Simon Guggenheim Memorial Award, allowing him to spend an entire year exclusively pursuing his art. His cotton series prints eventually were published in book form as illustrations for The Land of Beginning Again, Cotton-Farm Boy, and Texas Ranch Boy. Later lithographs provided illustrations and text for Rice Boy, Rubber Boy, and Oilfield Boy. Mauzey also drew on yet another of his deep-seated passions, his Christian faith, to render interpretations of Old and New Testament stories and expressions of the Psalms. In his lifetime Mauzey donated or sold more than 1,000 prints and sketches to more than fifty museums, libraries, universities, schools, and private collections around the world. He had completed illustrations for two new stories, "Sugar Boy" and "Spice Boy," and was working on the text for the prints when he passed away in 1973 at the age of seventy-six. Compiled from sources within the Merritt Mauzey Collection 1897 - 1973 Merritt Mauzey 1 Mauzey Merritt 3266 Ila Mae McAfee was born 1897 in the small ranching community of Sargents in southwestern Colorado near Gunnison. She died in 1995 in Pueblo, Colorado, where she moved after leaving her adobe home in Taos, New Mexico in late summer 1993. She was raised on her family's ranch south of Gunnison, and attended Logan County School, riding ten miles each way to school. In 1916, she graduated from Gunnison High School and then spent time in Los Angeles at the West Lake School of Art and the Haz Art School (1917-1918). Returning to Colorado, she studied art with Catherine and Henry Ricter at Western State College where she earned a BA degree in 1919. The next year she went to Chicago and became a student of muralist James E McBurney and served as his assistant until 1924. During this time, she was also influenced by sculptor Lorado Taft. In 1925, she attended in New York the National Academy of Design, and 1926, the Art Students League. She also worked as an illustrator and painter of miniature animals during this period. In 1926, McAfee married Elmer Page Turner, an artist whom she had met on her parent's Colorado ranch, and that same year she visited Taos, New Mexico. Two years later, she and her husband settled there, and in 1929, they built the White Horse Studio, which continued to be her residence until 1993, when she moved to Pueblo, Colorado. In Taos, she became known for her pueblo paintings and her depictions of horses and other animals as well as Native Americans, ranch scenes, and landscapes. In 1981, she was voted Taos Artist of the Year. She also worked as a WPA artist, completing many commissions for post office locations such as Edmond, Oklahoma, and Clifton, Texas. Source: Phil Kovinick and Marian Yoshiki-Kovinick, Women Artists of the American West 1897 - 1995 Ila Mae McAfee McAfee Ila Mae 1681 Born in Newburgh near Aberdeen, at the age of 15 he attended evening classes at Gray's School of Art and taught himself etching, building his own press. At an early age he moved to London to prepare for a one man show at Goupil's which was a great success. It was right after his show at Groupil's that McBey traveled to Morocco with James Kerr Lawson, beginning a long association with North Africa. In 1916 he enlisted in the military and his pictures of Somme led to his appointment as an Official War Artist. In 1917 he was sent to Egypt and during an intensely active two years he produced some 300 watercolors of the campaign in Egypt and Palestine. In 1929 he visited America, returning in 1930 when he married Marguerite Loeb from Philadelphia. He introduced his wife to Morocco in 1932 and they bought a house near Tangier, later buying a second property in Marrakesh. McBey felt at home in North Africa and many of his best works were executed there. During the Second World War the McBeys lived in America, and despite immigration problems he was able to work, but in 1946 they returned to Tangier where McBey continued to work, with regular trips to America and Britain, until his death in 1959. McBey's etchings are varied in subject and treatment, but all reveal his excellent and sensitive draughtmanship, and his sense of light. His watercolors, pastels and oils convey a very personal impressionistic style. Apart from the North African desert, he was particularly good at depicting water scenes and cities like Venice and Rotterdam. In 1936, James McBey exhibited at the Dallas Museum of Art at the Dallas Art Exposition. He was one of a group of important modern painters of the time. Museums: Victoria & Albert Museum, London Listed: E. Benezit, vol. VII, pp. 37-38 Index of Artists, Mallett, p. 283 Dictionary of Scottish Painters 1600-1960, by Paul Harris & Julian Halsby, pp124-125 Scottish Art, 1460-1990, Duncan Macmullan 1883 - 1959 James McBey McBey James 1828 Frank McCarthy was born in New York City but the family moved to the suburbs of Scarsdale when he was five and it was there Frank had his schooling through high school, taking all the art classes available to him. At 14 years of age he enrolled during the summer vacations at the Art Students League, where he was the youngest student at the time. Here he studied under George Bridgeman, one of outstanding anatomy teachers of America. Later one of his teachers was Reginald Marsh, an artist who gained prominence during the 30's and 40's. Following his high school graduation, Frank took an illustration degree from Pratt Institute and went to work as an apprentice in a large commercial studio. By 1950, he was getting commissions for western book covers, including Ballentine, Pocket Books, Fawcett, Popular Library, Dell and Banton Books. He also did illustrations for Colliers, True, Outdoors, Argosy, Cosmopolitan, and Redbook. During this period, he was a member of the illustrators Club and had the opportunity to participate in seminars led by some of the country's top artists including Harold Von Schmidt, a man for whom Frank had the greatest admiration. Books and magazines were not the only commissions McCarthy was receiving in those days. He also did extensive work for MGM and 20th Century Fax studios and he created a series of advertising art for the James Bond movies. Frank and his wife, Mary, were married in 1949 and continued to live in Scarsdale until 1967, when they moved to Westport, Conn. Shortly after this, Frank began to paint for gallery sales while continuing to fulfill his illustration commissions. Frank's almost immediate success in the fine art area assured the painter he could turn all his talents toward gallery sales. In 1973, he was awarded The Franklin Mint Gold Medal for Excellence in Western Painting. In 1974, the McCarthys moved to Sedona, Arizona, establishing a home and studio in that picturesque red-rock town. In that same year, Ballantine Books published The Western Paintings of Frank McCarthy. The following year Frank was elected to membership in the Cowboy Artists of America. In 1977, his painting, "The Fording" won the CAA Memorial Award at the annual exhibition at Phoenix Also, in that same year Frank was honored with two outstanding retrospective exhibitions, one at the R. W. Norton Museum, Shreveport, Louisiana and the other at the Museum of the Southwest, Midland, Texas. In 1981 Greenwich Press, New York published the highly regarded, limited edition book, "Frank McCarthy’s Old West." Unknown Frank McCarthy McCarthy Frank 3224 Born in Philadelphia, PA on Oct. 5, 1859. McCloskey studied at the PAFA under Christian Schussele and Thomas Eakins during 1877-82. In the fall of 1882 he began teaching life drawing and painting at the Denver Academy of Art. At that school he met his future wife, Alberta Binford. The couple established a portrait studio in Los Angeles in the Child's Grand Opera House in 1884. He painted in England and Paris in the 1890s and later in Salt Lake City, New York, and San Francisco. In the early 1920s he was the official portrait painter of the American Legion in Los Angeles, but retired to the home of his daughter in Oregon about 1924. After returning to California, he died in Costa Mesa on Dec. 30, 1941. Known works number fewer than 100. He is best known for his still lifes of citrus fruit wrapped in tissue paper in the trompe l'oeil manner. Exh: PAFA, 1879; Paris Salon; Royal Academy of British Artists; Chamber of Commerce (LA), 1894; Mark Hopkins Art Inst., 1897-98; Bohemian Club, 1898; Athletic Club (LA), 1924; Bowers Museum (Santa Ana), 1969, 1994 (jointly with wife). In: LACMA; MM; CHS; Society of Calif. Pioneers; Hudson River Museum (Yonkers, NY); Syracuse Univ.; Orange Co. (CA) Museum. Source: Edan Hughes, "Artists in California, 1786-1940" American Art Annual 1903; Painting and Sculpture in Los Angeles, 1900-45; City Directory; California Historical Society; Splitter; Southern California Artists (Nancy Moure); Painters of the Humble Truth; Death record; American Art Review, Oct. 1994. 1859 - 1941 William Joseph McCloskey 1 McCloskey William Joseph 1680 George Herbert McCord, a painter known for his watercolors, oils and pastels, as well as his black-and-white drawings, was born in New York City in 1848. McCord was a pupil of Samuel F.B. Morse and James Fairman in 1866, and had exhibited at the National Academy of Design by 1870. He gained pubic attention in 1875 for two paintings, Sleepy Hollow and Sunny Side - Home of Washington Irving, which were exhibited in New York City as part of a fund-raising drive for a Washington Irving monument. His marine scenes and landscapes were popular in their time for their atmospheric quality and highly developed sense of color. He was sought after for commissions and was invited by Andrew Carnegie to paint the scenery around his castle in Cluny, Scotland. McCord made frequent trips to sketch in New England, Canada, Florida and the Upper Mississippi. He was one of an elite group of artist invited by the Santa Fe Railroad to paint scenes of the Grand Canyon. He was also invited on the Arkell Erie Canal trip. McCord was named an associate of the National Academy of Design in 1880. He not only exhibited at the Academy but was a regular at the Brooklyn Art Museum, Art Institute of Chicago and the Pennsylvania Academy of the Fine Arts in Philadelphia in 1877, 1888 and in 1903. He was active in other artists' organizations in New York City, and was frequently honored at exhibitions nationwide. Though he maintained a permanent studio at his Morristown, New Jersey home, McCord spent much time abroad. He lived and painted for three years in Venice, and later in Paris. During these trips, he was joined by his wife and daughters, two of whom became accomplished artists. McCord's only sister, who was also a painter, joined the family in Venice and Italy. He died in New York City in 1909. Memberships: American Water Color Society Artists Fund Society Brooklyn Art Club Lotos Club National Academy of Design Newspaper Artists' Society New York Water Color Club Salmagundi Club Public Collections: Albany Institute of History and Art, New York 1848 - 1909 George Herbert McCord McCord George Herbert 1679 Landscape painter Jervis McEntee was born in Rondout, New York in the Hudson River Valley, in 1828; he died in 1891, in the same community. The nearby Catskill Mountains were reflected in his paintings of rural New York State. His artistic career was influenced by a friend, Henry Pickering, and by artist Frederic E. Church. Pickering was a cultured man and a poet, who boarded with the McEntee family and spent considerable time with young Jervis. At age 22, McEntee went to New York City; he studied with Church during the winter of 1850. McEntee married a minister's daughter in 1854 and tried his hand unsuccessfully at business in Rondout, before returning to art as a profession. In 1858, he opened a studio in New York City. Spending winters in the city, he returned in the summers to river-valley and mountain locations, his prime subjects. At the beginning of the Civil War, Mc Entee enlisted in the Union Army. In 1868, he toured Europe with artist Sanford R. Gifford. McEntee's landscapes are characterized by colors of autumn and winter. He usually painted small views rather than wide panoramas. They are simple, naturalistic and detailed, and critics have noted the presence of a melancholy mood, perhaps even a feeling of desolation. He added an unusual touch to his painting The Melancholy Days Have Come (1861, National Academy of Design), by attaching part of "The Death of the Flowers," a poem by William Cullen Bryant which complemented the painting. Melancholy Days enlarged McEntee's reputation. Another notable painting was "Eastern Sky at Sunset" (date unknown, Corcoran Art Gallery). Elected an associate member of the National Academy of Design in 1860, McEntee became a full member in 1861. He died in 1891. Member: National Academy of Design Public Collections: Corcoran Art Gallery, Washington D.C. National Academy of Design, New York City Peabody Institute, Baltimore 1828 - 1891 Jervis McEntee 1 McEntee Jervis 1827 William McEwan (active, 1859-1872) is considered a landscape and genre painter from the American school. His birth and death dates are not recorded. However, McEwan exhibited numerous works at the National Academy of Design between 1861 and 1878. According to Henry T. Tuckermans, Book of the Artists, American Artist Life, pg. 532, he shared a studio, studied and was a friend of George Inness while living in New Jersey at Eagleswood. Nearly two miles back of Perth Amboy, in the State of New Jersey, is a rural hamlet, bearing the pleasant name of Eagleswood. The settlement consists of a large and elegant stone edifice, at present occupied as a military school; the residence of the proprietor of the broad acres composing the hamlet, and the residence of George Inness and William McEwan, artists. Art Across America, Two Centuries of Regional Painting, vol. 1 (New England, New York, Mid-Atlantic, by Wm. Gertz, pp. 240-41, There is a fine studio building occupied by Wm. Page, Wm. McEwan, and E.W. Hall. A short lived, though fascinating art community called the Raritan Bay Union sprang up in Eagleswood, outside Perth Amboy on the Raritan River. It was one of a number of utopian societies founded at mid-century. Marcus Spring, a leader of the community in the early 1860s, recognized the need to include a cultural component to his self-sustaining colony and, to that end, he invited artists to join him there, providing them with studios in which to work. The figure painter Wm. Page was the first to move to Eagleswood, in 1862, the painters William McEwan and Elisha W. Hall were known to have shared a studio with Page. In 1869 McEwan exhibited, Isnt it Pretty #51 which belonged to Mr. J. Snedecor and The Loiterer, which was for sale at the Pennsylvania Academy of Fine Art. His address was recorded as New York City. Bibliography: Art Across America, Two Centuries of Regional Painting, vol. 1 (New England, New York, Mid-Atlantic, by Wm. Gertz, pp. 240-41 Book of the Artists, American Artist Life, pg. 532 Listed: The Annual Exhibition Record of the Pennsylvania of the Fine arts, 1807-1870 Exhibition of the National Academy, 1861-1900 The Dictionary of American Artists, Sculptors and Engravers, Young The Dictionary of American Artists, Sculptors and Engravers, Mantle Fielding (see. Wm. McEwen) fl18 - 1872 William McEwan McEwan William 3367 J.D. Mckay (20th Century) J.D. McKay grew up on Glenfield Street in the Oak Cliff section of Dallas. There was another person from Oak Cliff who had a great influence on him Frank Reaugh, although they never met because Reaugh died seven years before McKay was born. McKay's first exposure to the paintings of Reaugh was at Fair Park, in Dallas, in the form of a wax figure. The Hall of State had several of his small pastels in the basement, and McKay was hooked. However, they were not the first western landscapes that captured his imagination. McKay's mother had several Frederic Remington prints, which she later gave him, that he admired very much. Reaugh's more subtle and atmospheric style is what attracted and inspired McKay. Many times during his twenties, McKay made trips to the Panhandle Plains Museum in Canyon, Texas, to see the collection of Reaugh paintings. He would camp in Palo Duro Canyon with a little box of pastels and sketch until the museum opened, study Reaugh's work all day, and then go back to the canyon to sketch until the sun went down. Big Bend National Park and Palo Duro Canyon have long been two of his favorite camping places. For McKay, there is something captivating about the vistas of a west Texas horizon that creates a longing unlike anything at Yellowstone or the Grande Tetons McKay does feel that he is evolving as an artist and plans to keep growing for the rest of his life he never wants to feel as if he's arrived and has it all down. He makes a point to learn from all kinds of art, not just wildlife art. He is also fortunate to have a family that supports his pursuit of this sometimes less than secure career. 1 J.D. McKay McKay J.D. 1826 Ernst Meisel was born May 8, 1838 in Lichte and died September 24, 1895 in Munich. He is considered a genre painter from the German school. Meisel received his formal art training at the Berlin Academie. At the Academie, he studied with Carl Theodore Piloty (1826-1886), who was considered on one of the more remarkable teachers of genre at the time. In 1893, the Baden-Baden Museum honored Meisel with the purchased of two works from his exhibition of genre painting. They purchased "Sieste et celui de Liege (Rest and that of Liege)" and "Le coup de líetrier (One for the Road)" for their permanent collection. Museums: Baden-Baden Museum Listed: E. Benezit, vol. VII, pg. 310 1838 - 1895 Ernst Meisel Meisel Ernst 1678 New Jersey artist Andrew Melrose painted traditional, atmospheric landscapes inspired by travels in Europe, South American and various regions of the United States. Many of his best paintings are views of New York State and New Jersey, especially regions of the Hudson River Valley and New York Harbor. Melrose typically painted in an indigenous American style of landscape painting which may be characterized as romantic realism. A Self-taught artist, Andrew Melrose was born in Selkirk, Scotland in 1836. Although few records exist of his activity prior to the Civil War, it is thought that Melrose emigrated to the United states about 1856. In the two decades after 1865, he worked out of New Jersey, where he maintained studios in Hoboken and Guttenberg. Searching for inspiring subject matter, Melrose traveled to various Southern and Western areas of the United States, the British Isles and Austria. In 1880 or 1881, Melrose visited the mountain region of North Carolina. In addition to being impressed with the natural grandeur of that region, he was interested by certain aspects of rural life. Melrose rendered many of his Southern landscapes, which typically included views of the mountains of North Carolina or the Shenandoah Valley, in soft, atmospheric terms. In about 1887, Melrose executed an oil painting entitled New York Harbor and the Battery, from which he later produced a series of chromolithographs. This bright and airy view of the harbor recalls a long tradition of scenic landscape painting that goes back to the early nineteenth century. Melrose's concern for rendering the effects of light and atmosphere signals a trend toward a lighter palette and looser brushstroke. These stylistic developments suggest the influence of the French impressionists in his mature work. Melrose was a frequent exhibitor at the National Academy of Design between 1868 and 1883. He died in West New York, New Jersey in 1901. Public Collections: Allen Memorial Art Museum, Oberlin College, Ohio New-York Historical Society, New York City Robert P. Coggins Collection of American Art, Marietta, Georgia White House, Washington, D.C. 1836 - 1901 Andrew Melrose Melrose Andrew 3143 Arthur Meltzer was born in Minneapolis, on July 31, 1893, the first child of Louis E. and Cecelia Fineberg Meltzer. Some three years earlier, his parents had emigrated from Lithuania to the United States. He attended North Side High School in Minneapolis. Because no classes in art were offered at North Side, he chose manual training instead, learning the skills he would use later to craft his own frames and furniture. He supplemented his high school courses with a Saturday art class taught by Robert Koehler at the Minneapolis School of Arts. After graduation from high school in 1911 Meltzer apprenticed at the Ford and McNutt Stained Glass Company. The proprietor had told him that every beginner started out at $5 per week, but Meltzer was paid $6 per week. Even then, it seems, his exceptional artistic ability was recognized. He stayed with the stained-glass company for six years, then enlisted in the army at the outbreak of World War I. Near the end of Meltzer's two-year stint in the army, a fellow soldier who was also an artist encouraged him to seek formal study at either the Pennsylvania Academy of the Fine Arts in Philadelphia, or the Art Students League in New York. Meltzer had intended to return to Minneapolis and open a stained-glass studio, but he decided to attend the Pennsylvania Academy, in part because he had an uncle living in Philadelphia. He enrolled at the academy in the fall of 1919 and studied with Daniel Garber, Joseph T. Pearson Jr., Hugh Breckenridge, Robert Vonnoh, and Arthur B. Caries. After studying at the academy for two years, Meltzer was awarded the coveted William Emlen Cresson Traveling Scholarship. He then traveled and painted in Europe, and also visited major museums and galleries in England, France, Spain, Switzerland, Germany, and Italy. In 1924 Meltzer joined the faculty of the Philadelphia School of Design for Women (now Moore College of Art and Design). As head of the Fine Arts Department, he taught painting and drawing, and was a lecturer in anatomy. It was there that he met his future wife, Paulette van Rockens, an accomplished artist and also an assistant professor of drawing and painting at the school. Born in France, she had come to the United States as an infant with her parents. She and Meltzer were married on June 15, 1927, on the condition, he said, that "I'd find a house with a fireplace." Both went on to become beloved figures at Moore College. They actually did find a one-hundred-year-old stone farmhouse near Trevose in Bucks County with not one but two fireplaces, and they spent several years restoring and repairing it. Meltzer made and installed the pine wall paneling, carved finials for the balcony and staircase, and scallop-carved the cherry windowsills. From 1922 to 1946 Meltzer frequently exhibited at the Pennsylvania Academy, winning their Fellowship Prize in 1925. He received honorable mentions at the Philadelphia Sketch Club from 1924 to 1927 and at the Philadelphia Art Club in 1926. In 1922 his work was exhibited at the National Academy of Design in New York; in 1925 at the Art Institute of Chicago; and in 1926 at the Corcoran Gallery of Art in Washington, D.C., and the Columbus Gallery of Fine Arts (now the Columbus Museum of Art), Ohio. Around 1931 the William H. Benton Museum at the University of Connecticut purchased one of his works. He continued to exhibit at various venues in the Philadelphia area, including the Woodmere Art Gallery (now the Woodmere Art Museum) and the Phillips Mill Art Association in New Hope. In 1949, after nearly a quarter century at Moore College, Meltzer resigned so that he could concentrate on his own painting. He now had unlimited hours to "hold a mirror up to nature and to help others see the beauty an artist sees." During the next forty years he continued exhibiting and receiving awards. In 1977 he and his wife celebrated fifty years of marriage. On July 3, 1989, Meltzer died at Abington Memorial Hospital. He was ninety-five. 1893 - 1989 Arthur Meltzer 1 Meltzer Arthur 1677 Born in Madrid in 1852, he studies at the San Fernando School of Art. He moves to Paris in 1872, where he gets in touch with the Spanish artistic colony, turning up regularly at the gatherings held by Raimundo de Madrazo and Leon Bonnat. He marries the painter Josefina Corchon Diaque, and lives for a season in Rome (see SPR). The production of his long stay in Paris includes young women, Orientalist, and city-life scenes (Le dejeuner sur l'herbe l.a partie de canotage). After his debut at the Salon of 1873 with "Toast a la patrie", he shows regularly at that annual event, and his works win prizes at exhibitions in London, Berlin and Bordeaux. In I892 he returns to Madrid rewarded for his exceptional career, and moves to portrait painting and decoration, although he continues to produce genre paintings, which he shows at Barcelona, Sala Bosch between 1893 and 1896. At the beginning of the century he moves back to the French capital, and shows "Witchcraft" there at the Salon of 1907. He dies in 1918, at the age of 66. It is within his pursuit of genre painting as with the "New Hat" that Mencia can indulge his public's predilection for the fanciful and familiar. His keyhole visions of the typical day to day domestic incidents that occur are only over-shadowed by his wonderful talent as a painter. The French critic, Grangedor in 1868, stated so eloquently, "It is these pictures, containing that combination of the timeless intimate element with a setting removed from most people's normal experience, which are essentially an invention of popular nineteenth century painting." 1852 - 1918 Antonio Garcia Mencia Mencia Antonio Garcia 1935 Emma Mendenhall was born in Cincinnati, Ohio in 1873. She studied at the Art Academy of Cincinnati with Nowottny and Franks Duveneck and at the Julian Academy in Paris. She also received instruction from Rhoda Holmes Nicholls, Charles Woodbury and Henry Snell. She was a member of the Cincinnati Woman's Art Club, American Water Color Society, Cincinnati MacDowell Club, New York Water Color Club and the Washington, DC Water Color Club. Mendenhall painted in oil, watercolor and pastel. In addition to portraits she was known for her landscapes. She had traveled extensively and painted in France, Spain and Mexico. She spent some time painting in New Mexico about 1920 and exhibited, in Santa Fe, a number of local scenes. She exhibited actively from 1898 at the Cincinnati Museum Pennsylvania Academy of Fine Art, Philadelphia Water Color Club and the Washington Water Color Club. She also exhibited at the Art Institute of Chicago, the National Arts Club, with the Boston Water Color Club, the Ohio Water Color Society and at the Butler Institute of American Art in Youngstown, Ohio. 1873 - 1964 Emma Mendenhall Mendenhall Emma 3097 Menzel, who would remain a bachelor all his life, shared a succession of flats in Berlin with his sister Emilie, eight years his junior, and his brother, Richard. They were a close knit family, undertaking visits, excursions and trips to the theatre together. The family members served as models for him, and Menzel drew continual inspiration from them. The present work, executed during his early thirties, reveals Menzel's genius as a draughtsman from an early age. Franz Kugler, writer, intellectual, and keen follower of events in the Berlin art world, was the first to recognize 'Menzel's richness of imagination, his confidence in representing the human form, his thorough academic (mainly historical) training, and his animated sense of poetry [...] all combined to a degree rarely encountered' (quoted in Claude Keisch and Marie-Ursula Riemann-Reyher, ed., Adolph Menzel, Yale, 1996, p. 126). Indeed, while Menzel has become renowned as the faithful observer and recorder of nineteenth-century Berlin, his figural drawings (see also lots 16 and 17) display a tremendous sense of intimacy and spontaneity. In 1859, Emilie married the court composer and conductor Hermann Krigar. The drawing remained in the family before it was sold through Berlin dealer Paul Cassirer to the family of the present owner. 1815 - 1905 Adolph Von Menzel 1 Menzel Adolph Von 1825 Hugues Merle was much acclaimed during his own life-time for his highly finished depictions of family life, historical subjects and the pathos experienced in the lives of the less fortunate French-notably working women. Merle was most often associated with his friend and rival, William Bouguereau. In fact, it was at the urging of their mutual friend and art dealer, Durand-Ruel, that Bouguereau took up Merle's highly successful theme of familial love on which the latter had built a solid reputation with the Salon entries from 1847 and awards during the 1860's. Later Merle and Bouguereau found lucrative employment with Goupil, and Merle became the teacher of Bouguereau's wife, Elizabeth Gardner. Museums: Luxembourg Museum Wallace Collection, Paris Municipal Museum of Amsterdam Metropolitan Museum, NY 1823 - 1881 Hugues Merle Merle Hugues 3098 Hendrik Willem Mesdag is generally seen as one of the most important members of the Hague School, a movement in Dutch art that manifested itself in the last quarter of the 19th century. Like his father, he was destined to become a banker, but his interest in art and desire to paint pushed him in a different direction. After an inheritance of his wife Sientje van Houten had rendered him financially independent, Mesdag decided to leave the business world and devoted himself entirely to painting. Not much later, he moved to Brussels, where he received lessons from the landscapist Willem Roelofs. Through him, Mesdag became familiar with painting in the open air (en plein air), which was one of the most important innovations of that day. The artistic milieu in Brussels, where Mesdag stayed from 1866¬1869, proved to be very inspiring. His house at the Rue van de Weyer became a meeting point for many Dutch and Belgian artists, such as Gabriel, Verwee, Clays and De Haas. A visit to the island of Norderney in 1868 became the turning point in Mesdag's artistic career. Impressed by the many faces of the sea, he resolved to become a painter of seascapes. 'It was unmistakable that his strength and originality lay there', the art critic A.C. Croiset van der Kop wrote. 'No one had seen the sea as he did'. Mesdag's unbiased depiction of the sea, straight from nature, was a completely new phenomenon in Dutch painting. To be as near as possible to this main source of inspiration Mesdag moved to The Hague in 1869. He rented a room in the nearby fishing village Scheveningen, which enabled him to study the sea under all weather conditions. Here he painted the present lot, which shows a beautifully detailed, atmospheric scene of anchored fishing boats beneath a peaceful, early evening sky. In its stress on mood ("stemming"), tone ('toon') and subdued tonalities, the picture is a fine example of the Hague School at its very best. After he scored a huge success with one of his paintings at the Paris Salon of 1870, Mesdag's work gained international recognition. His marines were so much in demand that he actually became one of the best selling artists of his day. LITERATURE J. Poort, Hendrik Willem Mesdag 1831-1915, Oeuvrecatalogus, Wassenaar 1986, no. 1884.2. illustrated 1831 - 1915 Hendrik Willem Mesdag 1 Mesdag Hendrik Willem 1676 Marquis de Claude Francois Auguste Mesgrigny was born in Paris in 1836 and died in 1884. F. de Mesgrigny received his formal training under professor Lalanne in Worms, France. He is best known for his landscape paintings of the environment in and around Paris, most notable Cherbourg and the Carpates River were exhibited in the Salon 1866-1876. His contemporaries considered him a painter of the Barbizon School, for most of his pictures are of nature, plein-aire in effect. Mesgrigny's works are very rare. He worked in both oil and watercolor mediums. The major body of his work can be found in a small museum in Troyes. Public Collections: Museum of Troyes, France 1836 - 1884 de Claude F. Mesgrigny Mesgrigny de Claude F. 3099 Metcalf was born on July I, 1858, in Lowell, Massachusetts, and died on March 9, 1925, in New York City. He was in Old Lyme, 1905-07; Leete's Island periodically, 1908-09; Waterford, summers, 1910-c. 1915; and northwestern Ct. periodically 1910-25. Beginning in 1904, Willard Metcalf kept a scrapbook of newspaper clippings and magazine notices of his exhibitions and prizes. On the inside cover he had written, "A partial history of the Renaissance," an allusion to the new direction his art had taken in 1904, when he was forty-six years old. He seems to have determined in about 1903 to confront nature as it was in New England. "He would leave the city as if for a campaign," the art critic Royal Cortissoz reported, "and bring back his sheaves with something of the air of a fighter who had conquered another step in his march." In 1904 he painted mostly near Boothbay, Maine, living at times in a tent beside the Damariscotta River, and when he exhibited twenty-one paintings (not all of them new) in his first New York one-man exhibition at Fishel, Adler, and Schwartz Gallery in 1905, critics like Cortissoz said that "it was plain he had greatly widened his range . . . a sympathy more alert and more penetrating." A year after Metcalf's renaissance began, he went to Old Lyme. Metcalf had his first art training from a wood engraver in Boston in the mid-1870s, then from George Loring Brown, a painter trained in and respectful of the great traditions in European art. Later Metcalf studied at the new art school of the Museum of Fine Arts, Boston. He illustrated an article for Harper's with sketches of the Zuni Indians, whom he had observed and sketched the previous year on a trip to the Southwest. In 1883 he illustrated a three-part essay Frank Cushing, a Smithsonian ethno-anthropologist, had written about the Zunis for Century Magazine. In the fall of 1883 Metcalf went to the Academic Julian, Paris, where he worked under Boulanger and Lefebvre. He stayed both at Grez and Givcrny, and he met Theodore Robinson, John Twachtman, and the writer Robert Louis Stevenson while in France. He visited Tunis and Morocco in 1887 and in 1888 exhibited at the Paris Salon, receiving an honorable mention for The Arab Market. Then he returned to the United States, where he was given a one-man exhibition at the St. Botolph Club m Boston in 1889. In New York he taught first at the Art Students League for a year and then, for ten years, at the Cooper Union. He was a founder of The Ten American Painters. He not only exhibited with The Ten but, like many other artists then, contributed to major expositions of the period, such as the World's Columbian Exposition in Chicago in 1893, where he won a medal. By May of 1905, Metcalf was in Old Lyme, "working hard,'' his friend Childe Hassam wrote to J. Alden Weir. Hassam was surely the reason Metcalf went to Old Lyme, but, once there, he quickly became a leading figure himself. The following winter Fishel, Adler, and Schwartz exhibited "12 landscapes painted in oil during the past summer at Lyme, Connecticut.'' The summer of 1906 Metcalf was again in Old Lyme and did a moonlit view of the Griswold House that became his best-known work, May Night. He returned that fall, telling Miss Florence he wanted to do more work before snow flew. Snow came while he was still there, however, and he painted a few fine snow scenes. An exhibition that winter at the St. Botolph Club was a breakthrough — a near sellout. That success and a prize from the Corcoran Gallery m Washington for :Way Night assured Metcalf's future. In 1907 Metcalf spent the summer in Old Lyme and probably some time in the fall as well. A letter he wrote Miss Florence from the Players Club in New York, December 27, asked her to send a paintbox he had left behind And told her "I'm still alive and kicking — and grumbling and fussing over this impossible life in this city.'' In 1908 and 1909 Metcalf painted at times at Leete's Island near Guilford, as well as in other places in the state. Notice in the New York Times in early January, 1910, of his exhibition at Montross Galleries said he "spent the spring, summer, and autumn in Connecticut, . . . and the hills of the Berkshire region form a small but interesting exhibition of landscapes.'' The following year's exhibition at Montross also had pictures described as mostly scenes in the Berkshires, along the Housatonic River, but Metcalf also painted in Cornish, New Hampshire, about this time. For several years beginning in 1910, Metcalf, who was married to Henriette McCrea in 1911 (he had had a brief earlier marriage), summered in Waterford. Several paintings were done in or near Waterford. Some pictures in the 1920s were painted in or near Woodbury (and occasionally Metcalf painted in Falls Village while visiting his friend Emil Carlsen), but increasingly Metcalf enjoyed other parts of New England, especially the areas of Chester, Vermont, and the Little Williams River. Metcalf was a member of the American Academy of Arts and Letters but refused membership in the National Academy of Design. In 1923 he had a one-man exhibition at the Corcoran Gallery of Art, which, years earlier, had purchased his prize-winning May Night. He died in New York City in 1925, and Milch Galleries, his principal dealer through much of his career, had a memorial exhibition of his work. Further reading: Cortissoz, Royal. American Artists. N.Y.: Chas. Scribner's Sons, 1923. Shepard, Lewis, ''Willard Metcalf.'' Arnerican Art Review, 4 (Aug. 1977), 66-75. Teevan, Bernard. "A Painter's Renaissance." International Studio, 82 (Oct. 1925), 3-11. Willard Leroy Metcalf: A Retrospective. Exh. cat., Museum of Fine Arts, Springfield, Mass., 1976 1858 - 1925 Willard Leroy Metcalf 1 Metcalf Willard Leroy 1824 Ella Mewhinney was born in Nelsonville, Texas, June 21, 1891. Her father, R.E. Koepke, was born in Germany and came to America at the age of eighteen years. Her mother, Vlasta Massik, was of Austrian ancestry, her grandparents being early settlers from Austria, where the grandfather was a preacher and leader. The Koepke family moved to Bartlett when Ella was nine years old and at this age she began the study of music. After completing her High School work, she completed her education at the Texas Presbyterian College, where she had her first training, under Miss Mollie Bishop at the age of seventeen. About the same time she returned from college, the death of her father occurred, and she began to teach art classes in Bartlett and Granger, with pupils from Holland. The following summer she studied at the American Women's League in St. Louis, doing flower painting and china, under Kathryn Cherry, with lessons in still life under Frank L. Phoenix, one of the instructors at the summer school, and won the scholarship in the still life class. Again in 1913, she studied china painting, going to Chicago with Mrs. Sam Crowther, whom she met while in St. Louis. Mrs. Mewhinney gave much credit to this friend, whom she encouraged her, the most. In the summer of 1919, she spent six weeks in New York at the Art Student's league and studied under George Bridgeman doing outdoor sketching with Hans Hansen. Then in 1925, she went to Colorado Springs and studied landscape painting under Randall Davey and portraiture under Robert Reid, N.A. In 1913, Ella Koepke married Logan Mewhinney of Holland, Texas. She had two children, Logan U. and Marie. Her paintings; were exhibited at the Southern States Art League, Witte Memorial Museum in San Antonio, the All-Southern Exhibition in Nashville, the Texas State Exposition in Austin, and countless others. She is well represented in private collections throughout the South. b.18 - 1891 Ella K. Mewhinney Mewhinney Ella K. 3210 Johann Georg called Meyer von Bremen, born in Bremen, October 28, 1813. Genre painter, pupil of Düsseldorf Academy under Karl Ferdinand Sohn (1805-1867, Cologne) and Friedrich Wilheim Schadow (1789-1862, Düsseldorf); von Bremen started painting biblical subjects, then traveled in the Hessian, Bavarian, and Swiss mountain districts, studying the people for his genre scenes, which have since become wildly known. He repeatedly visited Belgium, and in 1852 moved to Berlin; where he became professor in 1863. Memberships: Amsterdam Academy Order of Leopold Medals: Philadelphia Centennial Exposition, 1876 Museums; National Gallery, Berlin Metropolitan Museum of Art, NYC Brooklyn Museum of Art Cincinnati Museum Reference: E. Benezit, v. 9, page 562-63 Cyclopedia of Painters and Paintings, v.3, page 254-55 1813 - 1886 Johann Georg Meyer Von Bremen Meyer Von Bremen Johann Georg 1823 Louis Remy Mignot was an American Creole who enjoyed a brief but widely traveled artistic career until his death at age 39. Best known for his tropical landscapes painted in Ecuador, Mignot is also remembered for his paintings of the Southern United States and of the upstate New York region. Mignot was born the son of a confectioner in Charleston, South Carolina. It is believed that he had early instruction in Charleston, before traveling to the Netherlands in 1850 for three years of study at the Hague under Andreas Schelfhout. Returning to the United States, Mignot established his studio in New York City, and began to make his reputation with landscapes of the upstate New York region, painted in the style of the Hudson River School. In 1857, Mignot accompanied Frederic E. Church on his second trip to South America. Together, the artists traveled from Panama to Ecuador, where they spent 10 weeks painting village and mountain scenes. Returning to New York in 1958, Mignot received critical praise for his South American landscapes. At the same time, he continued to paint landscapes of the Southeastern and Northeastern United States, and to execute the landscape backgrounds for prominent New York figurative artists such as John Ehninger and Eastman Johnson. In 1862, with the outbreak of the Civil War, Mignot moved from New York to London, where he continued to lead a successful career, exhibiting at the Royal Academy and the 1867 Paris Exposition. Mignot's career was unfortunately cut short in 1870 during a trip to France, when he became an accidental casualty of the Franco-Prussian War. Mistakenly imprisoned during the siege of Paris, he was eventually released, but died of smallpox shortly after his return to his home in Brighton, England. It is believed he contracted the disease while in confinement. MEMBERSHIPS: National Academy of Design Century Association PUBLIC COLLECTIONS: New-York Historical Society, New York City 1831 - 1870 Louis Remy Mignot Mignot Louis Remy 3223 Mildred Bunting Miller was born in Philadelphia, PA on June 21, 1892 and died in San Diego September 11, 1964. She received her formal art training at the Pennsylvania Academy of Fine Art and Art Students League of New York where she studied under Thomas Pollock Anschutz (1851 - 1912), Robert William Vonnoh (1858 - 1933), and Hugh Henry Breckenridge (1870 - 1937). Ms. Miller was a resident of Baltimore, Maryland prior to moving to San Diego, California. Member: Philadelphia and Baltimore Water Color Clubs Exhibited: National Academy of Design, NY PAFA, 1920, 1931 (prizes) Baltimore Museum, 1941-44 San Diego Art Guild, 1947, 1949, 1952, 1955 Carlsbad-Oceanside Art League, 1954-58. Publications: New Hope for American Art: A Comprehensive Showing of Important 20th Century Paintings from and Surrounding the New Hope Art Colony, James M. Alterman Artists in California: 1786-1940, Edan Milton Hughes Pennsylvania Impressionism, Gerdts, William; Brian H. Peterson & Yount 1892 - 1964 Mildred Bunting Miller 1 Miller Mildred Bunting 1991 A watercolorist and oil painter who specialized in views of architectural and landscape subjects. William Rickarby Miller was born in Staindrop, County Durham, England. After probably receiving training from his father, he continued his studies in London. In 1845, fascinated by stories of America, Miller immigrated to the United States. Within three years, he had settled in New York City, where he was given a number of commissions for watercolors by the American Art Union. Miller soon became known in this country for carefully delineated, precisely drafted landscape views. He also created illustrations for books and magazines. About 1873, Miller devised a plan to publish his images in a book, A Thousand Gems of American Landscapes. Although he was never able to complete this project, he used many of the preliminary drawings for later works in oil. 1818 - 1893 William Rickarby Miller Miller William Rickarby 1822 Francois Millet is the artist who occupies the very core of the Barbizon movement. As he no doubt would have wished, his pictures have always taken precedence over his life, and the facts of his unremarkable biography are not well known. Born into a moderately successful landowning family in Gruchy it 1814, he went as a youth to study in Cherbourg with a local portrait painter and later with Langlois, a student of Gros. His last formal instruction was in Paris where he worked in the studio of the history painter Paul Delaroche from 1837-1840: in 1841 he returned to Cherbourg to set himself up as a portrait painter and he married for the first time. Success eluded Millet in these early years, as it did through much of his career, and his young wife Pauline's death of consumption in 1844 was probably the deciding factor in his move to Le Havre in 1845 and later the same year back to Paris in the company of Catherine Lemaire. Catherine was a domestic servant who could neither read nor write, but she remained Millet's companion, bearing him nine children between 1846 and 1863: they were married in a civil ceremony in 1853, and in a religious one in 1875, seventeen days before the artist's death. In Paris, Millet established friendships with men who were to become his partners in the movement to change the way the world looked at landscape: future colleagues such as Troyon, Diaz, Jacque, Daumier and Rousseau. With their help he began to sell a few paintings, and found his first officially recognized success. Following the Revolution of 1848 Millet became increasingly interested in peasant scenes and types that demonstrated a stoic, almost biblical realism. Although Millet was not a committed revolutionary, his images from this time on reflected a true concern for contemporary problems and became increasingly somber. The proceeds from a state commission freed Millet to leave Paris in 1849 for Barbizon where he joined his new friends and devoted himself to peasant life and rural scenes. During the next few years he painted some of his bestknown images, including Harvesters (1849), The Sower (1850) (exhibited in the same Salon with Courbet's Stonebreakers and Burial at Ornans) and Harvesters Resting (1853), but financial success did not follow. He had, by this time, numerous American admirers and one of them, the Boston painter William Morris Hunt, visited Barbizon in 1851, writing of Millet: "I found him working in a cellar, three feet underground, his pictures mildewing with the dampness, as there was no floor. I bought as much of his work as I could." This included The Sower for $60. His lifelong friend and supporter Alfred Sensier gave Millet canvas and paint in exchange for works of art, and Rousseau purchased several works. Through the 1850s Millet's reputation slowly grew and as his market developed he was finally able to feel confident in the path he had chosen. The Gleaners and The Angelus (both 1857) and Man with a Hoe (1863) demonstrated Millet's continuing awareness of the plight of the peasant, but from the mid-60s onward he focused increasingly upon landscape, and he devoted much of himself to the remarkable pastels commissioned by the wealthy Parisian architect, Emile Gavet. He became firmly established and financially independent with the exhibition of his work at the 1867 Exposition Universelle and receipt of the Legion d'honneur in 1868. Millet's greatness lies in his singular ability to exploit his traditional French artistic background and values in the service of such untraditional subjects as peasant workers and their fields. He endowed these figures and landscapes with a solidity and monumentality that guaranteed them a pivotal place in the history of art. 1814 - 1875 Jean-Francois Millet Millet Jean-Francois 1821 Louis-Emile Minet was born in Rouen in 1850 and died in the same city in 1920. He is considered a landscape painter from the French school. Minet received his formal training under Edmond Adolph Rudaux (1840-1910) and H. Morin at the L’ Academie Beaux-Arts. Minet debuted at the Paris Salon of 1876. He was awarded honorable mention at the Salon of 1882. Museums: Bernay: Interier de cour Vernon Blois: Les foins de Saint-Sabin Caen: Fleurs Louviers (Gallery Roussel): La rentree des Champs and La Levee des nasses Montpellier: Poules Rouen: ChaumiËre dans un parc, La rue Saint Romain, Rouen, La rue du Bac. Rouen, La rue de Saint Pierre. Rouen 1850 - 1920 Louis-Emile Minet Minet Louis-Emile 1984 My boyhood days were spent between school and my father's carpentry shop. My interest in both these fields was overshadowed by my insatiable desire to draw. The books from which I was to learn my reading, writing and arithmetic were cluttered with pictures I had drawn on every available blank space. This aroused the wrath of my teachers who showed their unfriendliness. I believe I was allowed to graduate, not because I was an astute student, but because of their desire to be rid of me. I embarked on my studies by obtaining a Job at an interior decorator's studio. My wish, however, was to go to an art school but this was impossible because my parents felt that a fifty-cent daily expenditure us an extravagance for a hobby in which they there was no future. My Salary at the studio was $3.00 a week, which my father granted me the right to save. In 1919 I entered the National Academy of Design. My saving soon dwindled, so I left school and went back to work. I found employment in a Mural Art Studio. When time permitted, I attended the studio class at Beaux Arts School. After three years, I again matriculated at the National Academy in Ivan Olinsky's class. At every opportunity I went outdoors to paint. My friends suggested that I have a studio exhibition with these studies and to my surprise, I sold almost all, so I planned to go to California where the climate and color were most suitable for my purpose. I was joined by a fellow student in this trip, who suggested we hitchhike our way to the coast so that we could stop here and there to paint. So we started our journey. We took the ferry to New Jersey and from there on we exercised our thumbs. One of our "lifters" suggested that we go via Detroit and stop there to paint the portraits of his parents. This was my first commission, and I need not say that I was filled with anxiety and fear. The results or this work brought several other portraits. After a few months, I became so absorbed in my work that I had completely forgotten about California. By this time my companion had become homesick and he induced me to return with him. In 1926, with the money I had earned, I was able to have a good skylight studio, and there I set on a career of earning a living with painting, at the same time attending the studio class at the Art Students League. The lure of the outdoors always attracted me, especially the city streets with their movements, color and depth-they were the things that inspired me and which I painted as they looked and as I felt them. Judging by my style and subjects, my artist friends argued that I was influenced by French Impressionists. While I bare great esteem for the French Masters, I do not claim comparison with them. However, my ultimate goal is to paint exclusively American Impressionism. In 1928, my adventurous spirit took hold of me again and I went to Europe. I arrived in Paris and found that the gay life was not conducive to constructive work, so I went to South France with its sunny skies and mild climate where I was able to accomplish more. After traveling throughout the continent, I was awakened to the realization that the work I had done in Europe did not serve my purposes, and that I was better inspired in Washington Square. Back home in New York, I devoted myself to painting street scenes. In 1929, my first effort to exhibit one of my street scenes was at the National Academy. The critics received this very kindly and I was so encouraged that I attempted other national exhibits that have flattered me in accepting every one of my paintings. My work has been exhibited by the following galleries: National Academy of Design Art Institute of Chicago Philadelphia Institute of Pine Art Corcoran Gallery in Washington, D.C. Carnegie Institute, Pittsburgh, Pa. Art for Victory Allied Artists, of which I am a member. My work is also represented in the Collections of International Business Machines Corporation Alfred Mira died in 1980. Unknown Alfred Mira Mira Alfred 3219 The Modersohn family moved from Soest to Münster in 1884, where Otto discovered his interest in art while still at high school. After graduating from school he went to the Akademie in Düsseldorf, but he did not agree with the teaching methods here. After a short stay in Munich Otto Modersohn hoped to find artistic inspiration at the Akademie in Karlsruhe, but was once again disappointed. A summer trip through northern Germany together with Mackensen in 1888, however, inspired Modersohn to a series of small paintings, one of the first highlights in his early years. Another joint trip with Mackensen to Worpswede in 1889 resulted in Modersohn's decision to stay in the artist colony. Modersohn soon began to disagree with his friends' ideas. He wrote "Quiet, quiet grandness is my true goal" and he would rather "say much with very little [...]". He sent eight works to the first group exhibition of the Worpswede artists at the Kunsthalle in Bremen in 1895. The reactions to the exhibition varied, but the following participation in the international Glaspalast exhibition in Munich was to be a great success for Modersohn. Paula Becker, who married Modersohn in 1901, visited Worpswede for the first time in 1897. At this time the painter was considering leaving the colony. The following period is determined by numerous trips and various sojourns in Germany and France, mostly undertaken together with his wife. The Modersohns returned to Worpswede in the spring of 1907, where Paula died in November after giving birth to a daughter. Modersohn moved to Fischerhude, where "a new time began" for him in 1908. The artist studied nature in this rural surrounding and always returned here even after repeated visits in Worpswede and Berlin in 1917. "Simplicity, reduction of form and colour is one of the main goals" of his art in the 1920s. Important sources of inspiration were Holland and the Allgäu, where he bought a house in 1930. When the painter turned blind on one eye he abandoned his trips to the Allgäu and spent his time painting in his Fischerhude studio. Otto Modersohn died seven years later after a surprising, short illness. 1865 - 1943 Otto Modershon 1 Modershon Otto 1820 Born in Chatillon-sur-Saone in 1855, Monchablon was a pupil of Cabanel and Jean-Paul Laurens. He was primarily a landscape painter, and his views of the French countryside are characterized by interesting compositions filled with soft light and color. He won silver medals at the World Exhibitions in 1889 and 1900. He became Chevalier de la Legion d'honneur. Museums: Amiens Arras Nancy Nantes 1855 - 1904 Jean Ferdinand Monchablon Monchablon Jean Ferdinand 2054 Childhood in Le Havre. 1856-57: Draws caricatures. 1858: Meets Boudin. 1859: Enters Academie Suisse; meets Pissarro; Troyon advises study with Thomas Couture. 1860-1861: Military service in Algiers. 1862: Works in Le Havre with Boudin and Jongkind; enters Gleyre's studio. 1863: T0' Fontainebleau; observes Delacroix at work; leaves Gleyre and paints with Bazille, Renoir, and Sisley in Chailly. 1864: Meets Courbet; paints with Bazille, Boudin, and Jongkind in Honfleur; tries unsuccessfully to sell to Alfred Bruyas, Courbet's most important patron. 1865: Stays with Bazille in Paris; paints Dejeuner sur I'herbe (Luncheon on the Grass) in Fontainebleau; works with Courbet at Trouville; meets Whistler. 1866: Lady in Green successful at Salon; meets Manet; lives in Ville d'Avray; travels to Sainte-Adresse and Le Havre. 1867: Women in the Garden rejected by Salon but purchased by Bazille; visits family in Sainte Adresse; son born to Camille Doucieux; sees Sisley in Honfleur; shares Bazille's studio with Renoir. 1868: Accepted at Salon with help of Daubigny; returns to Etretat with Renoir and Bazille; shows in Le Havre and attracts important patron (Gaudibert). 1869: With Renoir at Bougival; again in Etretat and Le Havre; creditors seize paintings; encouraged by Manet to join Cafe Guerbois circle. 1870-71: Marries mother of his child; during Franco-Prussian War, goes to London with Pissarro and meets Durand-Ruel who eventually becomes his dealer; to Holland and Argenteuil. 1872: With Boudin, visits Courbet (in prison); returns to Le Havre and Holland; begins to paint with Renoir at Argenteuil. 1873: Like Daubigny, builds a studio boat and uses it for Seine paintings; meets Gustave Caillebotte. 1874: First group exhibition of "Impressionists," term popularized by Le Charivari critic who criticizes Impression - Sunrise; Manet and Renoir join him in Argenteuil. Included in later Impressionist exhibitions: 1876, 1877, 1879, and 1882. Impressionist Painting, so-called after 1874, has over the last century been increasingly identified with the work of Claude Monet. And while not everything of accomplishment within the Impressionist orbit was of Monet's making, he certainly provided leadership in matters of landscape imaging for a group 0'f exceptional artists, including Bazille, Pissarro, Renoir, and Sisley. Following a few rapidly assimilated leads from his first mentor, Boudin, in the years around 1860', Monet was well into his early career as a landscape and seascape painter when Bazille, Renoir, and Sisley began to' follow his example. Only Pissarro had managed to evolve something like an aesthetic life of his own in the years before he began to consider Monet's directions in the later 1860's and from the perspective of painting practice, Pissarro had nearly a decade's head start! Exactly how and why Monet managed the kind of imaging he did during the decade of the 1860's remains a puzzle. He had almost no formal training, a minimum apprenticeship of sorts with Boudin, and he modeled his work on that of others only in highly selective ways. Between 1858 and 1862 he devoured the work 0'f the generation 0'f 1830' as well as that 0'f Daubigny, Jongkind, and Courbet-just by looking at it, one suspects. He made no' real copies; he rather chose t0' develop his eye, assuming his hands would follow as directed. While expressing admiration for the greatest of his predecessors from the beginning and regularly throughout his career, Monet seems from the first to have been determined to produce consistently original work. The standards for the forceful kind of creativity he sought appeared early in the 1860's in the scandal-provoking figure paintings of Edouard Manet: Dejeuner sur I'herbe (Luncheon on the Grass) and Olympia (both Paris, Musée d'Orsay). They appeared as well (for Monet probably via second-hand experience) in the music of Richard Wagner, which held center stage in the circles of advanced culture in Paris, beginning in 1859 and continuing up to the Franco-Prussian War in 1870. What Manet's painting and Wagner's symphonic writing had in common was a boldness and frankness of effect. Although working in different media, both artists dealt with their audience in new ways - ways that were aggressive, provoking, and loud visually as well as audibly. Both seem to have enjoyed, at least to a point, producing various degrees of scandal with aesthetic surprise, and both, in ways appropriate to his particular medium, used color as the chief device of surprise. (This is elaborated elsewhere in this catalogue.) Coloristic surprise was therefore the common currency of the most ambitious forms of contemporary artistic practice that Monet knew in the early 1860's Additionally he realized that to be seen or heard as an original artist he would have to deal in that currency as well as absorb and hopefully benefit from the shock waves he might produce. But the prospect of all this excited him, and it is doubtful whether he could ever have become the artist he did, had he not entered the aesthetic scene at such a frenzied moment. Monet had already developed a strong taste for color in his early stints of work with Boudin, and during his brief period of military service in Algeria (part of 186o and 1861), he literally fell in love with color of the purest sort, as he found himself surrounded by it in the cloudless world of Arab North Africa. Back in France, the creative questions ultimately became what to make of this love and how to express it, particularly in landscape images. Mid-century landscape examples, even the lightest of Daubigny's paintings of c. 186o, provided relatively few hints regarding a strictly color-based mode of landscape imaging. Corot was probably the nearest thing to a fully color-reliant maker of landscapes that Monet could find, but Corot's color was Corot's color, which is to say tonal and subdued and never given to strong contrasts of hue or value. Fortunately, Manet had begun to produce seascapes on a more or less routine basis starting in 1864, and while cultivating in them anything but familiar natural effects, he managed through the rhetorically movemented character of his paint structure and the crispness of his value contrasts to evoke strong and immediate sensations. Although his images might look willfully unnatural in many respects, they had enormous optical vitality; that vitality became a talisman for Monet. From 1864 onward, he worked to emulate not so much the appearance of Manet's work, but its energy. Monet derived additional support in matters of appearance from Japanese woodblock prints. What they provided uniquely was an imaging of landscape (among other things) technically restricted to significant shaping of color. With inspirational hints gleaned from Manet's work and Japanese prints, Monet after 1865 would proceed to become his own original. The primary concern of Monet's landscape imaging would be to make pure color relationships stand for broadly defined nature-based sensations. The process would never be one of simply matching painted color to natural color as it had largely been in Constable and late Daubigny. Instead, color relationships in Monet's works combine in an ultimately endless variety of ways the experience of viewing nature and painting directly from it in the out of-doors with the differentials of feeling induced by the simultaneous activity of looking and painting. Simplifications of various descriptive sorts and exaggerations of color intensity and color contrast (until they are made to match seeing and feeling) - in other words, all manner of schematic artifice - can be considered up to the outer limits of something like representational plausibility. A loose and highly variable paint structure, alternating regular and irregular brush marks, serves Monet in two ways: first, to theatricalize representational plausibility through technical assertions of spontaneous response to an "actual" moment of nature (here, he invokes the predictable viewer tolerance for the exclusions and inclusions of the traditional sketch); and second, to allow the artist the freedom to tighten or loosen color passages at will. A virtually absolute freedom of stress is what Monet wants and what he miraculously manages almost from the first. His stresses come from himself. They come from within the maker and are deposited in the forms of the painting. Nature, or more concisely, the spectator's understanding of it, would never be the same after Monet had finished imaging it. His willful persistence in making nature behave in accordance with his color feelings caught a science gullible public unaware. That public came to believe and continues to believe in Monet the researcher, rather than in Monet the magician and aesthetic conjurer. Smartly, Monet never said anything to contradict his public's belief, and he managed by keeping quiet to make the world willingly believe that nature looks like an Impressionist painting. There were a few disbelievers at first, but their complaints soon faded against the collective desire of spectators to be lusciously deceived by works that were truthful only in the radical beauty of their original feeling which was authentic in a creative sense rather than a descriptive one. It is absolutely remarkable how much of Monet's originality is already functioning by the late 1860"s with strong hints appearing even earlier. In Haystacks near Chailly at Sunrise and The Pointe de la Heve at Low Tide, one sees the extremes of Monet's early imaging modes - the former broad and schematic in both color and surface construction, the latter composed of an extraordinarily wide range of brush marks which trace the complex of (distant) coastline, beach, and water both as contrasting zones of color and of color elaborated by natural texture. Two years later in c. 1867, the Street in Sainte Adresse combines the extremes of the schematic and the intricate. A broadly distributed complementary color contrast of various blues and autumnally yellowed greens works along with high value grays in the middle of the image to strike a very bright and resonant chord that seems guided by carefully constructed relationships of shape that proceed differently to the left and right of the central church steeple. Without looking highly contrived, the image delivers it’s feeling through a judicious balance of believable natural incident and arbitrary decorative control of color and shape. The paint structure remains comparatively neat and finished in a work, which was likely intended for submission to the Salon. All traces of neatness or any other manner of concession to a conservative viewing public vanish in the aggressive vibrancy of both color and paint structure in the 1869 Seine at Bougival. Paint marks and what they represent compete for the viewer's attention. Solid shapes, shadows, water, and foliage blur representationally (in spite of the existence of a "welcoming" road on the right side). Pictorial space is largely siphoned out in order that the tapestry-like intensity and the variety of hue are displayed at every point. Not one but several color chords are struck simultaneously. Over the next five decades, Monet would learn a great deal technically both about color and supporting painting construction, but he would never lose the taste for aggressively spectator challenging freshness that he developed even before 1870. His art would never be any more or less original, and the basic character of the originality would remain constant. Once he had accomplished his great forward mutation of landscape imaging, all that was left for him was to cultivate ingeniously what was in essence a post-Realist terrain that he had in fact invented and over which he remained absolute master. 1840 - 1926 Claude-Oscar Monet 1 Monet Claude-Oscar 1919 Born at the end of the 'golden age' of Danish painting, Monsted can be described as a product of that era. A landscape painter renowned for the clarity of light common to the painters of that age, his naturalistic 'plain air' views made him the leading Danish landscapist of his age. Monsted was born in Balle near Ganaa in eastern Denmark before moving to Copenhagen. Here he studied at the Academy between 1875 and 1876, under Andries Fritz (1828-1906), a landscape and portrait painter, and was taught figure painting by Julius Exner (1825-1910). Here too he would have come across the work of artists such as Christen Kobke (1810-1848), an outstanding colourist and Pieter Christian Skorgaard (1817-1875), a romantic nationalist painter, a knowledge of whose work is seen in the Danish landscapes and beech forests of Monsted's. Monsted travailed extensively throughout his long career, being a frequent visitor to Switzerland, Italy and North Africa. As early as 1884, he visited North Africa returning later in the decade. The early years of the twentieth century saw Monsted returning to Switzerland, the south of France and Italy, the latter being the source of inspiration for many Scandinavian artists of the nineteenth century. The war years curtailed Monsted's travel to Norway and Sweden, however the 1920's and 1930's saw him return to the Mediterranean. Throughout his long career, Monsted continued to paint the Danish landscape and coastline. His is a romantic, poetic view of nature; he was an artist who depicted the grandeur and monumental aspect of the landscape, with a remarkable eye for detail and colour. 1859 - 1941 Peder Mork Monsted Monsted Peder Mork 1819 Alfred Montague's birth and death dates are unknown. He was born in London at the first part of the 19th century. He is considered a landscape and marine painter from the English school. Montague was elected to the Royal Society of British Artist in 1843. His subjects ranged landscapes, town views and coastal scenes of England, Holland and France. His town views in northern France and Belgium are similar to those of Henri Schafer. He was a regular exhibitor at the Royal Academy, British Institute and Suffolk Street from 1832 to 1883. Montague also exhibited at the Pennsylvania Academy in 1847 and at Boston Anthenaeum in 1852. Museum: Salford Museum, England "Boats in a Storm" Listed: E. Benezit, vol. VII, page.495 The Annual Exhibition Records of the Pennsylvania Academy of Fine Arts (1807-1870), vol. I, page. 144 The Boston Anthenaeum Art Exhibition Index (1827-1874) The Royal Society of British Artists 1884-1893 & The New English Art Club 1888-1917 Dictionary of Victorian Painters 2nd Edition, Christopher Wood, pg. 324, illustrated page 670 Bilbliography: Brook-Hart, pls. 27 &15 Unknown Alfred Montague Montague Alfred 2131 Adolphe Monticelli was born Marseille, October 16, 1824 and died in Marseille, June 29, 1886. He is considered a figure, portrait, still life and landscape painter. From 1842 to 1846 Adolphe-Joseph-Thomas Monticelli studied painting at the École Municipale de Dessin in Marseilles, then directed by Émile Loubon, who encouraged his students to paint directly from nature. Monticelli moved to Paris in 1846 and entered the École des Beaux-Arts under Delaroche For the rest of his life he lived mainly either in Paris or Marseilles. Monticelli painted fashionable portraits in a traditional manner and landscapes that were influenced by both Watteau and Delacroix. His paintings portrayed subjects usually of a festive or exotic nature. Monticelli has been regarded as a prophet of abstract expressionism because of his free use of dazzling colors applied with a heavy impasto. When living in Marseilles, Monticelli often painted with Cézanne. Van Gogh admired Monticelli's later landscapes, which he saw in Paris in 1886. He referred to Adolphe Monticelli the greatest colorist who ever lived, next to Delacroix and Van Gogh regarded his work as a continuation of Monticelli. He would convince his brother Theo to acquire several of Monticelli's paintings. Bibliography: Adolphe Monticelli, Paul Guigou, Boussod, Valadon, Paris 1890 Dictionnaire de la Peintres Moderne, Frank Elgar, Hazan, Paris 1954 Monticelli, Sa vie, son oeuvre, (Bibliothéque des Arts, Marseille, 1969). A. Alauzen, P. Ripert, Museums: Monticelli’s work is best represented in the museums in Lille and Marseilles. Musée National, Amsterdam Musée Simu, Bucharest Musée Louvre, Paris Petit Palais, Paris Montréal Museum, Montréal, Canada Musée Municipal, La Have Musée Lyon, Lyon Minneapolis Museum, Minneapolis, MN Pennsylvania Academy of Fine Art, Philadelphia Buffalo Museum of Fine Art, New York Boston Museum of Fine Art, Boston Chicago Art Institute, Chicago Metropolitan Museum, New York City Brooklyn Museum, Brooklyn, New York St. Louis Museum, St. Louis, MO National Gallery, Washington, D.C. Baltimore Museum, Baltimore, MD And several additional museums world wide. 1824 - 1886 Adolphe Joseph Thomas Monticelli Monticelli Adolphe Joseph Thomas 1675 Painter, muralist. Born in Taunton, England on Nov. 24,1877. Moore studied at the Liverpool Art School and Royal Institute. In 1903 he immigrated to America and had further study with Henry Ward Ranger. By 1910 he was an established artist in NYC and in that year moved to Hawaii where he was purchasing agent for Hawaii Plantations and later served as director of the Honolulu Academy of Arts. In 1928 he sailed for California and worked briefly in Pasadena and San Francisco before settling in Carmel. He specialized in poetic depictions of the coast and scenic spots on the Monterey Peninsula. His best known work is the Picture Bridge, a series of 41 murals in the Huntington Hotel in Pasadena. Moore died in Carmel on March 5,1967. Member: Salmagundi Club; NY WC Club; Pasadena Society of Artists; Calif. WC Society; AFA; Carmel AA; Society for Sanity in Art. Exhibited: CGA; PAFA; St Louis Art Museum; GGIE, 1939; Santa Cruz, 1944; Carmel AA, 1945, 1946; NAD. Awards: First prize and Logan medal, Society for Sanity in Art, CPLH, 1944. Works Held: USIVIC Headquarters, SF; Auckland (UZ) Museum; Honolulu Academy of Art. Listed: CA&A; Fld; Who's Who in the West, 1954; YAMP; Art & Artists on the Monterey Peninsula; AAW; AAA 1919-33; WWAA 1936-62; SCA; DR. 1877 - 1967 Frank Montague Moore Moore Frank Montague 1934 Martha Moore was born in Bayonne, NJ in 1913. She studied at the Art Students League in New York with Frederick Bridgman and Frank DuMond. Her outstanding work at the League earned her 5 scholarships. She exhibited extensively and her paintings were awarded many prizes. She received the prestigious "Issac Maynard Portrait Prize" from the National Academy of Design. She also exhibited at the Art League of Long Island, the Lorillard Wolfe Art Club, with the American Artists Professional League and the Allied Artists of America. She exhibited with the American Water Color Society, Audubon Artists, with the Society of Independent Artists in 1944 and in many museum shows. She spent summers in Rockport, Massachusetts joining the Rockport Art Association in 1960. She participated in their annual exhibitions and received many awards for her paintings. She has also exhibited internationally with her works being shown in England, the Scandinavian countries, South America, Mexico, France, Canada and Israel. She has written two books "Prize Winning Paintings" and "Prize Winning Art" published by Allied Publications Inc. 1913 - 1982 Martha Elizabeth Moore Moore Martha Elizabeth 1818 N.A. Moore, though sharing the feeling and impetus of his contemporaries, felt no need to travel vast distances in search of evermore grandiose, spectacular vistas. He took a particular delight in the peaceful harmony of the local American countryside. Exploring the myriad seasons and moods of his native New England, he celebrated the understated, humble charm of his own back yard. A member of the Hudson River School at heart, Moore remained untouched by its more dramatic interpretations, crafting instead works that were local, personal, honest American, and humble. He was born August 2, 1824, at Kensington (Conn.), studied under Thomas Cummings and Daniel Huntington in NYC and spent most of his life in Kensington. In his later years he specialized in landscapes. French, Art and Artists in Conn., 122-23 Corcoran Gallery, Catalogue Art Digest (Oct. 1, 1934), 5, repro 1824 - 1902 Nelson Augustus Moore Moore Nelson Augustus 2935 Francis Luis Mora was born in Montevideo, Uruguay on September 27, 1874. His father, Domingo Mora (1840- 1911), was a Spanish architectural sculptor. His mother, Laura Gaillard, was a member of the Bacardi spirits family of Santiago de Cuba. His brother was Joseph Jacinto (Jo) Mora (1876-1947), who would become a noted California artist. The Mora family's artistic lineage went back to eighteenth-century Spain. In 1878, when Luis Mora was 3 years old, Domingo Mora was hired to work in the New York studio of Augustus Saint-Gaudens, the great American sculptor. In 1880, he accepted a position as Director of Design for the A.H. White Terra Cotta Company of Perth Amboy, New Jersey. Luis Mora was raised in Perth Amboy, receiving his first art instruction from his father. He graduated from Perth Amboy High School in 1891. F. Luis Mora entered the Boston Museum School of Fine Art in 1891. His teachers were Frank Benson and Edmund Tarbell. In 1893, Mora returned to New York to work as an illustrator and to study composition with H. Siddons Mowbray at the Art Students League. In 1900, Francis Luis Mora married Sophia Brown Compton, daughter of the Mayor of Perth Amboy, NJ. The couple lived in New York City, and the artist also kept a studio in Perth Amboy. Luis Mora quickly became a successful figural painter, portraitist, muralist and illustrator. His life-long artistic goal was to adapt the techniques of the Spanish Old Masters into American modern painting. Mora frequently traveled to Spain to visit his extended family, and to paint in El Museo del Prado in Madrid. His patrons for Spanish scenes were Alfred Stieglitz and William Macbeth. He had solo shows of Spanish paintings at the Macbeth Gallery, the Reichert Gallery, and the Thompson Gallery. In 1904, Mora was elected an Associate at the National Academy of Design, and became a full member in 1906. He was the first Hispanic to be elected to the NAD, and he became an exhibition jury member in 1907. Mora was also a member of The National Arts Club, The Art Students League, The Salmagundi Club, The Pen and Brush Club, The Architectural League, The American Watercolor Society, and other art societies. Mora won three medals at National Academy competitions, and he also won medals at the St. Louis World's Fair Exhibition in 1904, and at the Panama-American Exhibition in San Francisco in 1915. He was a popular teacher of figural drawing and painting, known as "Life Classes." He taught at William Merritt Chase's New York School of Art and at Chase's Summer Shinnecock School on Long Island. In 1906, he accepted a position at the Art Students League, and in 1907 he taught art to Georgia O'Keeffe. Mora's first mural was commissioned by the trustees of the Lynn, MA Public Library in 1900. He also painted the dome of the Missouri State House, St. Louis in 1904, panels for Columbia College in 1909, murals and portraits for the Governor's Mansion of New Jersey in 1911 and a monumental mural for The Red Cross in 1919 in collaboration with Major Joseph Kitchell. Mora was a prolific illustrator, often winning cover competitions. His illustrations appeared in Harper's magazines, Collier's Monthly, The Century, The New York Tribune (now the NY Times), and other publications. Mora painted portraits of President Warren Harding, Arthur Rubenstein (for Steinway,) Andrew Carnegie, Anais Nin, and dozens of eminent Americans and their children. In 1913 Mora bought 28 acres in the Litchfield Hills, Gaylordsville, CT, where he and his wife Sophia built a summer home in 1919. Their only child, Rosemary Mora, was born in 1918 in New York City. Sophia Mora died suddenly in 1931 in Danbury Hospital, CT. Mora 's second wife was May Safford, the widow of Ray Safford, an officer and director of Scribners Publishing Company. Luis Mora died at age 64 in 1940 at his home. Today F. Luis Mora's paintings are held by at least a dozen museums, including The Metropolitan Museum of Art, The Smithsonian Museum, The Newark Museum, The Hood Museum (Dartmouth University), The San Diego Museum, The Butler Museum of American Art, and The National Gallery of Canada. Askart: Written and submitted November 2004 by Lynne Pauls Baron, The F. Luis Mora Project, representative of the estate. 1874 - 1940 Francis Luis Mora 1 Mora Francis Luis 1674 Edward Moran was an English-born marine painter known for his Turneresque seascapes and paintings of American history. Moran was born at Bolton-le Moor, Lancashire, one of four brothers who became artists. When he was 15, Moran immigrated to the United States with his family, to settle in Maryland. Originally trained as a weaver, Moran turned from that trade to study painting with Paul Weber and marine painter James Hamilton in Philadelphia. By 1857 he was an established artist, along with his younger brother, Thomas. Moran was encouraged to paint marine subjects by Hamilton. These included fishermen at work, seascapes, vessels, and a series of scenes from American maritime history. The marine paintings are dramatically conceived, with brilliant sunsets and vibrant bluegreen seas, recalling the glowing color of Joseph M.W. Turner. In one of his paintings, Moran placed the Statue of Liberty as a symbol on the horizon, silhouetted against a glowing sunset, with a wide expanse of New York Harbor spread out beneath the sky. In 1861, Moran visited England for six months with his brother, Thomas. They came under the influence of Turner's work, which was on display in London. Moran moved to New York City in 1871 where he opened a studio and spent the rest of his life. A visit to France in 1878 interested him in painting the figure, and after that date figures appear more prominently in his work than previously. The last 10 years of Moran's life were spent painting a series of 13 historical marine paintings. Memberships: National Academy of Design Pennsylvania American Federation of Arts Public Collections: Butler Institute of American Art, Youngstown, Ohio Chrysler Museum, Norfolk, Virginia Milwaukee Art Museum Museum of the City of New York National Museum of American Art, Washington, D.C. United States Naval Academy Museum, Annapolis, Maryland 1829 - 1901 Edward Moran Moran Edward 1816 Edward Percy Moran, who preferred to be known as Percy Moran, was born in Philadelphia in 1862. His father, Edward Moran, was a well-known marine painter who emigrated to the United States with three brothers, also artists. Thomas Moran is known for his Rocky Mountain pictures, Peter was a painter, etcher, and illustrator, and John was a painter. Percy Moran continued in the family tradition by excelling as a genre and landscape painter and as an etcher. He was equally adept in oil and watercolor. Although he attended public school in Philadelphia, Moran spent most of his youth studying at his father's studio in New York City. In 1894, father and son traveled to Paris, where the young Moran attended and graduated from military school and then studied art for a year. Returning home, he continued his art studies at the National Academy of Design in New York City and then at the Pennsylvania Academy of the Fine Arts under S.J. Ferris. This was followed by four years of study in Paris and London. Returning to New York City, Moran opened a studio and soon attracted notice with his watercolor sketches. His earliest work consists of scenes of children and peasant life, and portraits of pretty women. Later, he turned to the subject for which he is best remembered: the customs and homelife of colonial America. These quiet paintings, telling stories of love or of domestic incidents, are distinguished by great attention to detail. Many were reproduced in colored etchings, photogravures and mezzotint, and were published in books and magazines. Percy Moran died in New York City in 1935. MEMBERSHIPS: National Water Color Society PUBLIC COLLECTIONS: Philadelphia Museum of Art, Pennsylvania Walker Art Center, Minneapolis, Minnesota 1862 - 1935 Edward Percy Moran Moran Edward Percy 2104 Edward Percy Moran, who preferred to be known as Percy Moran, was born in Philadelphia in 1862. His father, Edward Moran, was a well-known marine painter who emigrated to the United States with three brothers, also artists. Thomas Moran is known for his Rocky Mountain pictures, Peter was a painter, etcher, and illustrator, and John was a painter. Percy Moran continued in the family tradition by excelling as a genre and landscape painter and as an etcher. He was equally adept in oil and watercolor. Although he attended public school in Philadelphia, Moran spent most of his youth studying at his father's studio in New York City. In 1894, father and son traveled to Paris, where the young Moran attended and graduated from military school and then studied art for a year. Returning home, he continued his art studies at the National Academy of Design in New York City and then at the Pennsylvania Academy of the Fine Arts under S.J. Ferris. This was followed by four years of study in Paris and London. Returning to New York City, Moran opened a studio and soon attracted notice with his watercolor sketches. His earliest work consists of scenes of children and peasant life, and portraits of pretty women. Later, he turned to the subject for which he is best remembered: the customs and homelife of colonial America. These quiet paintings, telling stories of love or of domestic incidents, are distinguished by great attention to detail. Many were reproduced in colored etchings, photogravures and mezzotint, and were published in books and magazines. Percy Moran died in New York City in 1935. MEMBERSHIPS: National Water Color Society PUBLIC COLLECTIONS: Philadelphia Museum of Art, Pennsylvania Walker Art Center, Minneapolis, Minnesota Unknown Percy Moran Moran Percy 1817 Thomas Moran was born in Bolton, Lancashire, England in 1837. His family came to the United States when he was seven; of the seven children, three of his brothers, Edward, John and Peter, became artists of renown. Edward, his older brother, shared a studio with him and served as his teacher. In Philadelphia, Moran worked for a wood engraver, sketching designs on wood blocks for printing and experimenting, in various media in his spare time. By age 21, Thomas Moran's determination to become an artist was rewarded by his exhibition of an oil painting at the Pennsylvania Academy of Fine Arts. In the 1850's, Moran was introduced to the work of J. M. W. Turner, the noted English landscape artist, by James Hamilton (known as "the American Turner") but Turner's full influence on Moran's work came after the European study trip, taken with his new wife, Mary Nimmo (who later became an etcher of note), and his brother, Edward, in 1862. Moran was greatly impressed with Turner, and French landscape painter, Claude Lorrain. In 1871 Moran joined the Ferdinand V. Hayden Geological Survey Expedition to Yellowstone Territory and on seeing the magnificent grandeur of the area, his inspiration soared. In 1876, Louis Prang of Boston issued a portfolio of 15 large chromolithograph illustrations by Moran from a report of Hayden's Expedition. Moran lived in Newark, New Jersey in 1872, but New York City eventually became his base until later years. Well established by 1884, he was one of the first artists to build a summer home in East Hampton, a Long Island Resort. Figures were rarely included in his work, however, on a trip to New Mexico, he did paint Indians in their surroundings. Moran lived in Santa Barbara, CA from 1916 until his death in 1926. Public Collections: The Thomas Gilcreast Institute Los Angeles County Museum of Art The Metropolitan Museum of Art Milwaukee Art Center Museum of Fine Arts, Boston National Museum of Art Newark Museum Philadelphia Museum Smithsonian Institute 1837 - 1926 Thomas Moran 1 Moran Thomas 2132 Adrien Moreau was born in Troyes, France on April 18, 1843 and died in Paris, February 22, 1906. He is considered a sculptor, genre, historical painter, watercolorist and illustrator from the French school. Moreau received his formal training at the l’Ecole des Beaux-Arts in Paris under Isidore Alexandre Augustin Pils (1813-1875). He debuted at the Paris Salon of 1868. He was awarded a second-class medal at the 1876 Paris Salon and a silver medal in both the 1889 and 1900 Exposition Universelle. In 1889, Moreau illustrated Candide by Voltaire and Le Secret de Saint Louis by E. Moreau. He became Chevalier de la Légion d’honneur in 1892 which is one of France’s highest awards. Museums: Carcassonne "Le Soir" Nantes "Propos galants", "La marchande de coco", "Le goûter champètre" Troyes "Dans le parc" Listed E. Benezit, vol. 7, page 534 Dictionnaire des Petits Maîtres de la peinture 1820-1920, vol. II Popular 19th Century Painting, A dictionary pf European Genre Painters, Philip Hook & Mark Politmore Champlin & Perkins’ Cyclopedia Theme-Becker Lexicon 1843 - 1906 Adrien Moreau 1 Moreau Adrien 3183 Berthe Morisot was born in 1841 (the same year as Pierre Auguste Renoir, her future colleague, advisor, and friend) to Edmé-Tiburce Morisot and Marie Corneille Thomas. Though her father had aspired to follow his father's footsteps and become an architect, Mr. Morisot was in the service of the government. No mere civil servant, Morisot steadily rose to become prefect of the Département du Cher by the time Berthe was born. After the family moved to the Parisian suburb of Passy during the revolutionary year of 1848, Berthe's father continued to work as a highly paid government official. His family was able to live a comfortably well off, haute-bourgeois lifestyle. 	In 1858 Madame Morisot inspired her daughters to paint. She desired that the three girls take art lessons so that they could present a birthday gift to their father. She sent them first to the academic painter Geoffrey Alphonse Chocarne who focused his teachings on drawing, and soon afterward to Joseph Benoît Guichard, a former student of both Ingres and Delacroix. Though the eldest daughter quickly decided that she was not interested in continuing these lessons, Edmé and Berthe enthusiastically applied themselves to his instruction. Under Guichard's tutelage, the Morisot sisters began to journey to the Louvre in order to study the old masters first hand. This was a self-educational technique, which Berthe would return to all of her life. 	After three years of studio work under the supervision of Guichard, Berthe decided that she wished to study the plein air motif under master landscapist Corot. Edmé joined her sister with these weekly lessons. As part of Corot's instruction, the Morisots embarked on summer-long painting trips to picturesque locales. In 1862, they rode mules through the Pyrenees. In order to accommodate these expeditions, the Morisot family organized their holidays around Berthe and Edmé's art work for there was no question that the two would have set off on such an experience unchaperoned. The Morisots gave constructive support to the painting aspirations of their daughters. M. Morisot had a studio build in the garden for Edmé and Berthe to work in and Mme Morisot attended all of the exhibitions. 	Edmé and Berthe maintained close, intimate ties as sisters and this closeness showed both in their personal and artistic lives. Though only two examples of Edmé Morisot's work survive, one is an 1863 portrait of her sister Berthe at work. In defiance of the fashion of the day, Berthe, who seems completely absorbed in her painting, wears no hoopskirt, which would have gotten in the way of her work. Instead, she wears a practical skirt, blouse, and jacket. The position of Berthe's easel in relation to the viewer suggests that she and Edmé painted side by side. This painting only came to the public view in 1961--it was considered an intimate portrait and remained in the possession of Edmé Pontillon's descendants. 	In early 1869, after twelve years of study and collaboration with her sister Berthe, Edmé Morisot married a naval officer, Adolphe Pontillon. Her marriage marked the end of her serious pursuance of painting. However, letters to Berthe soon after her wedding indicate that Edmé missed both the artistic challenge and the camaraderie engendered by working with her sister. 	Berthe Morisot began to exhibit with the Impressionists and did so every year until the last exhibition in 1886 with the exception of the year her daughter Julie Manet was born in 1878. Among this group, she voiced her opinion and gave advice to such up and coming artists as Georges Seurat. Indeed, his work Sunday Afternoon on the Grande Jatte was included in the 1886 exhibition because of her sponsorship. 	Unlike her sister Edmé, Berthe Morisot (she continued to paint under her own name) was determined to continue her art after her marriage with Manet's brother, Eugene in 1874. Morisot's output, always prolific, never flagged. This was certainly helped by the fact that her husband both gave her the freedom to do so and was supportive of her efforts. Marriage gave Berthe financial, social, and emotional stability, which encouraged her to expand her professional role. The Manet family fortune gave Berthe Morisot enough income to pursue her art. 	Berthe Morisot worked out of her home. However, unlike Renoir, Manet, Monet, or Degas, her workrooms were not part of the public space of the house. She relegated them to the back of the house where at the end of the day, she would hide her paints and brushes. Though art was the dominating force in the lives of her male colleagues, Berthe Morisot was also a wife and mother. Two roles, which, though not exclusive from her art, nonetheless were equally important to her. 	Between her 1874 marriage and her death in 1895, Berthe Morisot produced over 350 works of art, most of which featured either women or children. Two thirds of these paintings featured her sisters, their families, or her own daughter Julie. Indeed, Julie Manet became a favorite subject of study. From the infant in Wet Nurse to the adolescent portrayed in Julie au Violon, or Julie Manet and Greyhound Laërtes, Berthe Morisot recorded her daughter's childhood in loving detail. After her husband Eugene's death in 1893, Julie and Berthe became very close. The two traveled and drew together. Julie seems to have inherited some of both her mother's and the Manet family's artistic talent. However, this was not to last long. After nursing Julie through a bout of influenza, Berthe developed pneumonia and quickly experienced a decline. She died on March 2, 1895. 	Though the nineteenth century did not produce many women artists of Berthe Morisot's caliber and fame, those other women who were successful artists, such as Eva Gonzales, Marie Bracquemond, and Mary Cassatt, all came from similar backgrounds. This is not surprising for; the upper middle class was uniquely suited to producing educated women. Unlike women of the lower and working class, bourgeoises had the leisure and the financial support to pursue their interests, so long as they did not go against what was considered proper behavior. 	In the last decades, several art historians have focused upon Berthe Morisot's depiction of women within the clearly delineated roles and physical spaces, which were acceptable for bourgeois women during the nineteenth century. Most of the physical spaces were either associated with the upper middle class home such as drawing rooms as depicted in Portrait of Mme Boursier and her Daughter, balconies, In a Villa at the Seaside, and private gardens as in Woman and Child in a Garden. Morisot also painted outdoor scenes, which were places that respectable bourgeoises frequented such as parks and scenic overlooks (View of Paris from the Trocadero, 1872), or modes of transport, which enclosed women such as boats, and carriages, A Summer's Day, 1879. These interiors and exteriors represented the settings in which most bourgeoisies lived their lives. As a member of this class, Berthe Morisot would herself have spent time in these locales and there would have chosen to paint her subjects. 	Before her marriage, Berthe Morisot's position as a respectable member of the haute-bourgeoisie impacted her ability to move within artistic circles. Though she had seen him at various art exhibitions and knew of his work, Berthe Morisot had to wait, in accordance with bourgeois etiquette, until a mutual friend (the painter Fantin-Latour) could introduce her to her future mentor and brother-in-law, Edouard Manet. Once married, Berthe Morisot could move more frequently within the artistic circle. Her house at 4, rue de la Princesse in Bougival became a social and inspirational center for the Impressionists. By 1885 she had begun to hold regular soirees for friends that were artists or writers, including Mallarmé. However, some social barriers could still not be crossed. Because of Morisot's sex and social position, she could not join her male colleagues at the cafes where they casually convened. Respectable women, married or unmarried, simply did not frequent these establishments. Exhibited: Paris Salon, 1864-1873 Founding Member and Regular Exhibitor with the Impressionists from 1874 Boussod and Valadon Galleries, Paris 1892 (solo) Durand-Ruel, Paris 1896, 1902, 1948 Marcel Bernheim, 1922 Wildenstein, New York City 1841 - 1895 Berthe Morisot 1 Morisot Berthe 1951 The Coastal Shadows series is a metaphor of time, the continuum of life and change. As shadows pass across the sand and the many surfaces in their path, this provokes change. Colors expand their volume, shapes are elongated consuming and redefining space and surfaces into a merging abstraction. As the ocean is redefining the coastline, we are shaped and defined by the many waves of change in our lives. Allegorical structures and abstract shapes imagined from a precarious angle are meant to disturb the traditional balance of learned perspective. As it's within these structures we have experienced the many influences of time and change. As if stairways were fluid, they carry us giving us direction. They ultimately lead us off the edge, to consume new shapes. b.19 - 1948 Douglas K. Morris Morris Douglas K. 1672 Christina Morton (Mrs. Benjamin A. Morton) was born in the small Arkansas town of Dardanelle. She moved to New York City to study at the Art Students League and at the National Academy of Design. Mrs. Morton traveled to Europe to study, and upon moving back to the United States become an active member of the Federation of American Artists and the Allied Artist's Association. By 1920 she was exhibiting at the National Academy, she entered a painting entitled" Sonia". They listed her address as 27 West 67th Street, New York City. When she returned to New York City, Christina married writer Benjamin A. Morton. She collaborated with her husband, illustrating his book, "The Veiled Empress." The illustrations were from a series of paintings of Martinique. Memberships: Federation of American Artists Allied Artists Association National Academy of Women Artist, President 1919-1920 MacDowell Club Public Collections: Museum of History, New York City Hispanic Museum, New York City Listed: Who Was Who in American Art Dictionary of Women Artists Mantle Fielding 1891 - 1957 1 Christina Morton Morton Christina 3100 Born in Ivancice in Moravia and trained as a stage designer in Vienna, Mucha studied painting in Munich before moving to Paris in 1887 to enrol at the Academie Julian. Mucha's fame was owed to his very personal style of drawing, which was both elegant and supple, rendering a sophisticated vision of Woman. His taste for curved and intertwined forms combined with a wild proliferation of plant life was expressed in some of the most celebrated posters of his time (see lots 87-89 & 91). Mucha's works are characterized by a sense of ornamentation, byzantine inspired mosaic backgrounds, a balancing of realist and stylized elements, and a certain horror vacui. Mucha's abilities as a graphic artist brought him a rapid rise to fame; however, he was a virtuoso in many domains, creating intricate jewelry, furniture, wallpaper and interiors, as well as the posters, drawings and paintings that turned him into the embodiment of Art Nouveau. Mucha himself rejected any direct links with the movement, asserting that 'art is eternal, it cannot be new'. To him, his style was the natural evolution of purely Czech artistic traditions, organically grown from roots in the country he loved so well. After a few years in the United States he returned to Bohemia to start work on the Slav Epic, a series of twenty paintings celebrating Slavic history, which he gave to the city of Prague in 1928. These paintings expressed Mucha's devoted attachment to his roots, Czech ideals and traditions. The period of 1895 to 1900 was Mucha's most prolific. The symbolist literary review La Plume dedicated an issue to his drawings, watercolours and lithographs in 1897 when public appreciation of his work was at its height, as well as exhibiting his works as part of the Salon des Cent. His posters were especially popular, and he published various series of decorative panels. In several of his acclaimed four-piece decorative panel series, as The Four Flowers (lots 87-891, and in his depictions of young Moravian girls (see for example lots 86 & 91), captivating and sensuous female figures are the primary focus of the composition. They symbolise Flora, the goddess of nature, and the flowers with which they are adorned become their attributes of beauty. This beauty encapsulated the nostalgia of the period and had the perfection of a dream, seducing not only his contemporaries but generations to come. Unknown Alphonse Mucha 1 Mucha Alphonse 2046 Jules Alexis Muenier is known as a genre painter, engraver and watercolorist from the French school. He was born in Versoul (haute-Saone) on November 29, 1863. However according to art historian Edouard Joesph, Muenier was born in Lyon on 29 November 1869. Muenier received his formal art education at the Beaux-Arts Academie in Paris and debuted at the 1887 Salon des Artistes Français which was an exhibition and competition for members and non-members. He was elected Chevalier de la Légion d’honneur in 1895. Muenier won the gold medal at the 1900 Universal Exposition in Paris. In 1921, he was nominated member of l’Institut. Museums: Musée Mulhouse "Le orphelins" "Baineuses" l’Art Morderne, Paris "La le çon de clavecin" "Retour des Champs" Listed: E. Bénézit, vol. Vii, pg. 583 Dictionare biographique des artistes contemporains, 1910-1934, Paris Thieme Becker Lexicon 1869 - 1947 Jules Alexis Muenier 1 Muenier Jules Alexis 3237 Frederick Mulhaupt was born in Rockport, Missouri, March 28, 1871 the son of Jacob Mulhaupt of Baden and Margeret Liebig of Hesse-Darmstadt, Germany. He grew up in the small town of Kiowa on the southern border of Kansas, a wild unsettle Indian territory. The majority of his professional career was spent in NYC, Boston and East Gloucester, MA. He studied painting at the Kansas City School of Design after a failed attempt at becoming a newspaper reporter in that city. He then became a student at the Art Institute of Chicago, where he taught figure painting in 1902. Rather than training in Munich like so many German painters from America, Mulhaupt studied in Paris and exhibited paintings at the National Academy of Moret, France and St. Ives (Cornwall), England. When he returned from Europe, his address was at the Salmagundi Club in NYC (winters). He began summering in Cape Ann around 1900, exhibited in 1917 at the Gallery-on-the-Moors in Gloucester (which became the North Shore AA in 1922) and in that same year Mulhaupt settled in Gloucester and focused on painting its harbors and landscape views. Known to have a reclusive personality, Mulhaupt kept to himself and seriously painted but he did not like to socialize. However, he did marry Agnes Leone Kingsley (a teacher) in 1921 and they had a son Frederick (1922). His major studio was as close to the ocean as it could be, located on pilings in Gloucester Harbor on Rocky Neck and to the studio students flocked. Mulhaupt was a member of the North Shore Art Association from 1923 until his death, where he exhibited many local paintings and held various positions. He became an Associate of the National Academy (1926) and was a member of the National Arts Club, Salmagundi Club, Allied Artists, Palette & Chisel (co-founder, Chicago), Boston Arts Club, Rockport AA; American Art Association in Paris and the Artists Fund Association. Although considered a “post impressionist” the work of Mulhaupt is impressionistic, each stroke juxtaposing the next in color and hue. The competent artist had studios and taught in NYC, Chicago and Gloucester and painted in the U.S., Canada, England, France and Spain. His awards include the Evans Prize at the Salmagundi Club (NY, 1907) and its Porter Prize (1921); Minneapolis, MN Popular Prize (1924); awards at the Allied Artists of America (NY, 1925, 1930); a landscape medal from the Philadelphia Sesqui-Centennial (1925); the Bunce Prize, CT Academy of F.A. (1927); prizes at the Ogunquit AA (1931, 1932) and more. He is represented at the Butler Art Institute, Youngstown, OH; Reading Public Library, Reading, PA; John Herron Institute, IND; College Museum, Wake Forest, NC; National Arts, NYC; National Academy, NYC; Buffalo NY Mural of McKinley; Champlain Mural, Chazy, NY; and elsewhere. Mulhaupt died of a heart attack while painting in his studio in Gloucester, MA in 1938 a revered American impressionist. References: Movalli, Charles, Frederick Mulhaupt: New England Classic, American Artist, (January 1977); "Frederick J. Mulhaupt," Kathleen Kienholz, American Art Review, vol. xi, #4, August 1999; Who Was Who in American Art, vol. II, pp. 2359-2360. 1871 - 1938 Frederick J. Mulhaupt 1 Mulhaupt Frederick J. 1815 Fritz Muller was considered a 19th century early 20th century miniature portrait painter. His very detailed exquisite character paintings have become quite sought after and rare. Fritz Muller was born in Mayence, January 9, 1879. His death is unrecorded. He received his education at the Munich Academy where he excelled as a painter and engraver. E. Benezit Vol. VII pg.591 1879 - nown Fritz Muller Muller Fritz 1690 Émile Munier was born in Paris June 2, 1840 and lived with his family at 66 rue des Fossés, St. Marcel. His father, Pierre François Munier, was an artist upholsterer at the Manufacture Nationale des Gobelins and his mother, Marie Louise Carpentier, was a polisher in a cashmere cloth mill. Émile and his two brothers, François and Florimond, were talented artists and each spent some time at the Gobelins. At the factory Abel Lucas trained Munier as a draughtsman and he developed a close relationship with Lucas and his family, eventually marrying Lucas' daughter, Henriette, in 1861. In 1867, Henriette gave birth to a son, Emile Henri. Six weeks after the birth, having contracted severe rheumatism, Henriette died prematurely. Sargine Augrand, a student of Lucas and a close friend of Émile and Henriette (before she died), caught Émile’s eye; they married in 1872 and lived in a small apartment and studio. The couple had one child, a daughter, Marie-Louise, born in 1874. During the 1860s, Munier received three medals at the Beaux-Arts and in 1869 he exhibited at the Paris Salon. He became a great supporter of the Academic ideals and a follower of Bouguereau, whose subject matter would be an important inspiration to the young Munier. Bouguereau's quality of work and composition are reflected in Munier's artworks. The pair became close friends and Munier frequently visited Bouguereau's studio; the latter used the nicknames "La sagesse" or "Le sage Munier" when referring to Munier. The glass designer Émile Gallé was another artist Munier was known to work with from around 1869. Munier ceased work at the tapestry factory in 1871 and devoted his time solely to painting; he also began teaching classes to adults three nights a week. Leland Stanford, Jr., the only child of Governor Leland Stanford of California and his wife Jane Stanford, died aged fifteen in 1884, and during that year Munier was commissioned by Jane Stanford to immortalize their son by way of a painting. The oil on canvas entitled Angel comforting his grieving mother shows the boy with his hand on his mother's shoulder returning to earth as an angel to comfort her. Today the painting forms part of a display in the Cantor Centre for the Visual Arts at Stanford University. In 1885 he painted, and exhibited at the Paris Salon, Trois Amis (Three Friends). This painting, representing a chubby girl playing on her bed with a kitten and a dog, was an extremely successful work, being reproduced in many forms and used for publicity posters by Pears soap. With this work, Emile asserted himself as one of 'the' painters of young children and their pets; it was eventually acquired by an American collector. Among his many American patrons were Chapman H. Hyams and his wife, who were important collectors of contemporary French paintings during the nineteenth century and favoured artists like Henner, Bouguereau, Gérôme, Vinel and Schreyer. Munier painted their portrait in 1889, and it, along with much of their collection, is now in the New Orleans Museum of Art. During the 1890s Munier continued to paint peasant, mythological and religious subjects;he also portrayed animals, scenes depicting fishing, landscapes and seascapes. Many of his works featured his children as his models, particularly his daughter.[6] In 1893 he exhibited L'esprit de la chute d'eau, at the Paris Salon, a nude nymph which is not unlike Naissance de Vénus by Bouguereau.[1] In 1895 Munier painted La jeune fille et le panier de chatons, but on June 29th, a few weeks after his 55th birthday, he died. From Wikipedia, the free encyclopedia Listed: Benezit Thieme-Becker 1840 - 1895 Émile Munier 1 Munier Émile 2925 Ludvig Munthe (1841-1896) Ludvig Munthe was born in Sogndal, Norway May 11, 1841 and died in Düsseldorf, Austria May 30, 1896. Munthe began is formal art studies in Bergen from 1859 to 1860. In 1861, he travels Düsseldorf to study at the Academy with landscape painter with Sophus Jacobsen and with Hans Gude. He also traveled to Holland, France and throughout the cities of Norway to study the old masters. Ludvig Munthe developed his own style of painting his favorite snow covered landscapes contrasting against gray cloudy skies. In 1872, Munthe was awarded a Gold medal in Berlin, a Silver medal in Vienna and he was awarded a First Class medal at the 1878 Universal Exposition. He would continued to exhibit his landscapes throughout Europe and was awarded medals in Vienna (1894), Amsterdam and London. Museums: Aix La Chapelle Anvers Berlin Copenhagen Frankfort Dusseldorf Hamburg Etc. Listed: E. Benezit 1841 - 1896 Ludvig Munthe Munthe Ludvig 1918 Ada (Adah) Clifford Murphy was born in Saratoga, New York. She studied at the Cooper Union Art School and with Douglas Volk in New York. She was a member of the National Art Club. Her works were exhibited at the National Academy of Design in New York beginning in 1886 and in 1894 she received a prize for a painting titled "That Difficult Word. " She also exhibited at the Pan-American Exposition, held in Buffalo in 1901, where she received an honorable mention and with the American Water Color Society in 1898. In November 1883 she married the artist John Frances Murphy. When she was a student at Cooper Union when they met at a skating party. In 1894 they established a studio in the Hotel Chelsea but after a visit to Arkville, a small town in the Catskill Mountains of New York, they decided to leave the city. In 1887 they built a home and studio in Arkville and in the lean years offered summer art classes in the village. The prior year, 1886, they took a six month holiday in Europe, first staying in London and then journeying to France. In June they had stayed in Montigny where Ada wrote in her diary, they "sketched houses and countryside, until October, when they departed for Amsterdam." She wrote they were good museum-goers and had seen many paintings they had known only from photos. Unknown Ada (Adam) Clifford Murphy Murphy Ada (Adam) Clifford 1990 Called "the American Corot," J. Francis Murphy was a painter of Tonalist landscapes who was renowned especially for small, intimate views of nature. Reflecting the influence of the American artists Alexander Wyant and George Inness, he recorded his own emotional responses to his sites through an expressive use of tone and surface texture. John Francis Murphy, N.A. was born in Oswego, New York on December 11, 1853. In 1868, at the age of fifteen, Murphy went west with his family to Chicago, where he began painting billboards and theater backdrops. He did receive a few weeks of training at the Chicago Academy of Design. In 1874 he moved to New York where he was employed as an illustrator. He started sketching in the Adirondacks (where he met Winslow Homer), then to open a studio in the Tenth Street Studio Building in New York City. Primarily a self-taught artist, he depicted the coastal flatlands of New York and New Jersey and similar countryside in New England. His early work until c.1885 was based on direct observation of nature and was often small-scale. In 1886, Murphy made a six-month trip to France, where he deepened his familiarity with the work of the French Barbizon painters. In middle-period works, such as New England Landscapes, Murphy was influenced by A. H. Wyant, George Inness, Homer Dodge Martin and the Barbizon school painters Corot, Rousseau and Daubigny. He spent summers at Arkville in the Catskill Mountains from 1887, and Wyant's presence there between 1889 and 1892 had a pronounced influence on Murphy's developing Tonalist style. His work of this time consists of spare expressions of barren wind-blown land painted with a limited palette. Murphy typically prepared his canvases early to give time for the underpaint to dry and then applied brown and gold, which he flattened with a palette-knife as a basis for later stages of rubbing (with pumice), lacquering and glazing. After 1900, Murphy painted some of his finest oils, in which he achieved an almost pure tonal unity. He exhibited first at the National Academy of Design in 1876, was elected an associate in 1885 and a full academician in 1887. He became a member of the Society of American Artists in 1901, the American Watercolor Society, the Salmagundi Club, the Rochester Art Club, the Brooklyn Art Club in 1900, and the Lotus Club. He exhibited at the National Academy of Design 1876-1921 (in 1885 he received the second Hallgarten prize for his painting Tints of a Vanished Past), at the Brooklyn Art Association 1878-1885, at the Boston Art Club 1881-1909, at the Pennsylvania Academy of Fine Art 1884-1885, 1898-1901, 1908-1911, 1916, 1921, at the Society of American Artists 1887, 1902, at the Columbian Exposition (Chicago) 1893, at the American Water Color Society 1894, at the Art Club of Philadelphia 1899, at the Paris Exposition 1900, at the Pan-American Exposition 1901, at the Charleston Exposition 1902, at the St. Louis Exposition 1904, at the Corcoran Gallery 1907-, at the Salmagundi Club 1911, and at the Pan-Pacific Exposition (San Francisco) 1915. His works are represented at over 50 museums including the Smithsonian American Art Museum, the National Gallery of Art, the Metropolitan Museum of Art, the Art Institute of Chicago, the Museum of Fine Arts, Boston, the Portland Art Museum, The Hudson River Museum, and the Butler Institute of American Art. John Francis Murphy, N.A. died on January 30, 1921 in New York City but was buried in Arkville, New York. Sources: Davenport's Art Reference & Price Guide Who Was Who In American Art Eliot Clark, J. Francis Murphy (1926) The Poetic Vision: American Tonalism Other Internet Sources 1853 - 1921 John Francis Murphy 1 Murphy John Francis 3195 Alan Murray Born in Great Britain, Alan spent his early years in Canada, and settled with his family in California at the age of thirteen. He displayed a talent for drawing when he was very young and began seriously studying shortly after moving to California at the Amsel Art School. His driving motivation was to create for the viewer a complete visual experience; capturing the fleeting expression on a subject’s face, arresting a tantalizing moment, or an enchanting pose. His desire to communicate through art led him to enter and subsequently graduate from Art Center College of Design in Los Angeles California. Alan Murray’s art, prints and posters create a world of love and beauty, of innocence and blossoming delight. He is able to capture a mood as delicate as the features he paints on his canvas, and just as intricate. It is not only the physical aspect of beauty that I try to express in my work, but that which is deeper and more elusive, a radiance to be felt rather than seen. He is able to create this effect by capturing the translucent light that reflects from the highlights of a child’s hair or the mystery of a woman’s smile. He paints in his art, prints and posters the love he sees in a mother’s eye and the fascination of a treasure discovered by a young boy. He is quick to catch the melancholy and wistfulness of a moment’s dream and the everlasting love of a familial tie. Murray’s warm rich hues draw the viewer into a world of memories. "I usually try to paint a feeling of calmness, which we do not have a lot of in this world." It is his sense of beauty and ability to capture the moment that makes him such an extraordinary artist. Unknown Alan Murray 1 Murray Alan 2793 Marie-Mela Muter (Melania Mutermilch) was born in Varsovie, Poland on April 26, 1876 (1886) and died in Paris in 1967. She is considered a modernist from the School of Paris. Muter began her art studies a pupil of professor M. Kontatbinski at the Warsaw School of drawing and painting for woman in 1899-1900. In 1901, she traveled to Paris to study at the prestigious Academie Ranson and at l’Academie Colarossi. Upon completing her studies, Muter initially painted slightly symbolic compositions. However in her later works, Muter experimented with cubism which can be seen in her landscapes. The subject in many of her works shows the plight of human beings and motherhood. In 1912, Muter was elected Sociétaire Nationale at the Paris Salon d’Automne. She became a regular exhibitor at the Salon des Tuileries and won a gold metal at l’Exposition Universelle in 1937. In 1939, Muter along with several other painters were invited by France to participate in the Carnegie Institute’s International Expositions in Pittsburg, Venice and that same year she was honored with an invitation to exhibit with the Société Grande-Bretagne-France in London. Muter returned to Poland to as a participant in the l’Exposition de la Société d” Encouragement for the Beaux-Arts of Varsovie. Mutter’s many successes enabled her to meet and befriend some of Paris’ most prominent members of the French and Polish artistic and intellectual society, which would lead to numerous important portrait commissions. She painted a portraits of composer A. Roussel (Musée de Dieppe), Paul Clemenceau, G. Polli, Pompon, A. Siegfried, H. Barbusse and P. Vailliant-Couturier, just to name a few. Her popular portraits were painted using quick minute brushstrokes of the post-impressionists which she also used in her still-lifes. Muter was able to capture personality and a sensual atmosphere with a limited palette of dark-brown and red-tones putting emphasis the relationship of light and shadow. Museums and Public Collections: Musée de Alger Musée de Avignon Musée de Dieppe Musée de Lyon Musée de Belfort Musée Art Moderne (Paris Etc. Listed: E. Benezit, vol.7 pg. 626 1876 - 1967 Marie Mela Muter Muter Marie Mela 1989 Originally from Petersburg, Virginia, Jerome Myers began his career as a sign painter in Baltimore. After moving to New York City in 1886, he earned a living by painting theater sets and working in the art department of the Herald Tribune while taking night classes at Cooper Union and the Art Students League, where he studied under George de Forest Brush. About 1906, Myers became affiliated with the New York realists, later known as the Ashcan School. He was especially close to John Sloan who encouraged him to paint outdoors and who introduced him to the other painters in the group. Although not an official member of this group, Myers was one of the first American artists to depict the changing urban scene in the early twentieth century. He portrayed the tenements and immigrant populations of New York City's Lower East Side in a realistic style, yet his works are unique in their concentration on picturesque and charming moments of city life. Myers painted with Impressionist brushwork and light colors, and many of his works appear glittering, almost bejeweled. He used a quick, sketchy technique, conveying the movement of crowds and the colors of marketplaces or outdoor concerts. His work expresses the optimism and novelty of modern life rather than its harshness or trials. Myers was instrumental in the organization of the famous Armory Show in 19l3, and his work was exhibited in it alongside that of well-known Ashcan School painters. 1867 - 1940 Jerome Myers Myers Jerome 1689 Michael Strieby Nachtrieb was a skilled decorative, portrait and still-life painter. Born in 1835 in Wooster, Ohio, Nachtrieb was primarily self-taught, with the exception of a short period in New York at the Art Students League. He was mainly active in Ohio and on the Mississippi River Steamboats painting landscapes and portraits. Of all the states between the East and West coasts, it was Ohio who developed the greatest and most continuous artistic tradition. Even though Chicago had become the artistic center of the American heartland by the end of the nineteenth century and in some ways rivaled the Eastern metropolises, Ohio's achievements had a greater longevity, and the work of Ohio artists had, on the whole, a greater impact. It was at mid-century that Nachtrieb started painting still-lifes, his favorite subjects included plums, apples, grapes, and peaches, among other fruit. By the 1860s and 1870s the decorative still-life was institutionalized as the dining room or parlor pictures of the time. Listed: Who Was Who In American Art Biographies of American Artist Active from 1898-1947, edited by Peter Hastings Falk 1835 - 1916 Michael Strieby Nachtrieb Nachtrieb Michael Strieby 3101 The German born Christian Friedrich Nerly spent the largest part of his life in Italy, living in Rome, Milan and Venice. Decisive for his development was the encounter with the artist Carl Friedrich von Romohr. Nerly met him in 1823 in Hamburg and became his most talented student. In the spring of 1828 Nerly and Romohr traveled together to Italy. The southern culture fascinated Nerly so much that he decided to stay, first settling in Rome, where he became friends with Carl Eggers, Johann Christian Reinhart, Thorwaldsen, Overbeck, Veit and Cornelius. In 1835 Nerly left Rome for Venice, where he stayed the rest of his life. He became extremely successful here, depicting the town of Venice and its society in a colourful, detailed style that sometimes bears reminiscence to the art of the Nazarener. In 1840 Nerly married Agathe Alexandra Aginovitch, with whom he lived in the Palazzo Pisani at the Campo San Stefano. Nerly's aimable personality put him in the forefront of cultural life in Venice. His large studio soon became a meeting place for artists and collectors, such as the Prusian King Friedrich Wilhelm IV and King Ludwig I von Bayern. 1807 - 1878 Christian Friedrich Nerly 1 Nerly Christian Friedrich 2036 An important American Pre-Raphaelite artist, Henry Roderick Newman specialized in watercolors of architectural and floral subjects. He was born in Easton, New York, and in 1861 moved to New York City, where he became an active figure in the art scene. His metic-ulously brushed and vividly chromatic works led to his election in 1864 to the Association for the Advancement of Truth in Art, which embraced the ideas of John Ruskin. In 1870 Newman departed for Paris, where he studied with Jean Leon Gerome at the Ecole des Beaux-Arts. In 1871, when his training was curtailed by the Franco-Prussian War, Newman went to Venice, where he created finely wrought depictions of Venetian architecture. He met Ruskin in 1879, and the two traveled together to several Italian cities in search of illus-trations for Ruskin's books. In 1883 Newman settled permanently in Florence, where his home and studio became a meeting place for such luminaries as the Brownings, Henry James, and Nathaniel Hawthorne. Perhaps as early as 1885, but regularly from 1888 to 1891 and again in 1894, Newman wintered in Egypt, where the architecture provided new subjects for his paintings. In the late 1890S he also visited Japan. 1843 - 1917 Henry Roderick Newman Newman Henry Roderick 1688 Burr H. Nicholls is best known for his Breton scenes, which tend to be street scenes of peasant figures silhouetted against brightly sunlit walls. His career was less as an expatriate but no more easily traced. While in Venice he met the well known English watercolor specialist Rhoda Holmes; after they married they settled in New York City, where she became a highly regarded watercolor teacher. Nicholls was painting in Buffalo in 1896, and he was certainly there again in 1900 when he was active in the Buffalo Society of Artists and may have remained in the city during the early years of the present century. Born December, 1848, in Lockport, New York. He studied with Sellstedt in Buffalo, and with Carolus-Duran in Paris. Represented at the Pennsylvania Academy of the Fine Arts by "Effect of Sunlight"; at Peabody Institute, Baltimore, by "Hunting Up a Quotation"; in Fine Arts Academy, Buffalo, by "A Group of Fowls." He died May 12, 1915, in Stamford, CT. Listed: Art Across America, Two Centuries Of Regional Painting Across America Mantle Fielding's Who Was Who In American Art Mallett, Index of Artist Thieme-Becker 1848 - 1915 Burr H. Nicholls Nicholls Burr H. 1687 Associate member of the National Academy of Design Landscape painter. Born April 23, 1819, at Oxford (N.H.), he became a lawyer but later took up painting professionally. After study in NYC with Jasper Cropsey in 1848 and abroad in 1853, he married and settled at Hartford (Conn.). His renderings of the White Mountains in New Hampshire were his more important studys. He died at Peekskill (N.Y.) on September 20, 1871. He was an Associate of the National Academy. Listed: French, Art and Artists in Connecticut, 106 Swan, BA Rutledge, PA NYBD, 1857 Cowdrey, NAD. 1819 - 1871 Edward W. Nichols Nichols Edward W. 1814 George Washington Nicholson was born in Salem County, New Jersey in 1832 and died in Hammonton, New Jersey in 1912. He spent much of his life without recognition. Recently there has been new interest in his work. Many of his paintings, fine examples of American art, have not been located; the artist had a penchant for giving them away. Fortunately, however, he signed and dated most of his paintings. He painted historical scenes, landscape and an occasional still life. In France, he studied with Isabey, who may have influenced his landscape technique. His landscapes were regularly exhibited at the Haseltine Art Galleries. Nicholson also exhibited at the N.A.D, A.I.C and P.A.F.A. Although he lived and worked quietly, Nicholson had admirers. The art dealer Deschonde visited him on a regular basis purchasing paintings for his museum in Chester, Penn. Listed: E. Benezit American Art Analogue Who's Who in American Art Art Institute of Chicago Annual Exh. Records Penn. Academy of Fine Art Exh. Records, 1807-1870 Exhibition Records of the National Academy of Design Dictionary of Artists, Graves 1831 - 1912 George Washington Nicholson Nicholson George Washington 1906 Audley Dean Nicols was born in Pittsburgh, Pennsylvania in 1885 and died in El Paso, Texas in 1941. He is considered a landscape, figure, portrait and miniature painter. Nicols was also an illustrator, muralist and writer. He received his formal art training at the Art Students League of New York and at the art school of the Metropolitan Museum of Art under Edwin Howland Blashfield (1848-1934), Kenyon Cox (1856-1919) and muralist Henry Siddons Mowbray (1858-1928). Nicols also studied briefly in Europe. 1885 - 1941 Audley Dean Nicols Nicols Audley Dean 1813 Robert Hogg Nisbet was born in Providence, Rhode Island and studied at the Rhode Island School of Design and the Art Students League in New York, where he served as president from 1909-1910. During the early 1900s, Nisbet summered in Old Lyme, Connecticut, and eventually settled in Kent, Connecticut where he founded the Kent Art Association whose members included Willard Metcalf. 1879 - 1961 Robert Hogg Nisbet Nisbet Robert Hogg 1686 Max Nonnenbruch was considered a portrait, genre and historical painter from the German school. He was born in Viersen on January 25, 1857 and died in Munich on March 13, 1922. Nonnenbruch received his formal art training at the Academy in Düsseldorf and Munich. In Paris, he studied at the l,Ecole de Beaux-Arts and completed his studies at the Academy Julian in Italy. Nonnenbruch had his debute exhibition in 1888, where he won a bronze medal. Public Collections: Musée de Munnich, "Elégia et Le repos du Modéle Musée de Bautzen, 'Il arrive!" Listed: E. Benezit Thieme Becker 1857 - 1922 Max Nonnenbruch Nonnenbruch Max 1685 Landscape and figure painter. He was a native of Hammerston, England and came to the United States in 1858. In 1859, while living in Brooklyn, New York he belonged to the early art community which included, Regis Gignoux, William Hart and his brother James M. Hart. Studied with Philp Philips, Louis Haag, Stanfield. His work as a scene painter at the Drury Lane theater, Surrey Theater lasted for 8 years. Exhibited: National Academy of Design, New York City, 1884-1886 613. A Winter Day on Long Island 834. Rustic Bridge, Denville, Morris Co., New Jersey Listed: The New York Historical Society's Dictionary of Artists in America, 1564-1860 Groce / Wallace Who Was Who in American Art, Sound View Press Art Across America, Two Centuries of Regional Painting, Volume 1 William H. Gerdts 1822 - 1904 James Northcote Northcote James 3146 Kenneth Rollo Nunamaker was born in Akron, Ohio, on March 6,1890. He was educated in the Akron public schools and never attended an art school. At age seventeen Nunamaker, who was always adventurous, went west and worked as a cattle puncher to support himself. About four years later he returned to Akron and landed a job at an advertising agency. He subsequently worked in commercial art studios in Chicago and later in Detroit. In 1914 he was again in Ohio, working at the Akron Engraving Company. He began sketching while working there and sometimes went out painting with a group of men from the office. Nunamaker said that he acquired "the rudiments of design, form, color, and composition in the hard schools of commercial art studios." He relished the out-of-doors, and despite his professional experience Nunamaker's artistic foundation in these early years came from direct observations of nature, its colors and shapes. In large part because he had heard of the natural beauty of the Delaware River, Nunamaker traveled to the east in 1918 and worked as an art director for Hoedt Studios in Philadelphia. He bought a home along the Delaware River at Center Bridge in 1923, and remodeled the old house into a charming residence for his family. His studio on the hill was largely his own handiwork. He was skilled not only with a paintbrush but also with mechanical tools. Nunamaker was strongly influenced by Edward Redfield, who lived and painted nearby in Center Bridge. Redfield had very few students, but nevertheless became a mentor to Nunamaker, meeting with him weekly and reviewing his work. Nunamaker also became friends with Daniel Garber and several other members of the New Hope artists' community. Almost exclusively a landscape artist, he painted scenes of the farms, valleys, buildings, and bridges in the area surrounding New Hope. He also painted coastal views at his summer homes, on Monhegan Island, Maine, and at Lake Champlain, Vermont. From 1923 onward his work was displayed at local galleries around New Hope and Philadelphia and in some of the world's finest institutions, including the International Gallery in Venice, the Art Institute of Chicago, the Corcoran Gallery of Art in Washington, D.C., the Philadelphia Sketch Club, and the Pennsylvania Academy of the Fine Arts in Philadelphia. In 1945 Nunamaker left Hoedt Studios and opened the Nunamaker Studio in the Beury Building in Philadelphia. Working with his artist son, Alfred, he did freelance commercial art until his death. He died at a hospital just across the Delaware River in Trenton, New Jersey, in 1957. He was survived by his son and his wife, Mary Roush Nunamaker. Known for his serene good nature, Nunamaker brought an unassuming dignity to his work. One writer said at his death, "When his name is mentioned in the county and someone says: 'He was my favorite artist,' someone else will invariably add, 'He was my favorite person.'" 1890 - 1957 Kenneth Rollo Nunamaker 1 Nunamaker Kenneth Rollo 3147 A twist of fate can sometimes change the course of an entire life. So it was with Roy C. Nuse, who was born in Springfield, Ohio, on February 23, 1885, and was trained from an early age to join his father in the family barbershop. When the elder Nuse suffered an illness, his son left high school to work in a factory, where he painted lampshades to help support the family. Nuse's talent at painting became apparent and, in 1905, he enrolled in the nearby Art Academy of Cincinnati as a part-time student. He earned a scholarship to the school and excelled under the teaching of several important instructors, among them the renowned Frank Duveneck. An influence on many young American artists, Duveneck was schooled in the so-called Munich style of painting, characterized by a palette of strong, dark colors, and an emphasis on expert draftsmanship, especially in portraiture. Nuse thrived in the atmosphere of the Cincinnati academy, where he remained for seven years. When his parents relocated to Pennsylvania, he took the opportunity, in 1915, to transfer to the nation's premier art school, the Pennsylvania Academy of the Fine Arts in Philadelphia. Devoted to his parents, Nuse, with his own young family in tow, eventually moved to the parental home and farm in nearby Bucks County. At the Pennsylvania Academy, he studied with Daniel Garber, who became, after Duveneck, the second most powerful influence on Nuse's art. Garber skill at portraiture reinforced the lessons Nuse had learned in Cincinnati, but it was Garber's poetic landscapes that earned Nuse's highest admiration. His student years at the Pennsylvania Academy (1915-1918) were crowned with many awards: the Toppan Prize (1918), the First Thouron Prize (1918), and the coveted William Emlen Cresson Traveling Scholarship—not once but twice (1917 and 1918). After his return from studying the old masters in the museums of Europe, Nuse was invited to join the faculty of the academy, a position he held for twenty-nine years (1925¬-1954). He taught portraiture and figure study at the academy and at its summer school in Chester Springs, Pennsylvania. Nuse's teaching style was clear and direct, and he quickly became a popular instructor. When he resigned in 1954, sixty-two students signed a petition to the director to express their hope that he could be dissuaded from leaving. His ability to succinctly explain the theories and principles of painting also resulted in a commission to write an instruction manual on the subject. Published by F. Weber, Philadelphia, in 1936, A Treatise on Pastel Painting included general information on color theory, perspective, and plein air painting, as well as the techniques of the pastel medium. Far from being a dry academic text, the book, like his classes, invited students to use their emotions to find their unique artistic voice once they had mastered the academic principles. In Nuse's own words, "Every great painter has had academic training, either in the studio of a master or in a school." However, he also stated, "The painter feels ... vividly, but with his eyes and emotional responses."' Nuse painted prolifically in the impressionist style that was heartily embraced both by the artist himself and by his contemporaries in Bucks County. He portrayed the changing seasons, especially snow on the nearby hills and quarry, and once remarked to his son, Robert, that he especially loved to paint sycamore trees because they shed their bark, leaving a changing texture for the artist to paint. Nuse was equally proficient at portraiture, and received many commissions throughout his career. He participated in exhibitions at the Corcoran Gallery of Art, Washington, D.C.; the Art Institute of Chicago; the National Academy of Design, New York; and, for nearly thirty years, the Pennsylvania Academy (1920-1950). Besides landscapes and portraits, Nuse painted several series that set him apart from his peers in the Pennsylvania impressionist school. While other painters depicted figures in the landscape, Nuse, in his children-in-the¬glen images, portrayed his own young offspring, nymph-like in shimmering natural settings. He created a lengthy series of self-portraits that display a compelling sensitivity to facial expressions. Nuse also painted many scenes of family and neighbors engaged in such humble chores as feeding chickens, collecting apples, and gathering wood. His most enduring subject matter echoed his childhood devotion to family. His own six children, his wife, and a few dear neighbors populate the majority of his portraits and other figurative canvases. Similarly, Nuse's landscapes depict the farm country, bridges, and quarry near his home in Rushland. In fact, after his return from Europe, he never again traveled more than a few miles from his own hearth, finding more than enough inspiration in his own backyard. Nuse once told his granddaughter, "I have not had to, and would not choose to leave my own peaceful Rushland Valley, where both the Neshaminy and Mill Creeks pass through the rolling farmland and steep hills for many a canvas subject." Nuse was nearly ninety years old when he died in 1975. 1885 - 1975 Roy C. Nuse 1 Nuse Roy C. 2061 Carlos Vasquez y Obeda is considered a genre and portrait painter from the Spanish school. He was born in Madrid in 1869 and died in Paris in 1942. Vasquez received his formal training at the Beaux-Arts Academie with portrait and historical painter Joseph-Florentin Bonnat (1833-1922). He was a member of the Salon des Artists Fran&ccedil;ais. In the Salon of 1895, Vasquez was awarded honorable mention. At the Exposition Universelle of 1889 and 1900, he was awarded a gold medal and a bronze in 1907. Museums: Le Musee Art Moderne Madrid, Spain Musse de Louvre, Paris Le Musse de Barcelona, Spain Listed: E. Benezit Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs. Vol. X, pg. 406 Index of Artists, Mallett 1869 - 1940 Carlos Vasquez y Obeda Obeda Carlos Vasquez y 1684 Onderdonk, a painter best known for his landscapes of the Southwest, was born in San Antonio, Texas in 1882. As a child, Onderdonk exhibited artistic talent, and had voiced a desire to be an artist by the time he was five. He received his earliest training from his artist father, Robert Jenkins Onderdonk. At age 18, he traveled to New York City to study at the Art Students League. There, he was a pupil of Kenyon Cox for one year, before attending William Merritt Chase's Shinnecock Summer School of Art on Long Island. Instruction and criticism from Chase, who had also taught Onderdonk's father, had a lasting impression on the young artist. At the end of the summer, Onderdonk had decided to attend Chase's New York School of Art. He also studied with Frank Vincent Dumond and Robert Henri. During his student years, Onderdonk painted prolifically to support his studies. By 1903, he had work accepted by the Society of American Artists. In 1906, he was hired by the Dallas State Fair Association to organize an art exhibit. Onderdonk continued working for the fair until his death in 1922. During the early part of the century Robert Julian Onderdonk was the most famous artist in Texas. His style matured over the last fifteen years. He was a severe critic of his own work, and continually painted over earlier canvases that did not meet his exacting standards. By 1914, his panoramic vistas became popular with art collectors in Texas, New York City, Chicago and Los Angeles. Member: Allied Artists of America Salmagundi Club San Antonio Art League Public Collections: Dallas Museum of Fine Arts Fort Worth Art Association, Texas Museum of Fine Arts of Houston San Antonio Museum Association, Texas 1882 - 1922 Julian Onderdonk 1 Onderdonk Julian 2133 Rico was born in El Escorial, Madrid. His formal education was completed at the San Fernando School in Madrid. Soon after graduating, he took to painting out of doors and traveled widely throughout Spain. He won a government scholarship to study in Paris, where he came under the influence of Daubigny and the Barbizon School. In 1870, at the outbreak of the Franco-Prussian war, he returned to Spain. In 1872, accompanied by Mariano Fortuny, he toured Italy, where he above-all impressed by the splendor of Venice, whose sites and light he captured in innumerable paintings. From 1879, by which time he had made Paris his permanent home, he spent his summers in Venice, renting a palazzo in which to paint. He would often work sitting in a gondola, sketching buildings and bridges as seen from the water. In 1878, the art critic Paul Lefort wrote of Rico in La Gazette des Beaux-Arts:” Although a fanatic when it comes to light, and an aficionado of rare and augmented color tonalities which, in his works, resemble precious stones, he refrains from overstepping the limits of human vision...The Grand Canal of Venice, the Slaves Wharf, his views of Rome, of Toledo, of the Escorial and of Granada are [...] inimitable morceaux which reveal his talents in composition as well as his care in execution" (quoted in Carlos Gonzalez and Montse Marti, Spanish Painters in Rome 1850-1900, Madrid, 1987, pp. 182-3). Public Collections: Madrid: La Guarrama - Paysage - La Suisse New York (Metropolitan Museum): Canal a Venice Reims: Jeune homme ecrivant sous un arbre 1833 - 1908 Martin Rico y Ortega Ortega Martin Rico y 3338 An impressionist landscape painter, carver, etcher and teacher, George Demont Otis maintained studios in Chicago, Colorado and California, living most of his career on the West Coast. Otis was born in Memphis, Tennessee where he was orphaned at age six and was raised by his grandmother in Chicago. By age fourteen, he was enrolled at the Art Institute of Chicago and showed early talent, especially with meticulous architectural drawings of Chicago buildings. One of the teachers was so impressed with his talent that she arranged for him to meet a United States Senator, who in turn provided Otis with a full scholarship to the Institute. After finishing at the Institute, Otis enrolled in the Chicago Academy of Fine Arts with John Vanderpoel. He also trained at the Pennsylvania Academy of Fine Arts, and in New York City at Cooper Union, the Art Students League and the National Academy of Design. In addition, he took private lessons with John Carlson and William Merritt Chase for landscape, Izra Winters and Wellington Reynolds for figure and Robert Henri for still life. To earn money, Otis played professional baseball and became recognized for his pitching for two seasons in the Southern Association. "He was the first in the league to use an outcurve pitch". (Starr 11) During the time he was in the South, often in Tennessee, he did many drawings in grease pencil, gouache, pen and ink, watercolors and pastels. Early in the century, he had a studio in Chicago and also taught at the Art Institute. Otis was an energetic, robust man who frequently journeyed to wilderness areas to paint. He also established a studio near Estes Park Colorado, and in 1900, first visited California where he was intrigued by the "quality of light and the clearness of the air." (Starr 11) In 1919, Otis moved to Los Angeles and worked for movie studios while painting scenes of the desert, mountains, beaches, trees, valleys and mountains. His painting skills had attracted the attention of Louis B. Mayer of MGM Studios in Hollywood, and Mayer hired Otis to design movie sets and oversee set-painting crews. Otis also took his easel to Indian Reservations in Arizona, Utah and New Mexico. On canvas he portrayed the customs, arts and religions of the Hopi, Navajo, Yuma, Isleta, Acoma, Taos and Pima tribes. During this time, Otis was Chairman for the American Artists Professional League, west of the Mississippi, and he lectured widely to members as well as other persons on the importance of preserving the land and being conscious of maintaining the environment. In 1930, Otis moved to San Francisco and lived with an enclave of artists on Montgomery Street and then in the studio of Arthur Putnam near Golden Gate Park. A year later, he married Clara Van Tine, a San Francisco business woman. In 1934 he and Clara opened a studio and gallery in Kentfield in Marin County, and this became a showcase for paintings by Otis as well as carvings, stained-glass windows and etchings. Operating this studio-gallery combination was in keeping with the artist's commitment to selling his own work and not working with dealers. Otis enjoyed socializing, and people came from all over to visit and to take classes from him. Among his friends were John Steinbeck, Jack London and Brother Cornelius. "Over five-hundred of Otis' students became professional artists. He encouraged them to develop diverse styles, forming the school of Western Impressionism early in the twentieth century." (Starr 6) Affiliations included the Chicago Society of Art, Laguna Beach Art Association, Palette and Chisel Club of Chicago and the Marin Society of Artists. Source Dr. Kevin Starr, foreword, "California Collection, Sonoma County Museum Edan Hughes, "Artists in California, 1786-1940" Peter Falk, "Who Was Who in American Art" 1879 - 1962 George Demont Otis Otis George Demont 2089 Joaquin Pallares y Allustante, whose birth and death dates are unknown, is considered a genre and landscape painter and from the Spanish school. He received his formal education at the Beaux Arts Academie in Madrid and Paris. Although little is known regarding the life of Joaquin Pallares y Allustante, his wonderful atmospheric paintings depicting life and the streets Paris in the 19th century are represented in numerous important private and public collections. One of his more noted works ìAbandonnÈsî, hangs in the permanent collection of Museum of Modern Art in Madrid. Listed: E. Benezit, vol.8, pg. 93 Joaquin Pallares y Allustante Pallares y Allustante Joaquin 1812 Béla Pallik was born in Nagy-Mihaly, Hungary February 2, 1845 and died in Budapest July 27, 1908. Pallik is considered an animal painter from the Hungarian school. He received his formal academic training at the Beaux-Arts Academie in Vienna with Professor Eduard Engerth (1818-1897). He continued his studies with Munich’s most celebrated academic teachers, Carl Theodor von Piloty (1826-1886), at the Munich Academy. Pallik’s decision to study with Engerth and Piloty enabled him to develop into one of Hungary’s most important academic animal painters of the 19th century. Pallik had his debut exhibition at the Munnich Academy in 1888. He then began exhibiting regularly in Paris at the Salons. At the 1890 Paris Salon, Pallik was awarded honorable mention, which elevated him to a high level among his piers. Listed: E.Benezit, vol. 8, pg. 94 1845 - 1908 Bela Pallik Pallik Bela 1683 Walter was born in Albany NY in 1854, the son of the famous sculptor Erastus Dow Palmer. In his youth he was aquatinted with the leading artists of the day such as Frederick E. Church, John Kensett and John McEntee. All of whom frequented the Palmer home. At age 24, he began his formal study of art with the artist Frederick E. Church, the great Hudson Valley painter. In the early and mid-1870's Walter traveled and studied extensively in Italy and France. He studied with Carouls Duran in Paris. He studied the work of the impressionists as well as all the expatriate American artists in Europe. He was a friend of John Singer Sargent and went on at least one sketching trip with Sargent. He also spent time with John Henry Twatchman, William Merritt Chase, Frank Druveneck, and Robert Blum. Upon his return to the states in the late 1870's, he and Church rented a studio in New York City. They keep it from 1878 until 1881. Palmer first received major attention for his winter scenes in 1887 when he received the Second Halgarten Prize of the National Academy for his painting "January". This award is for outstanding young (under 35) artists with potential. The artist's use of blue shadow in the snow is considered one of the first uses of this technique. It wasn't his only award. He received the gold medal from the Philadelphia Art club in 1894 and another gold medal from the Boston Art Club in 1895. More awards came from more prestigious Art Associations and his reputation continued to grow. His winter scenes became very popular but his scenes of Venice and interiors were also beautiful and desirable. At the turn of the century Palmer was being compared in a favorable manner to Claude Monet and John Henry Twatchman. In 1915, Palmer, now 61 years old, spent the summer in Gloucester Mass. A habit he would continue to do for many years thereafter. His studio was rather quaint and situated on Rocky Neck in Gloucester Harbor. The Boston Globe described it in 1923 as one "which hangs down over the rocks and boasts an array of sky blue shutters .. in this studio by the sea." He actually found the summer studio a boost to his art sales as many visitors who came to see stayed and actually bought. He complained that visitors interrupted him but it was good for business. Prices at that time were about $200 each without frames for good sizes pictures. One person bought three for a reduced price of $500. He kept meticulous records of all his paintings and sales. He became active in the local art colony and the local art associations, basking in his celebrity status. People and writers would remark that it was strange to see him sitting on his Gloucester Bay dock in the summertime while painting a snow scene. All the while the picturesque harbor's beauty was right in front of him. But he responded that he felt that it was no more inconsistent that many of his fellow artists who painted summer scenes in the dead of winter. Walter L. Palmer died in his hometown Albany NY on April 16, 1932 at the age of 78. After his death his work fell out of favor and many museums de-accessioned his paintings in the years following W.W.II. Indeed, by the early 1960's, representational art was out and often the frames were worth more than the paintings. People liked clean walls with no paintings -- a sort of a delayed reaction to the covered wall style of the Victorian period. In the last 20 years the trend has again reversed and his work of American Impressionist and realistic artists of the early 20th century have been rediscovered. Walter Launt Palmer is now recognized as the excellent artist he always was. 1854 - 1932 Walter Launt Palmer 1 Palmer Walter Launt 1682 LAWTON S. PARKER 1868-1954 A portrait and landscape painter, Lawton S. Parker was a member of the Giverny Group, Six relatively young American painters who, after study in Paris, fell under the spell of Claude Monet and lived and worked for a time near his studio home in Giverny, France. A solid, academic painter to begin with, Parker adopted what some called a new kind of impressionism. Despite Monet's influence, he did not see nature the same way as did the major French impressionists, nor did he use broken colors to convey a sense of light as they did. His was a more conventional approach, with his colors matched as closely as possible to those of nature. Parker was born in Fairfield, Michigan in 1868. He started his long training at the Art Institute of Chicago, then went to Paris in 1889 to study at the Academie Julien with Bouguereau and Tony-Fleury. Back in New York City, he enrolled at the Art Students League and studied with Mowbray and William Merritt Chase. Then it was back to Paris for training in mural painting with Besnard and finally, in 1897, a stint at the Escole des Beaux Arts under Gerome. He also studied for a time with Whistler. In 1913, Parker was the first American to be awarded the coveted Gold Medal at the Paris Salon. He died in Pasadena in 1954. MEMBERSHIPS: Allied Artists of America Chicago Society of Artists National Academy of Design National Arts Club PUBLIC COLLECTIONS: Art Institute of Chicago Los Angeles County Museum of Art National Collection, France 1868 - 1954 Lawton S Parker Parker Lawton S 1811 Graydon Parrish is one of the few living artists represented by Roughton Galleries. We rarely make exceptions. However, we feel that Graydon's talent, work ethics and dedication toward education warrant our attention. He has been willing to pay the price for the perfection that is evident in his work. We are recommending him as an artist to acquire. William Adolph Bouguereau (1825-1905) and the other principal leaders of the French Academy are the main influence is Graydon’s work. Their dedication and work ethics are the driving force behind this young artist. These great teachers of the 19th century believed that talent is important but an education and hard work are paramount to the success of a serious painter. Graydon was born in Tyler, Texas. He is one of the only students accepted at the Dallas Arts Magnet school in his senior year. Upon graduation, he traveled to New York and was accepted in the atelier of Michael Aviano (who is considered the premier academic painters in the United States). He then attended the Richard Lack Atelier in Minneapolis. Graydon now is attending Amherst in Massachusetts where he has his studio. Graydon speaks fluent French. He travels each year to Paris to study the works of the "Old Master" in the many museums. Graydon Parrish: "Only through the most arduous study can one create art. Each picture I paint is based on through research in the science of light, form, and technique as well as the study of the old masters. This attention to craftsmanship is in marked contrast to the modern movement in art where unconscious paint platters and runny dribbles have given way to more and more gimmicks and perversions. In my opinion, ideas are better expressed through clarity and beauty. They should invite contemplation, not horrify nor disgust the viewer. My Education, therefore, has been idiosyncratic. Unable to find complete training available to the old masters, I have orchestrated my own program of learning combining quality academics with the guidance of present-day Old masters. For example, my artistic training from my principal teacher Michael Avaino derives from the French Academy. (In fact, one of Michael's’ earliest instructors watched Bouguereau paint). Amherst College, in addition, has helped me hone skills in literature, art, history, biology and French: each informing the pictures that I paint. Every painting that I offer is the result of years of study and contemplation. Classical art is timeless; it belies trends and fashions. A classical painting speaks to those who love quality and are moved by appearance of the world around them". Unknown Graydon Parrish Parrish Graydon 3250 Maxfield Parrish (1870 - 1966) was an American painter and illustrator. Born Frederick Maxfield Parrish in Philadelphia, Pennsylvania, he began drawing for his own amusement early in his life. He went on to pursue a career that was to last for many decades and effectively shape the Golden Age of Illustration, and the future of American visual art in general. Launched by a commission to illustrate Kenneth Grahame’s The Walls Were as of Jasper in 1897, his repertoire was to include many prestigious projects such as Eugene Field’s Poems of Childhood (1904) and the traditional Arabian Nights (1909). Androgynous nudes in fantastical settings were an often-recurring theme. He continued in this venue for the rest of his life, living comfortably off the royalties brought in by the production of posters and calendars featuring his works. Parrish was famous for the dazzlingly luminous colors that marked much of his artwork; the shade “Parrish blue” was coined in acknowledgment. He achieved this result by means of a special technique involving several coats of oil and varnish applied to his paintings. It is impossible to categorize Parrish’s work, since he was part of no traditional movement or school, and developed a truly original style. Maxfield Parrish was the most popular American artist from the turn of the century until Norman Rockwell succeeded him in the 1940’s. Of Parrish, Mr. Rockwell said, “Maxfield Parrish was certainly one of our most prominent illustrators and hardly a home in America existed that didn’t have a Maxfield Parrish print. I’m an illustrator. Maxfield Parrish was a painter-illustrator. He was in the Golden Age of Illustration. When I was in art school I admired him. He was one of my gods.” 1870 - 1966 Maxfield Parrish Parrish Maxfield 1702 Born in New York City in 1842, Arthur Parton was a landscape painter who studied in Philadelphia under William T. Richards and at the Pennsylvania Academy of the Fine Arts. Parton gained from Richards a sound grounding in the technical aspects of his art. Parton settled in New York City in 1865 and became a regular exhibitor at the National Academy of Design. In 1886, he received the gold medal of the American Art Association and the Temple Medal from the Pennsylvania Academy of the Fine Arts in Philadelphia. He also won the competitive prize in the Paris Exposition in 1900. His works are represented at the Metropolitan Museum of Art. In 1869, Parton spent a year in Europe, where he was influenced by the Barbizon painters. His first pictures were shown in Philadelphia in 1862, but the works that brought him public prominence were On the Road to Mt. Marcy (1873, location unknown), A Mountain Brook (1874, location unknown) and Evening, Harlem River (1887, location unknown). His November, Loch Lomond, and Solitude (dates and locations unknown) attracted a great deal of attention at the Centennial Exposition of 1876 and gave him a national reputation. "In any foreign collection of paintings," the New York Evening Post said, "Mr. Parton's work would be distinctly American." He died in 1914 at age 71. Memberships: American National Academy American Water Color Society Artist's Fund Society National Academy of Design Public Collections: Metropolitan Museum of Art. New York City 1842 - 1914 Arthur Parton Parton Arthur 1810 Ernest Parton, born at Hudson on March 17,1845, was his brother Arthur's closest friend; it is not surprisingly he followed in Arthur's footsteps. His journal entries for 1864 intersperse sketching notes with observations on the dramatic concluding days of the Civil War, During a three-day tour of the Catskills with Arthur he " he made several sketches each day." A few days later: "Mt. Merino.... Not good." The next day: "sketches in oil." The following day: "sketches of effect of light and shadow... Effect magnificent!" Ernest's journal reflects his decision to reject formal training-on Arthur's advice-and paints from nature. He joined his older brother at his Broadway studio in 1865 at the age of twenty. It was here and during summer sketching trips with Arthur that Ernest received his training. What he learned can he judged from an oil sketch inscribed E l' 1865 that appears to be a view of the Hudson River at Mount Merino and reflects the Hudson River School style. By the spring of 1873 Ernest felt sufficiently competent to sail for England as his brother had four years earlier. A letter from Arthur written June 4, 1873 notes that he can imagine Ernest's disappointment at the "cold, rainy weather in Scotland but that "some of the finest things are the effects when those showers clear away, especially on the lochs." It can be assumed that Ernest undertook this journey not merely in emulation of Arthur but because Arthur's paintings of the English lakes and the Scottish lochs were winning praise and commercial success. He apparently decided to stay in England because the art market was better there. In November Arthur wrote, "we read that you appear to be getting along in a swimming manner.... Certainly I should try to make the most of your opportunities while there, chiefly on account of the flatness of everything in New York and all across the country". Ernest seems to have achieved some recognition fairly quickly. He rented a London studio on Newman Street and exhibited two paintings at the Royal Academy in 1875. In 1877, Ernest seems to have decided to study Barbizon painting directly. Dated drawings of Lake Como and Lucerne document a trip to the Continent in the summer of 1876. At some point, he met up with a group of American artists, among them Theodore Robinson, John Singer Sargent, Daniel Ridgeway Knight, and Henry Bacon. Ernest's paintings from this period are known only through photographs in Royal Academy exhibition catalogues and Sothebys archives. His use of muted light and its reflection on smooth water were very much in the style of Corot and Daubigny. Re also used similar subject matter-silent rivers, stone bridges, and graceful trees conveying the spiritual refreshment of the un-industrialized countryside. Streatley-on-Thames, similarly shows his reflected light and the serenity of the river. On April 30, 1879, Ernest wrote to his mother: "I sent my picture [The Waning of the Year] as usual to the Royal Academy and was surprised to receive a letter from them asking me the price of it.... It was a large picture, I put on less than I would otherwise would.... You can imagine my surprise on going to the Academy on Varnishing Day (Opening Day) to find my picture... .in a place of honour, in fact the very best place in the Royal Academy-the center of the room." Ernest was quick to capitalize on the popularity' of The Waning of the Year. He had L. Solomy make an etching of it, and he produced many landscapes in a similar style, such as Burnham Beeches and Birch Trees and Stream. Some are precise in their rendering; others combine realistic detail with loose brush strokes. All show excellent handling of light. His use of light creates a romantic mood that reflects his personal response to the peace, comfort, and beauty of nature. Ernest's paintings did not change significantly over the years, but he remained successful in both exhibitions and sales. He exhibited annually at the Royal Academy through 1932 and at other venues in England, Scotland, Ireland, New York City, and Springfield, Massachusetts. Sales of Ernest's work generated enough income to enable him to move in fashionable artistic and social circles and for him to spend summers sketching and painting in France. Ernest and his wife lived in St. Johns Wood, a residential area in the north of London, noted for its artistic residents. His work, which lacks Arthur's stylistic range, was of consistently high quality'. Ernest found an eager and stead',' market and continued to paint until his death. Ernest Parton died in New York on September 15, 1933. He had remained in England until 1932 and continued through 1931 to exhibit the Barbizon-style paintings that had brought him success. A 1910 article b',' Austin Chester in Windsor Magazine praised him as a student of the theory of light, who "had succeeded in apprehending and showing the abstract beauty of Nature as a result of his contact with the Barbizon painters, who had taught him to paint its essentials. 1845 - 1933 Ernest Parton Parton Ernest 2035 Born Julius Mordecai Pincas in Vidin, a small town in Bulgaria, the artist spent part of his childhood in Bucharest before attending boarding school in Vienna. About 1902, he studied painting in Vienna and in 1903 or 1904 went to Munich, where he enrolled at the Heymann Art School. During this period, he worked as an illustrator, contributing cartoons to such German periodicals as Jugend and Simplicissimus. He also further studied in Berlin. In 1905, about the time that he changed his surname to Pascin, he moved to Paris, where as a member of an international circle of artists who frequented the Cafe du Dome, he became a leading modernist. He had his first one-man show at the Paul Cassirer Gallery in Berlin in 1907 and later exhibited at the Berlin Secession and the Cologne Sonderbund-Ausstellung. On immigrating to New York City in 1914, Pascin associated with a coterie of progressive painters, among them Walt Kuhn, Yasuo Kuniyoshi, and Max Weber, who were influenced by his figurative style in which he conjoined elements of Expressionism and Cubism with a highly personal vision of his environment. His aesthetic, especially his subtle handling of line and tone and his fine draftsmanship, was especially influential to Kuniyoshi and to such artists as Peggy Bacon. During the 1920s he exhibited in both Paris and New York and traveled extensively. Although Pascin's watercolors, oils, and drawings were generally well received, a series of unfavorable reviews in 1930 left him severely depressed. He committed suicide in Paris in June of that year. 1885 - 1930 Jules Pascin Pascin Jules 1701 César Pattein was considered a painter for portraits and figures from the French School. He was born in Steenvoorde, which is a little town situated in the North of France between Lille and Dunkirk. Pattein, who was a student of Barbizon painter Jules Breton, was a regular exhibitor with the Salon des Artists Fransais. In 1896, he was awarded a bronze metal at the Salon. Museums: Musee de Arras "Jeune fille á la Fontaine" Listed: E. Benezit, Grund, vol.8, pg.164 Thieme Becker 1882 - 1914 Cesar Pattein Pattein Cesar 2034 The painter, watercolorist, illustrator, and woodblock printer, Margaret Patterson was born in Soerabaija, Java, the daughter of a Maine sea captain, who inspired in her the love of travel that she retained throughout her life. She grew up in the Boston area and trained at the Pratt Institute in Brooklyn, New York, under Arthur Wesley Dow. In Paris, she studied with the Spanish painter Claudio Castellucho. In Boston, she received instruction from Charles Woodbury. Throughout her mature career, Patterson was based in Boston, where she taught and was an active member of the local art scene, but she traveled abroad often, painting in Holland, Normandy, Spain, Italy, Belgium, and France. Her style consisted of a delicate and precise handling that she used to portray a range of landscape subjects, including coastal, harbor, and garden scenes. From 1929 until her death, she focused on flowers. In color woodblock prints and watercolors, she explored the vibrant and coloristic properties of the floral subject. She was also acclaimed for her graphic work. 1867 - 1950 Margaret Jordan Patterson Patterson Margaret Jordan 3234 Edgar Samuel Paxson was born in East Hamburgh, New York in 1852. After school he assisted his father in his business as a sign painter and decorator. Paxson was always fascinated by the frontier life and had a great longing to see the West, so in 1877 he pulled up his roots and moved to the Montana Territory. There he became employed on ranches, learning the tricks of surviving the range's variable weather and occasional Indian conflicts. Through his rustic journey West, his ranch work, and his experiences as a scout in the Nez Perce war of 1877-1878, Paxson truly lived the "Wild West" that has been portrayed in literature, movies, and television throughout the last century. His experiences became the inspiration and the subjects for his work, from small sketches in his journal to monumental murals. Paxson began by simply sketching, for which he had a natural talent. Without any academic training in the arts, he was able to capture the movement and characteristics of the Western Frontier. His subject matter typically ranges from Native Americans to historical battles, hunting scenes to early exploration. Paxson's goal was to immortalize the Old West he knew so intimately. Because of the rapidly occurring changes in Montana, he felt the necessity to record the West before it became unrecognizable. His works are nostalgic, romantic, and sentimental yet hold historical importance within late 19th and early 20th century fine art. "Custer's Last Battle On The Little Big Horn" won Paxson immediate recognition. The painting measures six by ten feet and took him over seven years to complete. His works are held by the Whitney Gallery of Western Art, Montana County Courthouse, Montana State Capitol building, the University of Montana and the Anschutz Collection. 1852 - 1919 Edgar Samuel Paxson 1 Paxson Edgar Samuel 1700 Ms. Paxton was born in 1879 in Providence R .I. and died in Boston in 1971. She studied with Joseph DeCamp at the Cowles Art School in Boston. Elizabeth was also a pupil of her husband William M. Paxton. She also received private lessons with Tarbell and Hale from 1900 to 1905. Her typical subject was still life with Japanese porcelain; landscapes of impressionistic manner and portraits. The most major influence on her work was Paxton and Tarbell. She worked mainly in oil. Elizabeth Paxton had memberships in GBA; North Shore Art Association; Boston Art Association. She exhibited at the GBA, April. 1915 awarded a silver medal, at the Pan Pacific in San Francisco in 1915, awarded the Alice Worthington Ball prize, North Shore Art Association,1927 "Still life"; Richard Milton Award, Jordan Marsh, Boston 1932, 1933; National Gold medal, Council American Society; Huntington award, c. 1929, Still life "At Auction". Listed: The Ten, P.J. Pierce, 1976 Rumford Press. pp127-22 Distinguished American Paintings cat. National Academy of Design, N.Y. Boston Painters Past & Present , exh. cat., Concourse Gallery, Boston, 5/5/-7/11/75 Selected American Paintings, vol.2, Pierce Ga 1879 - 1971 Elizabeth Vaughan Okie Paxton Paxton Elizabeth Vaughan Okie 1970 Prominent Boston painter William McCregor Paxton is known for his portraits, murals and genre paintings, although he experimented widely in other media, including etching and lithography. Born in 1869 in Baltimore, Paxton grew up in Newton, Massachusetts. He studied art at the Cowles School in Boston under Dennis Miller Bunker and then at the Ecole des Beaux-Arts in Paris with Jean Leon Gerome. Returning to Boston, Paxton supplemented his income by designing newspaper ads while studying with Edmund Tarbell, Frank Benson and Joseph DeCamp: he then joined the faculty at the school of the Museum of Fine Arts of Boston. Paxton, well known for his portraits, was dubbed the "court painter of Philadelphia" for those he painted during the brief period he lived there. Among his prominent works are portraits of Presidents Grover Cleveland and Calvin Coolidge. Also notable are murals he executed for the Army and Navy Club of New York City and for the St. Botolph Club of Boston. However, it is his paintings of attractive young women of the leisure class, presented in an artful and idealized fashion, for which he is best remembered. These paintings recall the works of Jan Vermeer in their extraordinary attention to details of flesh and textiles and the effects of reflected light, and are characterized by highly finished surfaces in the beaux arts manner. While these paintings focused on the content of daily life, the emphasis on the details of material surroundings was criticized as imitating the superficiality of society pictures by European painters, which were fashionable at the time. However, this emphasis on detail resulted from Paxton's theory of "binocular vision," a way of seeing about which he commented: "...a man looking out through two eyes sees things with a certain single focus, and outside that focus, all vertical lines and vertically inclined spots double." This led him to paint objects outside his focus by slightly blurring them. Always academically oriented, Paxton became a full member of the Natioanl Academy of Design in 1928. He died in Boston in 1941. From 300 Years of American Art, Michael David Zellman, The Wellfleet Press, New Jersey, 1987. 1869 - 1941 William McCregor Paxton Paxton William McCregor 1699 Landscape painter, muralist. Born in Washburn, Missouri on March 1, 1883. Payne left home at the age 14 and found work painting houses, stage sets and signs. His travels took him through the Ozarks and into Mexico. Except for a brief period at the Art Institute of Chicago, he remained a self-taught artist. On his first visit to California in 1909 he spent several months painting in Laguna Beach before visiting San Francisco. While in San Francisco, he met artist Elsie Palmer whom he married in Chicago in 1912. In 1917 he returned to Glendale, California with a commission from Chicago's Congress Hotel for a mural of 11,000 square yards of muslin which was accomplished with the help of other local artists and installed shortly thereafter. In 1918, the Paynes established a home and studio in Laguna Beach where he organized and became the first president of the local art association. He continued painting and exhibiting in Los Angeles and Laguna until 1922 when he and Elsie began a two year painting tour in Europe. During the next eight years their winter residence was mainly in and around New York City. They traveled from coast to coast in the United States until 1932 when they returned to Hollywood. Payne is internationally famous for his paintings depicting Indians riding through desert landscapes and canyons of the Sierra Nevada. His landscapes of Laguna and the surrounding area are also quite popular. Public Collections: Chicago Art Museum John Herron Art Institute of Indianapolis Laguna Beach Museum of Art Nation Academy of Design Collection National Collection of Fine Arts, Senate Building, Washington D.C. Pasadena Art Institute Pasadena Art Museum Southwest Museum of Los Angeles Springville Museum of Art, Springville, Utah University of Nebraska Galleries 1883 - 1947 Edgar Alwin Payne Payne Edgar Alwin 3269 The following is from Markum Jones who writes: "John Bob Payne - Texas artist. I found a painting of his from 1923 at a thrift store in Seattle. I deal in Northwest and California art. But this painting is far better than any Plein Air paintings I have seen come up for auction in years. It is one of the best paintings I've ever come across. After doing a little research I found a bio on him. He is a Texas artist, and on several of the Texas artists wants list. John Bob Payne (1883-1962) Payne was born in Collierville, Tennessee and moved to San Antonio in 1891. He was inspired to paint by his friends who were Julian Onderdonk, J. Frank Davis and Tex O'Reilly. Payne began his art career in the teens. He was listed in the 1913 San Antonio City Directory as an artist. His paintings included mostly Hill Country landscapes, missions, and scenes of ole San Antonio and Mexico. He was the President of the Coppini Academy in the 1950's and he frequently exhibited his works there with other artists such as Rolla Taylor, Clara Caffrey Pancoast, Margaret Tupper and others. 1883 - 1962 John Bob Payne Payne John Bob 2915 Harriet Cany (Caney) was born in Philadelphia in 1800 and died in 1860. Although it is not known exactly when she began to paint, Harriet Cany studied with Rembrandt Peale (1778-1860) in Philadelphia. In 1840, she exhibited for the first time at the Artists' Fund Society and that year the widowed Cany married her teacher Rembrandt Peale. Unlike most women artists of the time, she continued to paint and exhibit actively after her marriage. Although there are no records of Harriet Cany Peale's travels to Europe, her husband, Rembrandt Peale, went abroad several times throughout his career, culminating in a trip to Italy in 1829-30. Among the paintings he copied, there were examples by the Baroque masters Guido Reni (1575-1642) and Domenichino (1581-1641), who enjoyed great popularity with nineteenth-century American audiences. Harriet Cany Peale´s Ideal Portrait ultimately may be derived from one of Domenichino´s Old Testament Sibyls copied by Rembrandt Peale while in Italy. Rembrandt used Sibyl as the source for many of his later portraits and what were called invented costume pictures or "fancy pieces," including Woman with a Turban (1840), which he gave to Harriet prior to their marriage. It has been suggested that Harriet herself is the subject of her 1840's painting Ideal Portrait (McMullen Museum) which is the earliest American painting by a woman artist in the Boston College collection. Another version of the composition is in the Chrysler Museum in Norfolk, Virginia. In 1848, Harriet Cany Peale exhibited Peasant Girl, #136 and Fancy Portrait, #176 at the Pennsylvania Academy of the Fine Arts for the first time. In 1850, she exhibited copies of works after Rembrandt Peale and according to records she continued exhibiting sporadically for the next twenty years. Her subjects were varied: portraiture, still life, and genre with many (like in the 1850's) being copies after other artists, including her husband. She also collaborated with Rembrandt on replicas of his famous "Porthole" portrait of George Washington. Some of Harriet's more notable works are Still Life with Lowestoft Bowl, 1857 (Gift of Mr. Walter Nelson Pharr in honor of his mother, Mrs. Blanche R. Pharr, Brooks Museum, Memphis), Woman at the Window (Gift of the William Eliason Pennington Art Fund, Washington County Museum, Maryland). Other notable paintings include; "View of the Catskill Mountains, 1858", "Babcock Field, 1855 and her portrait of Rembrandt Peale. Museums Chrysler Museum of Art, Norfolk, VA Pennsylvania Academy of the Fine Arts, Philadelphia, PA The Newark Museum, Newark, NJ The Washington County Museum of Fine Arts, Hagerstown, MD Book References: The Peale Family Creation of a Legacy 1770-1870, Lillian Miller, (editor) At Beck and Call: Domestic Servants In 19th Century Painting, Elizabeth L. O'Leary Three Hundred Years of American Art In The Chrysler Museum, Dennis R Anderson 1800 - 1860 Harriet Cany Peale 1 Peale Harriet Cany 2033 A native of Queens, New York, Mike Pearsall is known for his watercolors and pen-and-ink images of trains and railroad yards. He developed his fascination for this subject matter during his youth when his father took him on frequent visits to the Pennsylvania Railroad yard. Pearsall studied at the School of Visual Arts in Manhattan and worked there as an advertiser, illustrator, and painter before settling in the Seattle area permanently. In Seattle, Pearsall continued to paint as well as to work as an illustrator. He also founded and owned a publishing company called Pacific Fast Mail, which produced material on trains and railroads as well as produced models. Pearsall authored and illustrated several of his own books under the company aegis. His special knowledge about narrow-gauge trains and North American steam locomotives is reflected in his writings and his artwork. 1935 - 1998 Mike Pearsall Pearsall Mike 1698 Painter M.S. Pearson contracted polio as a young woman during a European trip, and lived as a paraplegic for the rest of her long life. She won so much respect as an artist that her disability proved to be incidental to her career. Born in Philadelphia, Pennsylvania in 1898, Pearson attended the Boston Museum Art School, studying under William James and Frederick Bosley. She began work as a magazine and newspaper illustrator. She held her first one woman show in 1922 and soon became a successful full time painter. Pearson studied figure painting with Edmund C. Tarbell and landscape painting with Aldro T. Hibbard, who influenced her strongly. In addition to concentrated study with several other artists, she belonged to a long roster of arts and artists' groups. Though her subject matter was varied, encompassing portraits, landscapes, still lifes and interior scenes, her style was coherent and assured. The balance of her compositions and the precision of her observation were enlivened by her obvious enjoyment of her craft and her sensitivity to her subjects. Memberships: Allied Artists Association American Artists Professional League Art Club of Washington North Shore Artists Associations Philadelphia Artists Associations Exhibited: Pennsylvania Academy of the Fine Arts Corcoran Biennial, Washington, D.C. National Academy of Design Connecticut Academy, Portraits, Inc., New York 1898 - 1978 Marguerite Pearson Pearson Marguerite 3148 Born on February 6, 1876, in the Germantown area of Philadelphia, Joseph Thurman Pearson Jr. was one of the ten children of Annie Wells Pearson and Joseph T. Pearson Sr., the socially prominent vice president of the Ninth Bank of Kensington who also owned a successful manufacturing business. In 1894 Joseph Jr. joined the Philadelphia architectural firm of Wilson Eyre, who enjoyed a national reputation as one of the leading architects of the day. Also a teacher at the Pennsylvania Academy of the Fine Arts, Eyre encouraged the young Pearson to pursue art studies. Two years later, he won a scholarship to the Pennsylvania Academy, attending from 1896 to 1901 and studying with William Merritt Chase and Julian Alden Weir. In 1901 Pearson went to Europe, where he absorbed the style of the Munich school in Germany. The summer months he spent in Italy and Spain, particularly Madrid, where he made copies of works by Velazquez. Pearson's strongest artistic influence was probably Weir. He was involved with the summer art classes at Weir's farm in Branchville, Connecticut, and enjoyed a long-term association with Weir through private study after his return from Europe in 190I. Pearson even named his second son Julian Weir Pearson. During his trip to Europe, Pearson corresponded with a Philadelphia girl, Emily Ruoff Fetter. The two were married on October 7, 1902. They had seven children and lived on Wayne Avenue in Germantown. Pearson often used members of his family as subjects for his portrait paintings. Beginning with two portraits accepted for the 1904 Pennsylvania Academy annual exhibition, Pearson had works in every academy annual show through 1917. He won the academy's Fellowship Prize in 1910. Subsequently, he garnered a bronze medal at Argentina's Exposicion Internacional de Arte del Centenario in Buenos Aires. In 1911 he received an honorable mention at the Carnegie International in Pittsburgh and the Jennie Sesnan Gold Medal for the best landscape in the Pennsylvania Academy's annual show. He exhibited at the Carnegie Institute and the National Academy of Design in New York. In 1913 Pearson won the medal of honor at the Carnegie International. Two years later at the National Academy he won the Second Hallgarten Prize for a landscape, as well as the Norman Waite Harris Silver Medal at the Art Institute of Chicago. In 1916 he received the Temple Award for best painting in the annual exhibition at the Pennsylvania Academy. The painting that probably drew the most acclaim for Pearson was The Twins: Virginia and Jane, first exhibited in 1917 at the Pennsylvania Academy annual exhibition, where it received the Beck Medal for outstanding portraiture. The painting, now in the collection of the James A. Michener Art Museum, went on to win the Potter Palmer Award of $1,000 at the 1918 Art Institute of Chicago annual and the gold medal at the 1926 Sesquicentennial International Exposition in Philadelphia. In 1917 Pearson was elected an associate member of the National Academy; he was elevated to full membership in 1919. After his move to Huntingdon Valley, Bucks County, in 1918, Pearson reduced his artistic output, probably spending more of his time restoring and renovating the stone buildings and landscaping the property to his liking. Some of his descendants live in the Pearson's Corner complex today. In addition to being an artist, Pearson was a longtime teacher at the Pennsylvania Academy. He taught drawing and painting there from 1909 to 1922, and then from 1924 to 1935. He resigned from the academy faculty in 1937 due to disagreements with other instructors over their modernist ideas. "He was convinced that the 'old school' of art was the only school. Other faculty members did not agree. Rather than argue about it, he decided to give up teaching altogether."' Pearson retired to his beloved Huntingdon Valley home. His wife Emily passed away suddenly in 1947. The next year Pearson went to Maine with his and Emily's longtime friend from the Pennsylvania Academy, Alice Kent Stoddard. Upon their return, they announced that they had married. An accomplished artist herself, Alice quietly took up residence at Pearson's Corner, painting portraits of some of the Pearson grandchildren as well as a number of Joseph himself. Pearson died less than three years after they were married, on February 23, 1951. 1876 - 1951 Joseph T. Pearson Jr. 1 Pearson Jr. Joseph T. 2928 James Peel was born July 1, 1811 in Newcastle, England and died January 28, 1906 in Reading. He began his formal art training with Alexander Danziel in his hometown. Peel’s early landscapes are depicting the picturesque sites in Derbyshire and Yorkshire. Peel would move to London in 1840 and exhibited regularly at the Royal Academy and at the Suffolk Street Gallery from 1847 until 1892. He became a member of the Society of British Artists in 1871. Museums: Glasgow, Leeds, Sunderland, London (Victoria and Albert Museum) and in Montreal Listed: E. Benezit, Vol. 8, pg. 187 The Royal Society of British Artists (1824-1893) and The New England Art Club (1888-1917) 1811 - 1906 James Peel Peel James 1697 Muralist, painter, illustrator. Born in San Francisco, CA on Oct. 15, 1869. Peixotto studied at the SF School of Design under Emil Carlsen and in Paris for seven years with Constant, Lefebvre, and Doucet at Academie Julian. After his return to SF in 1894, he founded an art magazine, The Lark. In 1897 he left for NYC and thereafter divided his time between that city and France where he maintained a villa at Fontainebleau; however, he made many trips back to California to exhibit and execute mural commissions. He painted murals, portraits, and landscapes in oil and watercolor as well as superb pen-&-ink sketches. So excellent were his delineations of buildings that he was elected an honorary member of the American Institute of Architects. General John Pershing appointed him an official artist for the American Expeditionary forces in WWI with the rank of captain. After the war, he settled in NYC. Never a starving-in-the-attic artist, he was always assured of a steady income from his illustrations for such magazines as Harper's and Scribner's. One of the highest paid artists in the business, he was versatile as well as prolific. He did 50 illustrations for President T. Roosevelt's Life of Cromwell, and a large number for Henry Cabot Lodge's Story of the Revolution as well as sketches for Robert Louis Stevenson's Letters. Peixotto wrote and illustrated many other books including Romantic California (1911). He died in NYC on Dec. 6,1940. Member: Salmagundi Club Nat'l Society of Mural Painters Society of Illustrators NY Architectural League ANA, 1909 Century Club AFA Allied AA Society des Artistes Francais Bohemian Club French Legion of Honor Exhibited: Vickery's Gallery, 1892, San Francisco Calif. Midwinter Int'l Expo, 1894 Guild of Arts & Craft, 1896 SFAA, 1900,1903 PPIE, 1915 Works held: NMAA Hispanic Museum, NY Listed: WWA 1918 AAA 1919-33 WWAA 1936-41 CAR AAW Fid Ben BSAA HU Sam Bar 1869 - 1940 Ernest Clifford Peixotto Peixotto Ernest Clifford 1809 Leon Germain Pelouse was born in Pierrelaye in 1838 and died on July 31, 1891. He was a portrait and landscape painter from the French school. Pelouse had to overcome resistance from his parents to become a painter. After receiving permission, Pelouse began his voyage to study art at the museums across Europe. When he returned, Pelouse was inducted for a brief period in the military. His effort to paint was done with his Colonelís permission and was executed in the barracks. Pelouse was a regular exhibitor at the Paris Salons. In 1873, he was awarded a second place medal. At the Salon of 1878, Pelouse was awarded the first place medal and decorated with Frances highest honor, the Legion d’honneur. Then in 1889, Pelouse was awarded a gold medal at the Salon. Leon Germain Pelouse is known for the compassion that he lends to each painting through his vision of the harmony between life and nature. After his death, the l’Ecole de Beaux-Arts honored him with a retrospective exhibition. Museums: Ameins: Corderie, Honfleur Breist: Douet, Douarnez Carcassonne: Grandcamp, maree basse Dunkerque: Le matin dans a vallee de Cernay Grenoble: Le soir La Rochelle: Le ferme de Toutin Le Havre: Prairies inondees, Brecehan 1838 - 1891 Leon Germain Pelouse Pelouse Leon Germain 1808 Narcisse Virgile Diaz de la Pena was born to Spanish emigrant parents on August 20, 1808 in Bordeaux. He survived the loss of a leg in a childhood accident and further suffered the death of his parents at age fifteen. Diaz's artistic training was as a porcelain painter and he studied briefly with the painter Souchon. His early paintings catered to the popular taste for 18th century style Rococo and resulted in financial success for the young artist. Fetes galantes were favorite subjects and the women depicted in Diaz's canvases were often cloaked in exotic Turkish garb, reflecting the artist's admiration for Delacroix and his orientalist followers. Indeed Diaz's first Salon entry in 1831 was titled Scene Amour. Diaz first visited Barbizon in 1835 and it was in 1837 that he met Rousseau. The influence of Rousseau could be seen in Diaz's Salon entry of that year depicting a view of Fontainebleau Forest. Through the 1840s, his figure paintings continued to be the major part of his work, and are thought to have influenced the female subjects of Corot, Renoir and certainly Monticelli. Though figure painting would always remain important for Diaz, it is his landscapes of the 1850s, particularly of Fontainebleau Forest for which the artist is most remembered. Recognized as a superb colorist in his own day, his forest interiors are richly painted with warm browns, oranges, golds and silvery tree trunks and branches. Though the artist often applied paint loosely with a broad palette knife, his observation of nature was nevertheless keen. A regular exhibitor at the Salon, in 1848 Diaz won a first-class medal, and in 1881 he received the Legion d'honneur. A good-natured and generous man, Diaz's financial success enabled him to lend a helping hand to his friends when in need, including Troyon, Rousseau and Millet. The artist died at Menton on November 18, 1876. 1807 - 1879 Narcisse Virgile Diaz de la Pena Pena Narcisse Virgile Diaz de la 1917 Peploe can justly be described as one of Scotland's greatest modern artists. He imbued and developed, in his own fashion, the most radical and avant garde styles of painting then current, from his earliest works c.1894 indebted to an understanding of the Barbizon School to cubism in his landscapes and still lifes c.1912. Peploe was born on 27th January 1871 in Edinburgh to a well-to-do family, however, both parents had died before he was twelve. He studied art at the Trustees School, the Royal Scottish Academy, and in Paris, in 1894 at the Academie Julian under the renowned classical painter William Bouguereau (1825-1905) and at the Atelier Colarosse. He exhibited at the R.S.A. from 1901 being elected A.R.S.A. in 1918 and R.S.A in 1927, he also exhibited at the Society of Scottish Artists and in galleries in London, Paris and New York, his first one man show being at the Edinburgh Gallery of Aitken Dott in 1903. Peploe was a founder member in 1911 of the National Portrait Society. Peploe was a landscape, portrait and still life painter, and although perhaps best known for the latter, shows himself as a very Scottish artist in his landscapes of the Isles, he painted in the Hebrides from 1891 and later in life visited Iona every summer. Between 1910, when he married, and 1913, Peploe lived in Paris. From the early influence of French social realism and the Glasgow School, the debt to Velasqeuz and Hals, seen in his use of paint and composition, through his friendship with J. D. Fergusson and their sketching trips to Brittany, Peploe when in Paris adopted a form of cubism. Draughtsmanship, as befits his traditional training, was significant in Peploe's work, he adopted the formalised structure of cubism, but in a form akin to Cezanne's. Peploe's compositions, landscapes and still lifes, were dependent on line and colour. His work was reliant on his close observation of nature, color, and the relationship of elements within his compositions, particularly evident in his still lifes, which he commenced painting c.1895. Peploe, J. D. Fergusson (1874-1961) and Frances Campbell Boileau Cadell (1883-1937) are known as the Scottish colorists, artists closest of all their British contemporaries to French painting and post-impressionism. His works can be found in museums in Aberdeen; Dundee; Edinburgh, Scottish National Gallery of Modern Art; Glasgow, The surrell Collection; Manchester; Hull and Perth. 1871 - 1935 Samuel John Peploe Peploe Samuel John 3300 Sidney Richard Percy 1821-1886 Sidney Richard Percy was born in 1821in London as Sidney Richard Williams. He was the fifth son of Edward Williams – the British landscape artist. Sidney, like his older brothers, began his artistic training early in life and had the help and support of not only his father, but many members of the family. Sidney Richard Percy work and style was greatly influenced by his brother Henry John Boddington, even though his work was to achieve greater fashionable vogue than Boddington, or for any other member of his family. Once established, Sidney, like many other members of his family, changed his last name to Percy – to easily distinguish his work from that of other family members. Sidney Richard Percy’s deepest attachment was to the scenery of Wales. He liked to walk off into the countryside to remote areas in the mountains and paint. Nature was of foremost importance to Percy, and the grandeur and majesty of the English countryside was captured no better by any of his contemporaries. Jan Reynolds, in her book The Williams Family of Painters, writes … that a clean fluency of manipulation is the hallmark of the Percy technique, in which the brushwork indicates form, with a very smoothly controlled line. It was remarked that his rocks and stones were sufficiently accurate to have served as illustrations to the writings of Sir Frederick Murchison, the popular 19th century geologist. Sidney Richard Percy style evolved into the most individual of the Williams brothers, with a lyrical quality and an authority, which fully conformed to his long established reputation as one of the most successful landscape artists of the Victorian Era. Public collections: Victoria Art Gallery, Bath National Museum of Wales, Cardiff Ferens Art Gallery, Kingston-upon-Hull Temple Newsom House, Leeds The Castle Museum and Art Gallery, Nottingham Montreal Museum of Fine Arts, Canada 1821 - 1886 1 Sidney Richard Percy Percy Sidney Richard 1696 Perkins was born October 16, 1930 in Baltimore, Maryland. His first formal studies where in Philadelphia at the Pennsylvania Academy of Art under American landscape painter and etcher, James Hamilton (1819-1898). It was during these studies that he first started exhibiting at the Academy. In 1856, Perkins exhibited his first painting, #306 "Cape Croix, Cuba". In 1860, Granville Perkins traveled to New York to work as an illustrator for Harper & Bros. in Franklin Square. While working at Harper & Bros., he continued his studies and was invited to exhibit at the National Academy of Design. Perkins became a frequent exhibitor at the National Academy of Design between 1862 to 1883. He also worked as an illustrator for Frank Leslie's Illustrated Newspaper in 1874. As an accomplished water colorist, Granville Perkins became a member of the New York Watercolor Society. He exhibited his watercolors at the National Academy of Design and at the Chicago Art Institute in 1889 and 1894. Museums: Mystic Seaport Museum, Mystic, Connecticut Peabody Museum of Art, Salem, Massachusetts Listed: The Annual Exhibition Record of the Art Institute of Chicago, 1888-1950 E. Benezit,Vol.8, pg.224 Dictionary of Marine Artists, Pg.299 Exhibition of the National Academy, 1861-1900, Vol. 2, pg.735 Who was Who in American Art, Falk, pg.479 1830 - 1895 Granville Perkins Perkins Granville 1695 Painter of genre, history, religion and portrait stands in peril of not being remembered as distinctively as his successes might merit. For our part, we may narrow this great artist’s claims at once by rejecting his religious painting, and we may be inclined to go on and deny him the title of historical painter, so that, although we shall have paintings of religious subjects and of historical subjects to consider, we shall in truth be considering them as work of a painter of genre and portrait. Assuredly, we are not alone in judging Léon Perrault not to be, in the legitimate sense, a religious painter; but in the matter of history, opinions may be divided. In symbolic genre, on the other hand, he is unmatched, and in portrait so masterly, that his place in those arts is fixed forever. Léon Jean Bazile Perrault was born in Poitiers, France on June 20, 1832 to a very poor family. As a young boy, he dreamed of ways to produce income to free his family from the pains of poverty. His foolish youthful dreams and impossible schemes to ease and escape the pain would bring young Léon Perrault to make the decision to pursue an artistic career. At the age of 14, Perrault began taking drawing courses being offered in his hometown. His incredible talent for drawing was eventually spotted by a local painter who would hire this fourteen-year-old boy to help restore the paintings and murals in the churches and the ancient cathedral of Saint Radegonde in the Poitiers. In 1851, Perrault would take part in a drawing competition and was awarded first place. The drawing was purchased by the state for their collection. Two years later, he would travel to Paris on a 600-franc pension provided by the town of Poitiers. With a letter of introduction, Léon Perrault was welcomed into the home and atelier of Francois Edouard Picot (1786-1868) where he would begin his formal art training. Perrault would continue his studies at the Beaux-Arts Academy, in William A. Bouguereau’s (1825-1905) atelier and at the Académie Julian. The initial years of academic studies and training under the watchful eye of Picot and Bouguereau would profoundly influence Perrault and his interest in allegorical and religious subjects. He would debut in the Paris Salon of 1860 with “Vieillard et les Trois Jeunes Hommes”, inspired by a fable in La Fontaine. The painting now hangs in the Poitiers Museum. Perrault would become an important figure and regular exhibitor at the salons of Paris. He continued to exhibit religious, allegorical, historical military battle scenes. Perrault had enormous success with his “Christ au tombeau” and “la Descente de Croix” at the Salon of 1863 and was awarded metals in 1864, 1876 and 1878. Of his most successful military scenes, “Le Mobillisé” was an epic scene inspired by the valiant defense of an important episode during the Amérique war. When “Le Mobillisé” was finally exhibited at the Musée Châteaudun, it gave the grandsons of the men who had fought the battle an idea of their bravery. His acceptance as an accomplished military painter would lead to several collaborative works with the studio of Horace Vernet (1789-1863). Most noted of these collaborative efforts done between 1862 and 1864 are; “Attaque de constantine: le colonnes d'assault se mettent en mouvement le 13 octobre 1837 (collab. w/studio, after H. Vernet)”, “Combat de l'habra” (collab. w/studio; after Horace Vernet”, “Siège de constantine: le ennemi repussé des hauteurs de coudat-ati (collab. w/studio; no.262)” and “L'assault final de constantine (collab. w/studio; no. 602.” We have now discussed his religious and allegorical subjects. We have approached his historical and military paintings. All of these works show extreme brilliants, elegant drawing and grace, which reminds one of Pierre-Paul Prud'hon (1758 - 1823) but few artists have ever challenged his symbolic genre. Léon Basile Perrault, as few artists before him, was able to bring passion, integrity and honesty to his paintings. His own childhood was tethered to the pains of poverty. His children speak through their eyes and whisper from their tender souls of innocence, joy, disparity and warmth. Perrault’s paintings were a brave departure from the doe-eyed peasant children of his friend and teacher, William Adolph Bouguereau. They aren’t expressing sorrow but the reality of life through subtle expressions that gently reveal the subject’s inner thoughts, strength, youthful maturity, hope, dreams, and responsibility toward life and family. Perrault first began to exhibit his symbolic genre paintings of young women and peasant children at the Salon of 1864. The critics were overwhelmed by the passion, beauty and honesty rarely seen in genre subjects. He would continue to exhibit his popular symbolic genre paintings at the Salons in Paris receiving acclaim for all continents. In 1868, Léon Basile Perrault would be invited to exhibit “Give for My Little Chapel" at the Boston Athenaeum and in 1873, he was appointed to represent France as "diplôme d'honneur" to Vienna, Philadelphia (U.S.) and London. In 1887, he was awarded Frances's highest honor and knighted as Chevalier de la Légion d'honneur. This prestigious honor was followed by a Bronze metal in the 1889 Exhibition Universal and Silver medal at 1900 Exhibition Universal. Perrault died in Royan, France in 1908, and was buried in the Montparnasse cemetery. After his death, the village of Poitiers commissioned a monument in his honor. Museums: Musée de Bordeaux: “Le depart” Musée St. Croix, Poitiers: “Le vieillard et les trios jeunes hommes” Portrait: “Mort de Velléda (esquisse)” La Rochelle: “Saint Jean le précurseur and La Cigale” Stuttgart Museum: “La petite soeur” Musée Châteaudun: “Le Mobilisé Brooklyn Museum, NY: Mirror of Nature” Listed: E. Benezit, vol. VIII Dictionnaire des Petits Maîtres de la peinture 1820-1920, vol. II Catalogue raisonné: The raisonné for the Complete works of Léon Bazile Perrault is currently being prepared by Brian D. Roughton, Dallas, Texas and Mr. Patrick Charriaut, Bordeaux, France with the assistance of the Museé de Bordeaux. 1832 - 1908 1 Leon Jean Bazile Perrault 1 Perrault Leon Jean Bazile 2042 Giuseppe Pesa was born in Polistena (Reggio Calabria) on 1st November 1928. He began studying drawing and painting at a very young age, attending the first art courses in Naples and Rome. He held his first personal exhibition in Reggio Calabra in 1946 and front then on has actively taken part in the national and Internazional art life. He has regularly exhibited paintings in Germany, since 1980 where he has become particularly important to German collectors. The Atelier Gallery in Vienna used Pesa's works to inaugurate its activity in 1989. The artist now lives and works in Polistena (Reggio Calabria) after spending a great deal his lifetime in Milan and Camogli (Genoa). Critic Dino Bonardi writes: "It has been a long time since I have come across such a talented artistic temperament like that of Guiseppe Pesa. All conventional references can be skipped in saying this. Pesa is a born painter, that handles design and colours face to face and for whom difficulties are re-absorbed in an exact and pre-constituted insight. Drawing, composition, bold perspectives, unusual partial views all comes easy. An enlightened mastery has done the rest, making Pesa's paintings copious, sound, well balanced, and blended in an exact plastic reality. A problem of tastes still remains, however his paintings are not and do not want to be surreal in any way, as they would become voiceless. However they are adored by those who enjoy naturalist art of spontaneous fervor, immediate touch, heated in their emotional temperament by tradition that is, in substance, faithful to southern Italian art. Pesa, himself a southerner, echoes Campriani, Eposito and sometimes the better Irolli, but he is also totally independent, spontaneous, moved in pro- claiming natural beauties. His greatest charm is that of the light, the amber-cloured light of the sun that tinges, etches, and projects sinuous shadows in a warm silent matter, bright and compact plastic masses spread out in a real passion for painting, in a sort of wild abandonment". (From Ranzini Gallery catalogue) Pesa is a painter that shuns controversy, totally engrossed in his own personal emotion, assisted, we repeat by an irreproachable technical mastery. His marine scenes, sails, harbours and canal like his mountains and dark and striking back lighting breath the mystery of an authentic pictorial charm". Dino Bonardi Exhibitions: 1946 Reggio Calabria 1952 Stoccolma, 1953 Oslo, 1954 Helsinky 1954 Stoccolma, 1957 Milano, 1957 Torino, 1958 Genova, 1958 Gallarate 1959 London, 1959 Milan 1960 Milan, 1963 New York, 1964 New Jersey, 1966 Beverly Hills, 1967 Chicago, 1973 Busto Arsizio, 1975 Milano, 1976 Milano, 1977 Milano, 1979 Nervi, 1979 Milano, 1980 Monaco di Baviera, 1989 Vienna b. 1 - 1928 Giuseppe Pesa Pesa Giuseppe 1971 "During her lifetime, Jane Peterson was one of New York City's most important painters. Her vibrant watercolors provide a vital link between the impressionist and expressionist movements in American art. Born in 1876 in Illinois, Peterson moved to New York when she was 19. For the next 12 years, she studied at Brooklyn's Pratt Institute and with artist Frank Vincent Dumond. Aware of the artistic innovations taking place in Europe, Peterson used the money she earned as an art instructor to finance the first of her many trips abroad in 1907. She sought out some of the best teachers of the day, and in Paris she was influenced by fauvism, impressionism, expressionism and the beginnings of the cubist movement. Upon her return to the United States, Peterson had her first one-woman exhibition in Boston in 1909, with a second successful show occurring shortly after in New York City. Initially, Peterson's work was stylistically linked with that of Maurice Prendergast. Though Prendergast's brushwork was more neo-impressionistic, both artists selected colorful and festive subjects. By the 1920s, Peterson had reached the height of her fame. In addition to frequent one-woman shows, her Toilette (1922, private collection) was singled out in a review as best of the show by the New York Society of Painters. Toilette, showing hints of impressionism and of art nouveau, is decidedly individualistic, eschewing overall identification with any specific school. Peterson, a prolific artist, also continued to teach.From 1912 to 1919, she taught watercolor at the Art Students League, then later taught classes at the Maryland Institute in Baltimore. In 1925 Peterson began painting what she called her 'flower portraits,' These still lifes dominated all her subsequent exhibitions. Highly stylized, the flower paintings are bold and expressive, echoing the style and fashion of the time. As seen in her Iris and Petunias (ca. 1925, private collection) these still lifes often incorporated rich brocades, and included gold and silver backgrounds. In 1938, Peterson was named the 'most outstanding individual of the year' by the American Historical Society for her artistic achievement only the second woman in the history of the Society to be so honored. The artist was then 62 years old. Peterson died in New York in 1965." From 300 Years of American Art, Michael David Zellman, The Wellfleet Press, New Jersey, 1987. 1876 - 1965 Jane Peterson 1 Peterson Jane 1694 Petitjean debuted in the Salon of 1874. He was a member of the Society of French Artists from 1883, winning an honorable mention in 1881, first class medal in 1884, and second class in 1885. He was the recipient of a silver medal in the 1889 Exposition Universelle, Chevalier of the Legion of Honor in 1892, gold medal in the 1900 Exposition Universelle and finally awarded the highest honor, that of "Hors Concours," that is, no longer being required to compete for a place in the exhibition. He also exhibited his works in Munich in 1890. Translated from E. Benezit. Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs Vol. 8 Oke-Robb. Librarie Grund, Paris, 1976. P. 257 1844 - 1925 Edmond Marie Petitjean Petitjean Edmond Marie 3262 A noted Neo-Impressionist painter, Hippolyte Petitjean was born on September 11, 1854 in Macon. In 1872 he went to Paris to continue his studies entering the Ecole des Beaux Arts, and also the atelier of Alexandre Cabanel. He exhibited at the Salon beginning in 1880. By far the most significant event in Petitjean's development was meeting Seurat in 1884. Petitjean joined the Neo-Impressionist group in 1886, and in 1887 he showed his first major work in this style. In 1891 he switched from the Salon to exhibit with the Independents. He also exhibited in Brussels in 1893 and 1898, Berlin in 1898, Weimar in 1903, and Wiesbaden in 1921. Petitjean remained loyal to Seurat's optical theories along with Signac and Pissaro until after 1894 when he began to combine the pointillist dot with more feathery strokes. After 1910 he returned to a Neo-Impressionist manner in a series of decorative watercolors. These works depicted both landscapes and people with a remarkable shimmering effect created by individual spots of pure color. Museum Collections Include: Metropolitan Museum of Art, New York; Fine Arts Museums of San Francisco; Musee d'Art Moderne, Paris 1854 - 1928 Hippolyte Petitjean 1 Petitjean Hippolyte 1807 An intense childhood interest in drawing and painting gave Mark Pettit an early start in the pursuit of becoming an artist, but there was little in his early efforts to suggest that he would attain his current level of success so early in this career. By devoting his efforts to fine art Pettit, a native of Texas, was able to study privately with several notable artists who influenced his direction and technique. He went on to study at the Schuler School of Fine Art in Baltimore, Maryland; a school devoted to the teachings of Jacques Maroger, author of "The Secret Formulas and Techniques of the Old Masters." Maroger was a restorer at the Louvre and painting theoretician who developed a rich, luminous medium similar to that used by the 17th century Flemish Masters. This painstaking procedure consists of making black oil and mastic varnish, and grinding raw pigments combined with the use of linen canvas primed with white lead. The primary subject of Pettit's oils is the panoramic American landscape. Combining his own style with that of the Flemish painters and utilizing custom mediums to create vast dimensions, he brings the great outdoors inside with sensitivity and skill. He demonstrates a unique link between classic and modern in both his landscape and still life painting. Pettit has had great success with many sold out one-man and group art exhibitions and has received national recognition with open and limited edition prints. His paintings are represented by several prestigious art galleries and his work is in constant demand by some of the most discriminating art collectors in the country. Mark Pettit currently lives near Ridgway, Colorado where he finds the Colorado Rockies an inspirational atmosphere in which to live and work. Unknown Mark Pettit Pettit Mark 1693 Charles T. Phelan was born in New York in 1840. Landscape painter, pupil of Frederick Rondel (1826-1892) who was best remembered as the teacher of Winslow Homer. His almost impressionistic style mixed with the luministic approach captured the spontaneity of the moment, like a storm moving toward the front of his canvas. He seems to have been at the cutting edge of what would be called the Modern Movement. Listed: The New York Historical Society, Dictionary of Artist in America Cyclopedia of Painters and Paintings, vol. III Exhibited: National Academy of Design, New York City, 1880-1882 1840 - 840- Charles T. Phelan Phelan Charles T. 1806 Bert Geer Phillips first became interested in visiting Taos, New Mexico in 1895 when he met Joseph Sharp in Paris. Phillips was a student at the Academie Julian with Ernest Blumenschein at the time and Sharp told them about the great potential he felt Taos held as a destination for young artists. Upon their return to the United States, Phillips and Blumenschein decided to go to New Mexico together to investigate Sharp's claims about the area. After an arduous journey through the relatively untravelled New Mexican terrain, they arrived in Taos in the summer of 1898. Phillips was immediately captivated by the town and decided to settle there permanently. Phillips' arrival in Taos marked the beginning of the Taos art colony which would develop to include the Taos Society of Artists. Phillips was a founding member of the Society and devoted his life to painting idyllic images of the Pueblo Indians and noble and romantic figures. In many ways, Taos was the ideal place for Phillips to settle. As a child the artist had idolized Kit Carson, the early adventurer renowned for the expeditions he led into uncharted territories. Carson had maintained his headquarters in Taos and was buried there upon his death. Phillips was dedicated to preserving the Pueblo community and was instrumental in helping the Indians retain their rights to much of the forest and mountain land surrounding the Pueblo. He helped found the Taos Forest Preserve and even served as the first park ranger in the area, which was renamed Kit Carson National Forest at his request. The Pueblo Indians were a peaceful, agricultural tribe who only hunted to supplement their supply of crops. Phillips understood the Indian's relationship to their natural surroundings and their appreciation of their entire natural habitat could provide. The artist wrote of the Indians' relationship to nature, "It is not the passive appreciation that is the frequent reaction to beauty of many white people. It is an integral part of their being. Their religion revolves around the rhythm and life of nature. Their love of beauty is born of knowledge as well as of what we call superstition .... Their whole life is keyed to the rhythm of nature" (as quoted in Patricia Janis Broder, Taos: A Painter's Dream, Boston, Massachusetts, 1980, p. 103). 1868 - 1956 Bert Geer Phillips Phillips Bert Geer 3149 Relatively little is known about the life of Samuel George Phillips. He was born in Pennsylvania on April 14, 1890, and studied painting at the Pennsylvania Academy of the Fine Arts, Philadelphia, where his teachers were Daniel Garber, William Merritt Chase, Cecilia Beaux, and Hugh Breckenridge. He enjoyed some success as a commercial magazine illustrator, working for the Saturday Evening Post, Ladies Home Journal, Old Liberty Magazine, and McCall's. Garber was the principal influence on Phillips's landscapes, which were primarily done at Point Pleasant in Bucks County and at Chadds Ford in Chester County. While he exhibited his landscapes only rarely, he developed a significant reputation for his portraits of physicians, academicians, and politicians, with commissions from such prominent citizens as Governor Leader of Pennsylvania; John F. Lewis, president of the Pennsylvania Academy; George B. Roberts, president of the Pennsylvania Railroad; and Millard Gladfelter, president of Temple University. Phillips exhibited frequently at the Pennsylvania Academy, and also showed his work at the Corcoran Gallery of Art in Washington, D.C., and the National Academy of Design in New York. He kept a painting studio in Philadelphia for nearly fifty years, commuting daily from his home near Atlantic City, New Jersey. His best-known painting is a rendition of Santa Claus that he did for the Whitman Candy Company. The image was used for many years by the company in its advertisements. Phillips died in February 1965 in Margate City, New Jersey, at the age of seventy-five. 1890 - 1965 S. George Phillips Phillips S. George 3328 George Phippen was born July 11, 1915 in Iowa. His family moved from Iowa to Emmett (near St. Mary's, Kansas) in 1919. In 1933, at the age of 18, Phippen joined the Civilian Conservation Corps working first in Minnesota and then in Washington. Left the Corps in 1939 to return to Kansas for a year and then went back to Washington and California before settling in Tucson, AZ in 1940. During World War II, he wanted to be a combat artists for the Army, but was stationed at Fort Warden in Washington where he worked in photography and drafting. After the war, Phippen and his family moved to the Southwest, where he received informal tutoring in oil painting from Henry Balink of Santa Fe, NM and Hurlstone Fairchild of Tucson, AZ. Successful as a commercial artist and illustrator, he illustrated many books and magazines such as True West, Frontier Times, Quarter Horse Journal, Appaloosa News, and Western Horseman. Phippen began oil painting in 1948 while selling works for Christmas cards and calendars. He was co-founder and first president of the Cowboy Artists of America and he established a ranch, studio, and foundry in Skull Valley, AZ. The Phippen Museum in Prescott, AZ opened in 1984. He died in Skull Valley, Arizona on April 13, 1966. Exhibitions: Cowboy Artists of America; Phippen Museum, 2004. Collections: Houston Livestock Show & Rodeo; Colorado Springs Fine Arts Center; Desert Caballeros Western Museum; Gilcrease Institute; National Center for American Western Art; National Cowboy and Western Heritage Museum; Phippen Museum of Western Art; Phoenix Art Museum. SOURCES: Susan Craig, "Biographical Dictionary of Kansas Artists (active before 1945)"Oct. 22, 2007; Phippen, Louise. George Phippen: the man, the artist. (Prescott, AZ: Ralph Tanner Assocs. Inc., 1983); Pamphlet file at the Smithsonian American Art Museum/National Portrait Gallery Library in Washington, DC.; Topeka Capital (Aug. 11, 1957, Apr. 14, 1966). 1915 - 1966 1 George Phippen Phippen George 3102 In the spring of 1943, while still with Dora Maar, Pablo Picasso met Francoise Gilot, then a young art student. She soon became his mistress, and gave birth to their daughter Paloma and son Claude not long after the two moved-in together in 1946. The family split their time between Paris and the Mediterranean, where Picasso had purchased his villa near Vallauris. A self-proclaimed Communist, Picasso was reputed for the politically charged nature of the works he executed during this period, but as Michael C. Fitzgerald writes it was "Picasso's still lifes, portraits, and figure paintings that constitute his major work of these years.... Moreover, the portraits of Francoise and their children, Claude and Paloma, not only constitute a remarkable group of private images; they also frequently infuse the more public pictures with a welcome element of playfulness and renew dialogue with past art that would increasingly propel Picasso's late career" (Michael C. Fitzgerald, "A Triangle of Ambitions: Art, Politics, and Family during the Postwar Years with Francoise Gilot," Picasso and Portraiture, Representation and Transformation (exhibition catalogue), Museum of Modern Art, New York 1996, pp. 411 and 413). The present work, presumed to be a portrait of Gilot, was executed in May of 1953. By this time the couple's relationship was strained, stemming from Picasso's numerous affairs and Gilot's resistance to having a third child. Consistent with many of Picasso's portraits of Gilot towards the end of their relationship, Tete de Femme reflects a new characterization of his mistress. While reconfiguration of his female subjects was not new to Picasso's work, the present painting is remarkable as Gilot's trademark emotive, wide oval eyes, perfect nose and full lips are now almost indistinguishable. Here the artist skillfully employs line and monochromatic color to depict Gilot's face with flattened planes. Volume has been reduced by a careful manipulation of these elements, and Gilot's bust is clearly dilineated against the bare, white background. Picasso and Gilot's relationship lasted until the sum¬mer of 1953, when the artist left her for Jacqueline Roque. 1881 - 1973 Pablo Picasso 1 Picasso Pablo 2059 Evert Pieters was born in Amsterdam, Netherlands December 11, 1856 and died in Laren February 17, 1932. Pieters is considered a genre, marine and landscape painter from the Dutch Contemporary School. In addition to being a very skilled artist in oils, he was also an accomplished draughtsman and engraver. Pieters began his formal art studies with painter Theodoor Verstraete at the Academy of Amsterdam. Verstraete, who was heavily influenced French Barbizon painters Jean Francois Millet (1814-1875) and Jean Baptiste Camille Corot (1796-1875), would pass that influence on to Pieters. He would continue his studies with Charles Verlat (1824-1890) at the Antwerp Academy of Fine Art. Verlat was more of an academic historical, portrait and genre painter than Verstraete therefore adding additional disciplines to his education. Pieters would combine the influences and teachings of Verstraete and Verlat to develop a very unique original style of painting. In 1886, Pieters would leave Antwerp and traveled to Blaricum, followed by a trip to Paris in 1896. During World War I, he voyaged as well to London and Scotland, eventually settling in Laren in 1917. Pieters exhibited in many cities throughout Europe, including Paris with the Salon des Artistes Francais, and in Scotland at the Royal Scottish Academy in 1913. Between the years 1895 and 1905, he showed a number of canvases in Amsterdam. At the 1896 Exposition Universelle, Pieters was awarded a third place medal, a gold medal at the Salon de Champs Elysées and a silver medal at the 1900 Exposition Universelle. In 1910, Pieters was invited to exhibit in Milwaukee’s "The Greatest Dutch Painters." The exhibition was an enormous success. The honors, his successes and popularity would continue in the United States, England and the European continent. Pieters was honored with his appointments as member of the Pulchri Studio at The Hague, the Academy of Antwerp, and of Arti et Amicitiae in Amsterdam. Recorded: Benezit, Emmanuel. Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs. (Paris: Librairie Grund, 1976). Berko, Patrick and Viviane. Dictionary of Belgian Painters Born Between 1750 & 1875. (Brussels: Editions Laconti, 1981). Duvosquel, Jean-Marie and Philippe Cruysmans. Dictionary of Belgian and Dutch Animal Painters Born Between 1750 and 1880. (Knokke-Zoute, Belgium: Berko, 1998). Hostyn, Norbert and Willem Rappard. Dictionary of Belgian and Dutch Flower Painters Born Between 1750 and 1880. (Knokke-Zoute, Belgium: Berko, 1995). Johnson, J. and A. Greutzner. Dictionary of British Art, Volume V: British Artists 1880 - 1940. (Suffolk: Antique Collectors' Club Ltd., 1990). Le Dictionnaire des Peintres Belges du XIVe Siecle a Nos Jours. (Brussels: La Renaissance du Livre, 1995). Piron, Paul. De Belgische Beeldende Kunstenaars. (Brussels: Art in Belgium, 1998). Public Collections: Koninklijk Museum, Antwerp; Au littoral, On the Beach Barcelona Museum, Spain Toledo Museum, Ohio USA Chicago Art Institute, Chicago USA; The Family Meal Rijksmuseum, Dordrecht Frans Hal Museum, Haarlem Singer Museum, Laren Goois Museum, Hilversum 1856 - 1932 Evert Pieters 1 Pieters Evert 3190 Emile Pinchart was born on Cambrai (Nord) August 10, 1842 and died in 1924. He is considered a genre and portrait painter from the French school. Pinchart began his formal art training at the Beaux-Arts Académie with Jean Léon Gérome (1824-1904). He was a member of Sociétaire des Artistes Francais and exhibited with the group at the Paris Salon of 1883, where he received honorable mention and a third class medal at the Salon of 1884. Emile Pinchart would eventually leave Paris to open d'Atelier Pinchart in Geneva. His workshop would produce posters and artistic reproductions. Listed: E. Benezit, Vol. 8, page 342\ Les Petits Maitres De La Peinture Valeur de Demain 1820-1920, Gérald Schurr, Vol. 2, page 85 1842 - 1924 Emile Auguste Pinchart Pinchart Emile Auguste 1692 As a genre painter, or rather a painter of the female face, Piot had few equals. His idealized depiction of women and girls are full of sentimentality yet possess a technical skill that is of the highest level. Adolphe Piot was born in Dijon in 1850. He must have travelled to Paris as a young man as he is listed as a student of Leon Cogniet, at his Paris atelier, in the late 1870's. Cogniet instilled within the young artist a love for the human form and certainly his teachings were not wasted. Piot's debut at the Paris Salon came in 1880 followed three years later with his first showing at the Societaire des Artistes Francais. An honorable mention was given for his exhibit of 1890 at the Salon. Listed: Popular 19th Century Painting, A Dictionary of European Genre Painters, Philip Hook and Mark Poltimore E. Benezit Thieme-Becker Museums: Brooklyn Museum, New York Rouen Museum 1850 - 1910 Adolphe Piot Piot Adolphe 1691 Henry C. Pitz was the only child of Anna Rosina (nee Steiffel) and Henry William Pitz. His mother's close knit family had emigrated from Lake Constance in southern Germany at mid-century; his father had trained as a bookbinder in Munich, before moving to Philadelphia in the 1880s to open his own bookbindery and leather workshop. Soon after, he met and married Anna, and they set up housekeeping next door to her family at 29th and Poplar streets. Their son Henry Clarence, born June 16, 1895, demonstrated a talent for drawing. He became an avid fan of Howard Pyle's work, and as a youngster he and a close friend, Walter Kumme, spent considerable time in the studio of Walter's uncle, illustrator Julius Kumme. Although the family planned for their gifted son to attend William Penn Charter School and the school of architecture at the University of Pennsylvania, Henry W. Pitz died unexpectedly and his business partner embezzled money from the firm. This forced Anna Pitz to make other plans for young Henry's education. She sent him to local schools, one of which was Central Manual School, and enrolled him in art lessons on Saturday mornings. In 1914 he was graduated from West Philadelphia High School, winning both a history prize and a scholarship to the Philadelphia Museum School of Industrial Art at Broad and Pine streets. At the museum school Henry began studying with former Pyle student Thornton Oakley and subsequently with other Pyle students-Walter Everett, Maurice Bower, Harvey Dunn, and George Harding, all of whom lectured at the Pennsylvania Academy of the Fine Arts as well. He also met the famous women students of Pyle's Chadds Ford and Wilmington studios: Violet Oakley, Jessie Wilcox Smith, Charlotte Harding, and Elizabeth Shippen Green. When not in classes Henry took every opportunity to attend theatre, ballet, concerts, lectures, and exhibits. But World War I interfered. In 1917, his last year at the art school, he enlisted in the Army Medical Corps as an X-ray technician assigned to Base Camp 56, Allerey, France, assisting Colonel Coates, a Philadelphia surgeon, in the operating room. He also continued to sketch in his spare time. Following the armistice in November 1918, he accompanied Colonel Coates and Captain Sheldon on an inspection tour of Luxembourg and Alsace-Lorraine and filled a sketchbook with pictures of the ravages of war. Returning to Philadelphia unscathed and anxious to commence his career, Henry initially taught other veterans at the school he had left a few years earlier. In 1920, he showed his portfolio to art editors of several New York publishing houses and came back to Philadelphia with a commission to illustrate John Bennett's Master Skylark. This was the first of more than 250 projects he undertook during the next five decades. A new facet of his career opened in 1928. Century Company invited Henry and Edward Warwick to both write and illustrate a book. The book, "Early American Costume", filled an important gap in the literature for illustrators and became a valuable reference tool that is still used today. That was the first of eighteen books that Henry wrote. Most of the others were "how-to" books aimed at the art students, such as The Practice of Illustration, Drawing Trees, Pen, Brush and Ink, How to Use the Figure, A Treasury of American Book Illustration, and Illustrating Children's Books, but among the later ones were broadly interpretive essays that drew on his breadth of experience and wealth of information, such as The Brandywine Tradition. Less than a decade after writing his first book, Henry joined American Artist, a monthly magazine published in New York under the guidance of editors Arthur Guptill and Ernest Watson, and later Norman Kent and Susan Meyer. As an associate editor and writer, during the next forty years Henry contributed numerous articles about illustrators, printmakers, advertising artists, and painters - American and European. Yet another aspect of Henry's career was teaching. In 1934, Edward Warwick, then Dean at the museum school, asked Henry to head the newly formed Department of Pictorial Expression. Henry accepted. For twenty-six years he trained, inspired, and encouraged many of the finest illustrators of the day, including Joseph and Beth Krush, Helen and William Hamilton, Sidney Goodman, Edward Smith, Albert Gold, Howard Womer, Edward Michener, Fred de p. Rothermel, Ranulph Bye, Isa Barnett, Paul Keene, Jacob Landau, and Howard Watson. His colleagues were a host of talented artists-Earle Horter, John Lear, Ben Eisenstat, John Geiszel, Edward Shenton, Ben Solowey, and William Emerton Heitland-and distinguished artists, publishers and editors whom Henry and fellow faculty members invited to lecture. These years were exciting and stimulating for illustrators and rivaled the turn-of-the-century spirit of Howard Pyle's school. Henry's long standing admiration for Pyle served him well; artistically he was a self-conscious descendent of that vital group. An active and committed artist, Henry belonged to the Philadelphia Sketch Club, the Philadelphia Watercolor Club, the Art Alliance of Philadelphia, in addition to the Salmagundi and Society of Illustrators in New York. In 1950 he was elected to the National Academy of Design. He exhibited widely, for which he won many prizes for his watercolors, prints, drawings, and illustrations, and willingly served as a frequent juror for art exhibitions. By the 1960s Henry had demonstrated considerable insight in his studies of the art and artists of the Philadelphia and Brandywine regions. His enduring interest in the Wyeths, led Lovell Thompson, then editor-in-chief at Houghton, Mifflin and Company in Boston, to commission him to write The Brandywine Tradition, published in 1969. The book remained on the best seller list a remarkable ten weeks because it struck a responsive cord with a public that was appreciative of the worth and vitality of native talent. Three years later Clarkson Potter, Inc., a New York Publishing house, commissioned him to write Howard Pyle: Writer, Illustrator, Founder of the Brandywine Tradition which was published in 1975. Honors followed honors. Henry was granted a fellowship at the Huntington Hartford Foundation near Los Angeles. The National Aeronautics and Space Administration asked him to be one of the artists who recorded the Apollo launch to the moon from Cape Canaveral, Florida, in May 1969. The following year Henry was invited to join the Franklin Inn, an old, distinguished literary club in Philadelphia whose members were and are leaders in the fields of education, journalism, and the arts and sciences. He accepted with pleasure and lunched there on the days he taught at the art school-by then called the Philadelphia College of Art. The following year, 1971, Ursinus College conferred a Doctorate of Letters on him and the Philadelphia Athenaeum awarded him a prize for The Brandywine Tradition. In 1935, Henry had married Molly Wood in Chestnut Hill. During most of their married life they lived in Plymouth Meeting, where they raised two children, Juha Leaming Pitz Handy Barringer and Henry William Pitz II. Henry and Molly enjoyed forty-one years of a rich and varied life filled with pictures, books, music, friends, family, and travel, both abroad and in the western United States. Henry's last year of life was busy with two one-man shows, and writing the text for 200 Years of American Illustration. He was working on a painting the day before he died in his eighty first year, November 26, 1976, revered and beloved by his many friends and family. Written by Mary "Molly" Wheeler Wood Pitz, widow of the artist, Spring 1988 1895 - 1976 Henry Clarence Pitz Pitz Henry Clarence 3174 Charles Pollock began his career as a social realist, studying with Thomas Hart Benton at New York’s Art Students League and revering the works of Mexican Muralists Diego Rivera and Jose Clemente Orozco. In the 1930s he worked with Ben Shawn on the Special Skills Division of the Resettlement Division supervising mural and craft projects in the South and Midwest. From there he moved to Detroit where he became supervisor for the mural painting and graphic arts division of the WPA/FAP. In the 1940s, however, Pollock abandoned his social realist approach to art for abstraction and color field painting, a result either of the times or the influence of his renowned brother Jackson Pollock. Charles Pollock taught calligraphy, printmaking, typography, and design in the Art Department at Michigan State University from 1942 to 1965. Works by Charles Pollock in the Kresge Art Museum collection include prints from the 1930s as well as the abstract painting #95 from 1967. 1902 - 1988 Charles Pollock Pollock Charles 1711 Gustave Pope was considered a genre, landscape, portrait painter and illustrator from the English school. Pope actively exhibited in London from 1852 to 1895. According the records, Pope exhibited 43 times at the Royal Academy, 14 times at the British Institute, 27 times at Suffolk Street and 20 various other exhibitions. He exhibited numerous portraits at the Royal Academy in London. His most notable other titles were 'The Noble Substitute", 1854, "The Orphans Refuge', 1861 and 'Andromache Feeding Hectors Horses', 1883. Pope also worked as an illustrator for the Art Journal (1849-1912). He illustrated "Accident by Design" a bashful youth approaching a young girl sketching in historical costume. Museums: Bristol Art Gallery "A Rainy Day, 1910" Listed: E. Benezit The Dictionary of Victorian Painters, C. Wood Dictionary of Artists, Graves Index of Artists, Mallett act. - 1910 Gustave Pope Pope Gustave 1710 DUTCH SCHOOL - The Belgian artist Bernard Pothast enjoyed a successful career as a genre painter. His sentimental renderings of peasant life were popular during his lifetime and remain so today. Born in Belgium, Pothast went to Paris to attend the Ecole des Beaux Arts. There he studied under the artist Ferrier. He later was a student at the School of Reichsakad and also honed his skill in Amsterdam under the artist, Allebe. Pothast's favorite subject was the peasant family. His peasant mothers, often shown instructing or caring for their young children are imbued with virtue and strength. Adept at both figure painting and still-life, he would place his charming groups in rustic interiors sparingly decorated with the family's humble possessions. These interiors were typically illuminated by the light of early or midday sunshine. Public Collections: Fort worth Art Museum, Fort worth, Texas 1882 - 1966 Bernard Jean Corneille Pothast Pothast Bernard Jean Corneille 2032 One of a number of important American Impressionists to emerge from the burgeoning art milieu of Cincinnati at the turn of the century, Edward Potthast began his career as a lithographer in his hometown, working for the Strobridge Lithography Company while studying art at the McMicken School of Design. Beginning in 1881 he spent three years in Europe, continuing his training at Munich's Royal Academy and adopting the fluent han-dling and subdued hues associated with Munich Realism. On a second trip abroad in 1887, he went to France, where he brightened his palette in response to Impressionism. He returned to the Queen City in 1889 and remained there until settling in New York in 1895. He initially worked as a freelance illustrator but eventually abandoned that pursuit to paint full-time. About 1916, Potthast began creating sparkling depictions of children frolicking in the surf at Coney Island, Far Rockaway, and other local beaches, working in both oil and watercolor. His oeuvre also includes landscapes and marines painted during summer trips to New England, as well as views of Central Park. 1857 - 1927 Edward Henry Potthast Potthast Edward Henry 2031 Ivan Pranishnikoff achieved an international reputation as a painter and illustrator. Born in Moscow and educated in Warsaw, he went to Rome in 1858, studying under Nicolai Gay at the Academic de Peinture until 1860, when he interrupted his training to serve in the campaigns of Sicily and Naples. In 1861, he worked independently in Florence before going to Paris to study with Charles-Gabriel Gleyre. Toward the end of 1870, after periods of activity in Florence, Italy, and Russia, Pranishnikoff came to America, living briefly in New York, Massachusetts, and Connecticut before moving to Quebec about 1871. He worked as an illustrator in Montreal during 1874 and then returned to New York, where he joined the staff of Harper's Weekly. One assignment took him to Texas and the Indian territories, where he sketched Native Americans and members of the U.S. Cavalry. He returned to France in 1880, settling in Les Saintes-Maries-de-le-Mer while making regular trips back to Paris and St. Petersburg. After Czar Alexander III appointed him an official military painter in 1887, he produced oils, watercolors, and drawings of the Russian cavalry on maneuvers. Pranishnikoff exhibited his work at the Paris Salon, winning acclaim for his virtuoso draftsmanship as well for his love of detail and rich color. The recipient of many awards and honors, he was also an amateur archaeologist who worked on excavation sites in Italy and southern France. In 1991, in celebration of the 150th anniversary of his birth, a retrospective exhibition of his work was held at the L'Association Peintres en Provence in Fontveille, France. 1841 - 1910 Ivan Petrovitch Pranishnikoff Pranishnikoff Ivan Petrovitch 2030 Hailed as one of the preeminent figures in the history of American modernism, Maurice Prendergast combined the stylistic and technical strategies of Post-lmpressionism with his subjective response to the world around him. In so doing, he produced a distinctive manner of painting based on simplified forms, bright colors, and lively patterning that set him apart from the artistic mainstream in the United States. Born in St. John's, Newfoundland, Prendergast settled with his family in Boston in 1868. He began his career by working for a commercial firm that produced showcards, and through this means acquired a familiarity with watercolor, which remained his principal medium until 1900. He began painting during the late 1880s, working in beach resorts around Boston. In 1891 he went to Paris, studying at the Academies Julian and Colarossi. Most importantly, through his contact with the Canadian painter James Wilson Morrice, he developed a familiarity with vanguard art—especially Symbolism, Art Nouveau, Japonisme, and the work of the Nabis painters Pierre Bonnard and Edouard Vuillard—all of which influenced his style. He returned to Boston in 1894 and began exhibiting locally and in New York. He showed with Robert Henri and other New York realists at the National Arts Club in 1904 and four years later at the Macbeth Gallery with the Eight. He turned increasingly to oil after 1900. A trip to Paris in 1907 brought him into contact with the work of Paul Cezanne and Fauvism, which further influenced his work. Prendergast settled in New York in 1914. He applied his unique aesthetic to scenes of contemporary leisure, portraying people at beaches and parks or strolling through city streets. 1858 - 1924 Maurice Brazil Prendergast Prendergast Maurice Brazil 1805 Levi Wells Prentice is remembered principally for his Adirondacks Mountain and Lake Landscapes painted in the I870's and early 1880's. He had a second artistic specialty t hat has received recent attention, his late nineteenth-century still life's of fruit, executed with almost photographic precision in exactitude. Prentice's best work is a tabletop still life, Apples in a Pail (1892, location unknown). Prentice was born in 1851 at Harrisburgh, New York, in the Adirondacks. Little is known of his training, but his aptitude had developed into skill by his late teens. In the early 1870's, the Prentice family moved to Syracuse, New York, here the artist opened a studio in 1875. He married in 1882 and moved to Buffalo, New York in 1883. Prentices mountain landscapes gained favor. He also painted portraits, decorated parlor ceiling's, and designed and built furniture and houses. He made some of his own brushes, palette's and frames. In the late 1880's, Prentice moved to Brooklyn, a center for artist's of trompe loeil still lifes, then very much in vogue. Prentice's earliest still life is dated 1892. From then on, still lifes with fruits-apples and plums were his favorites and were his principal subjects. These still life's are very sharp in definition, gaining further emphasis from the artist's habit of dark outlining. Prentice's work has been compared to that of William Mason Brown and William Michael Harnett, the preeminent painters in t he ultra-realist "illusionist" mode. However, Prentice was more concerned with textural precision than Harnett who strove for a complete illusion three dimensionality. And while Browns fruits and vegetables have a voluptuous almost preternatural glow, Prentices are plainer, more of this world, and in that sense, more realistic than Brown's. The artist, who lived in Manhattan, Connecticut and New Jersey, finally settling in Philadelphia, where he died in 1935. MEMBERSHIPS: Brooklyn Art Association PUBLIC COLLECTION: Adirondack Museum, Blue Mountain Lake, New York 1851 - 1935 Levi Wells Prentice Prentice Levi Wells 2178 Andrey Prévost was born in Paris in 1890 and died in 1961. As a member of the l’Ecol de Paris, He is know for his paintings of rural life in and around Montmartre. Listed: E. Benezit, vol. 8, pg. 485 1890 - 1961 1 Andrey Prevost Prevost Andrey 3150 Mary Elizabeth Price was born in 1877 to lawyer Reuben Moore and Caroline Cooper Paxson Price, Quakers who lived in Shenandoah, Virginia. When she was still a child, the family moved first to West Virginia, and then to Solebury Township, Bucks County, where her mother had been born. Price spent the rest of her childhood on the farm in Solebury Township, just north of New Hope. A genetic disposition toward art seems to have run through the Price family. Her brother, F. Newlin Price, was the owner of the well-regarded Ferargil Gallery on West 57th Street in New York. From 1914 to 1943, many of the leading American painters, including the Pennsylvania impressionists, sold their work through this gallery. Another brother, R. Moore Price, was also an art dealer in addition to being an accomplished framemaker, and his wife, Elizabeth Freedley Price, was an impressionist painter. A sister, Alice Rachel Price, was married to Rae Sloan Bredin, a well-known New Hope artist. A third brother, Carroll Price, remained on the family farm in Solebury with his wife, Edith. Price studied at the Pennsylvania Museum School of Industrial Art (now the University of the Arts) from about 1896 to 1904. She attended the Pennsylvania Academy of the Fine Arts, Philadelphia, from 1904 to 1907, where her teachers were Hugh Breckenridge and Daniel Garber. She also studied privately with William L. Lathrop. In 1914 Price exhibited at the Corcoran Biennial in Washington, D.C., for the first of seven times. That same year also marked her first exhibition at the Pennsylvania Academy, where she showed again in 1917, 1918, 1923, 1926, and from then on every year until 1943. She exhibited her work at the National Academy of Design, New York, a total of sixteen times between 1921 and 1943, and it was there, in the 1927 exhibition, that Price received the women artists known as the Philadelphia Ten, she regularly exhibited with the group from 1921 until their last exhibition in 1945. In 1917 she went to New York and conducted the "Baby Art School," an innovative program underwritten by Mrs. Harry Payne Whitney and previously known as the Neighborhood Art School of the Greenwich House. Children from nearby public schools were taught the fine arts of drawing, painting, sculpting, pottery, and wood carving. The idea was so successful that Carnegie Institute of Technology in Pittsburgh asked her to stage an exhibition of the children's work in the winter of 1919-1920, in conjunction with an art education campaign for teachers and supervisors in art. Price was generous in helping others in her profession, often assembling exhibits of works by women artists, which traveled around the country. "There's nothing like creating your own competition," she said. From 1920 to 1927 Price was chairman of exhibits for the National Association of Women Painters and Sculptors. In this capacity, she arranged exhibits of women artists across the United States, in South America, and in Hawaii. Best known for her floral panels and screens, she revived and employed the methods of the Italian Renaissance painters of Florence and Siena, using gesso and red clay, gold and silver leaf, and a full palette of oil color. On a glistening background of precious metal leaf, bright oil paint was applied, producing dazzling panels of unusually colorful flowers. A critic for the New York Times wrote, "Her work combines a Sienese delicacy of line with a modern freedom in the use of color." In addition to her well-known floral works, Price also produced landscapes, scenes of village and farm life, and a series of sixteenth-century Spanish galleons, one of which won the Carnegie Prize mentioned earlier. In 1931 she collaborated with another member of the Philadelphia Ten, studio-mate Lucille Howard, on a series of murals for the American Woman's Association clubhouse at 353 West 57th Street in New York. The murals depicted images drawn from traditional needlework samplers stitched by anonymous eighteenth- and nineteenth-century American women and girls. In the late 1920s Price returned permanently to Bucks County, purchasing the cottage that she and her brother, F. Newlin Price, had been renting for a number of years. She named it Pumpkin Seed, and spent the rest of her life there. "When I first saw the original cottage it was painted such a vivid yellow that I instinctively thought of a pumpkin; and it was so small that I named it 'Pumpkin Seed' more in derision than anything else. But the quaintness of the name grew on us so that we've learned to love it. The lilies, delphiniums, hollyhocks, mallows, irises, peonies, gladioli, and poppies that she grew in her cottage garden became frequent subjects for her floral paintings. Price died on February 19, 1965, at Mercer Hospital in Trenton, New Jersey. She was eighty-seven. 1877 - 1965 Mary Elizabeth Price 1 Price Mary Elizabeth 2029 A specialist in watercolor painting, J. Ambrose Pritchard was born in Boston in 1858. He studied at the Academic Julian in Paris under Gustave Boulanger and Jules-Joseph Lefebvre from 1881 to 1887. After returning to Boston about 1889, he painted landscapes and marines, working along the Massachsuetts shore in Duxbury, Annisquam, and Quincy and in the White Mountains of New Hampshire. His exhibited at the Boston Society of Watercolor Painters, the Boston Art Club, and the Pennsylvania Academy of the Fine Arts. His career was cut short by his untimely death in 1905. 1858 - 1905 J. Ambrose Pritchard Pritchard J. Ambrose 3353 Albert Jurardus Van Prooyen (1834-1898) Prooyen was born in Groningen in 1832 and died in Amsterdam in 1898. He is considered a landscape and cattle painter from the Dutch School. According to the book, "Paintings in Dutch Museums", by Christopher Wright, there is an index of oil paintings in public collections in the Netherlands by artists born before 1870. Prooyen's paintings can be found in the following museums. Amsterdam Rijksmuseum "Landscape with Cattle Drover" Catalogue 1976, No. Al824, illustrated lent to the Hague DVR. Enkhuizen Ruksmuseum "Zuiderzeemuseum", "Spritsail Parge" Inv. no. 7427. Groningen Groninger Museum "Landscape with Shepherd and Animals" Inv. No. 1919/248. Noordelijk Scheepvaartmuseum Marine Information from the museum, 1978. LISTED E. Benezit, Volume VIII, page 503. 1834 - 1898 Albert Jurardus Van Prooyen Prooyen Albert Jurardus Van 3185 Edmond Jean de Pury was born March 6, 1845 in Neuchâtel and died November 1911 in Lausanne. He is considered a painter, engraver. Although he painting landscapes, Jean de Pury’s main subjects were figures, portraits and genre. Edmond de Pury began his formal training in Paris at the Beaux-Arts Academie as a student of Marc Gabriel Charles Gleyre (French, 1808-1874). Amongst his student-peers were the likes of Jean Leon Gérôme, Jean-Louis Hamon, Auguste Renoir, Emile David, Claude Monet, Jean Frédérick Bazille and Alfred Sisley. Pury traveled to Rome, Capri and Venice to study figure painting and to capture local colour. He married an artist, Marie Amélie Mathilde Wagniere, who studied with Frank Duveneck, (American, 1848-1919) in Florence and also studied in Paris. Marie was known for her many views of Venice. Pury exhibited in Paris, and was awarded a medal in 1889 at the Exposition Universelle. He produced a large body of etchings, and his works have often been reproduced in illustrated magazines. His painting of the great artist / composer Wagner was completed two years before the composers’ death. Museums and Public collections: Musee de Bale: “Dans la Lagune” Musee de Berne: “Retour de champs”, “Sottomarina”, “Lagune de Venice”, “Pecheurs venitiens” Geneve: “Enfileuses de perles a Venice” La Chaux-De-Fonds: “Enfileuses de perles a Venice” Lausanne: “Bacio d’Amore” Sources: Benezit, Dictionary of Artists, Vol. 8, page 526 1845 - 1911 Edmond Jean de Pury Pury Edmond Jean de 1913 Hovsep Pushman was one of those rare artists whose work was appreciated by critics and collectors, and who enjoyed recognition and good fortune. In a 1932 one-man show at New York’s Grand Central Art Galleries, the entire display of 16 Pushman paintings was sold before opening day’s end. Pushman, later a naturalized American citizen, was born in Armenia in 1877. At age 11, he held a scholarship at the Constantinople Academy of Art. By 17, he had gone to the United States and started teaching art in Chicago. He studied the culture of China, immersing himself in oriental art and perhaps philosophy. He then studied in Paris under Lefebvre, Robert-Fleury and Dechenaud. He exhibited his work at the Salon des Artistes Francais in Paris, winning a bronze medal in 1914 and a silver medal in 1921. He also was awarded the California Art Club’s Ackerman Prize in 1918. Pushman’s artistic identity began to take shape after he opened his own studio in 1921. Robert-Fleury, upon seeing one of Pushman’s early studio still life’s, advised the artist, “That painting is you.” Thereafter, Pushman’s career was devoted to one subject, oriental mysticism, and one form, the still life. His paintings typically featured oriental idols, pottery and glassware, all glowing duskily as if illuminated by candlelight. They were symbolic, spiritual paintings, and were sometimes accompanied by readings, which help explain their allegorical significance. Most important, they were exquisitely beautiful, executed with technical precision. Austere Solitude exemplifies the stunning beauty, mysterious mood and impeccable technique that made Pushman’s work so highly respected. Pushman died in 1966 in New York City. MEMBERSHIPS: American Art Association of Paris,California Art Club,Salmagundi Club PUBLIC COLLECTIONS: Detroit Institute of Arts, Houston Art Museum, Metropolitan Museum of Art, New York City, Milwaukee Art Institute, Wisconsin Minneapolis Art Museum, Minnesota Montclair Art Museum, New Jersey Museum of Fine Arts, Boston New Britain Institute, Connecticut Norfolk Art Association, Virginia Philbrook Art Center, Tulsa Rockford Art Guild, Illinois, San Diego Fine Arts Society, Seattle Art Museum 1877 - 1966 6 Hovsep Pushman 1 Pushman Hovsep 3317 Margaret Putnam (1913-1989) Margaret Putnam Margaret Putnam left an artistic legacy rare even in the art world. Revered for her innovative techniques and inimitable style prior to her death in 1989, her renown continues today. She was a 20th century woman with a Renaissance soul who lavished her work with brilliant color, always breaking and making the rules to achieve the desired effect. An explorer, Putnam was basically self-taught; it could not be otherwise because no one had the vision that she had. She worked in oil, watercolor, wax resist, casein, and pastel, exploring new avenues, developing new techniques, combining mediums, and creating a unique style, instantly recognizable, unlike any other. A background in fashion illustration was evident in the color, texture, and design that adorned both male and female figures. In abstract work, there was always a keen but unique sense of design. She worked over 8 hours a day, 363 days a year. Even after becoming partially paralyzed from amyotrophic lateral sclerosis (Lou Gehrig's disease), she continued this schedule, working all day on the day that she passed away. I paint seven days a week because there is nothing else I would rather do. I paint seven days a week because there is nothing I'd rather do. It's such a delight. Sometimes, I feel like I'm still a child, playing with colors… Margaret Putnam Of Margaret Putnam: The apogee of her achievement was reached as she struggled upstream against the dangerous currents of life without complaint or self-pity. For Margaret, it was always full courage ahead! In my entire life, I have never known anyone with more valor. Deep in the heart of Texas, drowsing placidly in the prairie sun, is that famous symbol of last-stand courage - the Alamo. Nearby, a few blocks up the street, in the little arts and crafts community of La Villita, artist Margaret Putnam paints every day. Although paralyzed from the waist down and stricken with an incurable disease, she continues to produce exquisite, expressive pictures filled with radiant colors and undefined joy, pictures which must be viewed as the triumph of art over life. But at seventy-two, and confined to a wheelchair, Margaret Putnam is neither playing with colors, nor is she a child. She is a remarkable woman, a talented artist, and, in the real spirit of the Alamo, she represents true Texas grit. Dr. Amy Freeman Lee Margaret had always liked painting a big picture. Her strokes were broad, her colors bold, her paintings powerful and expressive. Her 18-by-7-1/2 foot mural at the top of the San Antonio Hilton Hotel is an example of the size she was comfortable with. An ambitious project, the mural traces epochs and events in Spanish history; then centers of Ferdinand, Isabella, and Columbus; and ends with the launch of Spanish explorers to our continent in search of the Seven Cities of Gold. "It took me a year to finish it," she remembers. "But I liked working on something so grand in scope and big in size." That was twenty-eight years ago. Today, she paints on narrow strips of paper, fractions of the canvases she once managed. Stricken with amyotrophic lateral sclerosis (ALS), a disease often compared with polio, and one that kills through slow paralysis, Margaret may have been forced to modify the size and style of her paintings, but not her creative enthusiasm. She remains undaunted, and the strength of her artistic vision propels her forward. Awards * River Art Show, San Antonio, TX, 1956, 1957, 1959, 1960, 1961, 1962 * Beaumont Museum, Beaumont, TX, Purchase Award, 1957 * Texas Fine Arts Museum, Purchase Award, 1958, 1962 * Texas Fine Arts Museum, Honorable Mention, 1958, * Texas Watercolor Society, Award, 1968, 1969, 1970, 1971, 1972, 1974, 1976, 1979, 1981 * Texas Watercolor Society, Purchase Award, 1959, 1963, 1965 * Local Artists Exhibition, San Antonio, TX, Purchase Award, 1959, 1960, 1961, 1963, 1966, 1967, 1970, 1972 * Old Testament National Exhibit, Award * One of Ten Outstanding Women in San Antonio, 1964 * San Antonio Art League, San Antonio, TX, Outstanding Artist of the Year * J.C. Penney Golden Rule Award, 1987 * Texas Fine Arts, Three-Time Winner of Top Award for Oils * San Antonio Business Committee for the Arts, Recipient of the Year Award Charles Morin's Vintage Texas Gallery 1913 - 1989 16 Margaret Putnam Putnam Margaret 1709 Landscape painter of New York City, 1856-1860. He exhibited views of the Catskills and Berkshires of New York and Massachusetts at the National Academy of Design, 1861-1897. Like many of the Hudson River School he helped to establish a true painting tradition in the United States. He is most known for his beautiful sunset scenes that are very reminiscent of the European romantic landscape and by an almost religious reverence for the magnificence of the American wilderness. Listed: Cowdrey National Academy of Design NYBD, 1859-1860 Exhibited: National Academy of Design, 1861-1897 Pennsylvania Academy of the Fine Arts, 1883-1890 Art Institute of Chicago, 1896, 1899 b. 1 - 1836 Robert Lorraine Pyne Pyne Robert Lorraine 1708 Jean Francois Raffaelli portrait painter, landscape artist, genre painter, engraver lithographer and sculptor, born in Paris on April 20,1850, died in the same city on February 29,1924 (French School). Before dedicating himself to painting, Raffaelli was an actor and played in the Lyric Theater. He then entered Gerome's studio and made his debut at the Salon of 1870. At first he painted genre pictures. Then in 1879 he began doing picturesque views of quaint Paris neighborhoods. A voyage to Brittany in 1876 revealed to him the efficiency, compared to genre scenes, of realistic themes treated with restraint. Searching for his subjects in the life of ordinary people in the suburbs of Paris' such as "Les Invites attendant la Noce" (Guests waiting at the Wedding) which is in the Louvre, he acquired the favor of naturalist writers. He participated in the get-togethers at the Cafe Guerbois, where Degas, against the wishes of the other members of the group, forced Raffaelli's acceptance at the impressionist exhibitions of 1890 and 1891. In spite of his admittedly somber palette, this was in absolute contradiction of impressionist rules and which he would lighten before the end of his life. A one-man show, which he mounted in 1884, established his reputation once and for all. After executing a few portraits, notably those of "Edmond de Goncourt"" and "Clemenceau", he resumed to genre painting and made a serious effort mainly, reproducing scenes of middle-class life. More careful with his drawing than color, Raffaelli made a preliminary drawing in black and white of most of his canvases. He also did Paris landscapes and in this manner he reached a large public. His typical scenes of Paris are accurately seen and expressed with spirit. His landscapes of the city's slums and fortifications created their own genre and perpetuate to this day our memory of this strange "no man's land' which has since disappeared "Sur le zone" ("In the Slum'') "Chiffonnier" ("Rag-picker"), "Le Chemineau ("The Railroad worker") "Le carriere De sable" ("The Sand Quarry"). “ La Plain Saint-Denis", "Coin de fortifications" ("Corner with Fortifications"). As an engraver, Raffaelli produced prints with remarkable colors. Less gifted as an illustrator, one may nevertheless cite his collaboration with Forain on J.K. Huysmans, Croquis Parisians. He received a Mention Honorable at the 1885 Salon; Knight of the Legion of Honor in 1889 received a gold medal at the Exposition Universal of 1889 and became an officer of the Legion of Honor in 1906. He was a member of the society Des Beaux-Arts. 1850 - 1924 Jean Francois Raffaelli 1 Raffaelli Jean Francois 2084 Milne Ramsey was born in Atlantic City, New Jersey in 1847 and died March 16, 1915 in Philadelphia, Pennsylvania. Ramsay is considered a landscape, still-life and portrait painter. He began his studies at the Pennsylvania Academy of fine Art. After finishing his studies in 1866, Ramsey would open a studio for a short time in Philadelphia at 524 Walnut Street. Milne Ramsey, like all young painters want to travel to Paris and study. In 1868, he would close his studio and make his first European trip. After arriving in Paris, Ramsey rent a small apartment at 39 rue Douai. He would later move to 75 Boulevard Clichy, which was next door to his fellow American Frederic Arthur Bridgman (1847-1928). For the next five years, Ramsey would study at the atelier of figure painter Léon Bonnat (1833-1922). He would remain in Paris for a total of ten years and exhibit at the various Paris Salons and with the Société des Artistes Français. Ramsey was one of the founders of the Society of American Artists in Paris. The members of the Society openly identified themselves as a group apart and superior to the old-guard National Academicians. They were proud of their achievements and confident in their superior judgment in matters of art. In 1877, when the Society of American Artists were discussing the possibility of a New York exhibition forty artist were present. They had all exhibited for years in Paris and were excited about sending their works from Paris to New York, as a group. Ramsey and Bridgman would offer their studios for the reception and a place for the contributions to be judged. While in Europe, Ramsey painted small intimate plein-aire landscapes to record his travels, especially in and around the Normandy and Brittany countryside. Ramsey used a heavy impasto and impressionistic style in his landscapes which was a complete departure from his more academic still-life and figure painting. He built a reputation on his crisp, well organized compositions. Ramsey was a master with color and his handling of fabrics. Like other artist from his generation, he collected and was fascinated with oriental objects, which he often included in his works. In 1882, Ramsey returned to Philadelphia and opened a studio at 1523 Chestnut Street. He continued exhibiting his academic still-lifes at the Pennsylvania Academy of Fine Art until 1903. He would briefly open a studio in New York City and divide his time between it and a seaside home in Atlantic City. In 1900, Milne Ramsey would return to Philadelphia, where he would spend the rest of his life. Museums: Georgia Museum of Art, The University of Georgia, Athens Sheldon Memorial Art Gallery, 12th & R Street, Lincoln, Nebraska The Columbus Museum of Art, Columbus, Ohio Philadelphia Sketch Club, Philadelphia, PA Hunter Museum of American Art, Chattanooga, Tennessee Museum of Art at Brigham Young University, Provo, Utah Listed: E. Benezit The Annual Exhibition Record of the Pennsylvania Academy of Art Who was Who in American Art, Falk Exhibition of the National Academy 1861-1900 American Art at the 19th Century Paris Salons, Lois Marie Fink American Art Analog, vol.II, Michael David Zellman Art Across America, Two Centuries of Regional Painting, volume one New England, Mid-Atlantic, William Gerts The Reality of Appearance: Trompe L'Oeil Tradition in American Painting, Alfred Frankenstein After the Hunt: William Harnett and Other American Still Life Painters, Alfred Frankenstein Milne Ramsey 1846 – 1915, William Gerts Americans in Brittany and Normandy 1868-1910, Sellin, David / J K Ballinger American Still Life Painting, William Gerts Thomas Eakins and His Fellow , Artists at the Philadelphia Sketch Club, Sellin, David; Mark Sullivan 1847 - 1915 Milne Ramsey Ramsey Milne 2028 Henry Ward Ranger was one of the preeminent figures in the Tonalist movement, which flourished in the United States from the mid-1880s until about 1920. Born in Geneseo, New York, he grew up in nearby Syracuse, and attended the College of Fine Arts at Syracuse University. In 1875 he began working in his father's photography studio while painting watercolors in his spare time. Periods of activity in New York and Europe provided him with the opportunity to study contemporary art, especially the atmospheric, mood-filled paintings of the French Barbizon and Hague schools, which exerted a profound influence on his work. Ranger achieved his earliest success in watercolor exhibitions in New York, Boston, and Paris. During the mid-l880s he began working in oil, producing views of European scenery as well as forest and woodland scenes in Quebec and in the countryside outside New York. He made his first visit to southern Connecticut in 1898 and in the following year founded the Old Lyme art colony. By 1903 Ranger was making seasonal visits to the fishing town of Noank, Connecticut, where he eventually acquired a summer home and studio. A notable figure in the New York art world, Ranger belonged to the major art clubs and societies of his day, including the National Academy of Design, to which he willed his estate. The artist was also active as a writer, producing several articles on watercolor painting. 1858 - 1916 Henry Ward Ranger 1 Ranger Henry Ward 1707 Louis Raoux (1784-1861) is considered an important Still-life painter from the French School. He was born in Montpellier on June 12, 1784 and died in Paris in 1861. He received his formal training at the Beaux-Arts Academy in Paris. Raoux was a frequent exhibitor at the Salons where he was awarded silver and gold medals throughout his career. "Elegant Still Life" by Louis Raoux is an extremely good example of French and Dutch academic still life painting from the mid-nineteenth century. Listed: E. Benezit Thieme Becker 1784 - 1861 Louis Raoux Raoux Louis 2919 Raphael, Joseph Morris (1869-1950) "All the words ever written on art cannot express the glow of sunlight on lit skin or on earth and trees. The brush tells it better" Joseph Raphael, Summer 1912 (Paraphrased by Johanna Raphael Sibbett) ...Raphael's paint is applied so forcefully that his canvases approach the intense pictorial drama of Expressionism. The conviction demonstrated in his art had a lasting impact on those contemporaries who knew it. Its immediacy remains fresh today. William H. Gerdts, in his monumental 1984 study American Impressionism Joseph Raphael was born in Jackson, California. He began is formal art studies at the California School of Design as pupil of Arthur Mathews. Raphael was active in the San Francisco area during the 1890s, first as a newspaper illustrator and later as a sign painter. In 1903, Raphael traveled Paris to continue his training attended classes at the École des Beaux-Arts and at the Académie Julian under Jean-Paul Laurens. He supported himself as an illustrator for several French magazines. Later that year, Raphael discovered the artist's colony in the charming town of Laren, southeast of Amsterdam. In 1911, he divided his time between that community and Paris. Works during this early period reflect the influence Hague School artist's genre scenes painted in a tonal sober palette of browns and gray. In 1906, Raphael received an honorable mention at the Paris Salon for The Feast of the Burgomaster and that same year the San Francisco Art Association purchased The Town Crier and donated to the M. H. de Young Museum. In 1910, Raphael traveled San Francisco. During this eight month trip, he exhibited his Dutch influenced genre scenes at the Art Association. He returned to Laren in 1912 to married Johanna Jongkindt. The Raphaels move to Uccle, a suburb of Brussels. His works during this period reflected a change from the tonal Hague period to more colorful luminous light palette using broad strokes exhibiting the influence of the French impressionists. In 1915, Raphael was awarded a silver medal at the Panama Pacific International Exposition, where six of his canvases were displayed all painted in his new style. During this period, Raphael discovered he could make a living using his talents as an engraver. In 1913, his first prints began appearing at the California Association of Etchers. In 1918, Raphael began working more in pen and ink, watercolor and woodcut because of a war induced shortage of art materials. Raphael continued to send oils, etchings, watercolors and woodcuts to exhibitions in California, establishing a continuing reputation in the Bay area in spite of his prolonged absence. At the onset of World War II, in 1939, Raphael returned to San Francisco where he kept a studio on Sutter Street until his death in 1950. Public collections: Los Angeles County Museum of Art; the M. H. de Young Museum, San Francisco; the Oakland Museum of California; the San Diego Museum of Art; the Stanford University Museum and Art Gallery. 1869 - 1950 Joseph Morris Raphael 1 Raphael Joseph Morris 1972 Carducius Plantagenet Ream was one of the most important still life painters of the 19th century. Born in Lancaster, Ohio, Ream began his artistic career painting in New York and Cincinnati before he moved to Chicago in 1878. It was in Chicago that Ream became the city's leading still life painter and gained national and international recognition for his artistic achievements. He was the elder brother of Morston Ream who was also a prominent still life painter. Ream's oeuvre is typified by table-top studies of fruit placed near or in a china dish or glass. He also painted fruit in their natural setting, such as on the vine or freshly picked from the tree. Ream was a master at rendering the color and sensuous texture of fruit by bathing his subjects in soft, yet dramatic light. His paintings are rendered with precise brushstrokes and a crispness, demonstrating his skill as a painter and emphasizing the trompe l'oeil effect. Ream began to paint early in his career, and his work was exhibited at the Royal Academy of Art in London. Ream studied abroad in London, Paris, and Munich as well as in New York. His painting Just Gathered was the first picture by an artist resident in Chicago to be included in the permanent collection of the Art Institute. Ream's paintings are also housed in prestigious private collections and institutions including the Brandywine River Museum, Chadds Ford, PA. He enjoyed a prosperous career during his lifetime and exhibited at renowned venues such as the Brooklyn Art Association (1872-1879), the Royal Academy London (1892, 1898); and the Art Institute of Chicago (1894-1909, 1909 solo show, 1910-1917). Ream's fruit pictures gained such prominence that they were reproduced as chromolithographs by Louis Prang & Company and advertised as "dining-room pictures". 1836 - 1917 Carducius Plantagenet Ream Ream Carducius Plantagenet 3272 Often referred to as the Dean of Texas artists, Frank Reaugh is the major figure of the Old Guard in Texas art. As a painter and teacher, he played a key role in developing the Dallas and Fort Worth art scene, and in 1897, organized the Dallas School of the Fine Arts, and later was active in establishing the Dallas Art Association. According to Michael Grauer, art historian of Texas Art, Reaugh with his many classes, "may have had a greater impact on the future of Texas art than any other artist or teacher prior to World War II. ...the roster of these classes read like a 'Who's Who' of Texas Art" From 1905 until the early 1940s, he took students on sketching trips to West Texas, and among these students were Alexander Hogue, Lucretia Donnell, Jim Cheek, Josephine Oliver, Eleanor Adams, Edward Eisenlohr, Charles Bock, Louis Griffith, and Reveau Bassett. Reaugh was born near Jacksonville, Illinois, and came to Texas via wagon in 1876 at the age of fifteen. He lived with his parents on a farm near Terrell, and in 1889, the family moved to Oak Cliff near Dallas. From his father, he acquired mechanical sense that he later used in making his own frames. He had little formal education, although his mother led him to the fine arts. He first took an interest in art in the 1870s when he saw reproductions in magazines, which he began copying. He also joined cattlemen on cattle drives throughout the 1880s, and from his extensive travels developed his interest in the landscape as well as the life of the cowboy. In 1883, he first went to West Texas and made numerous sketches, from which he later did studio paintings. His first formal training was at the Saint Louis School of Fine Arts in Missouri during the winter of 1884-1885. The director, Halsey Ives, lectured on trends in Europe, especially Impressionism, and became a major influence on Reaugh, who then returned to his hometown of Terrell and taught art. In 1888, he went to Europe, first to Paris where he enrolled in the Academie Julian and studied with Jules Lefebvre, John-Joseph Constant, and Henri Douciet. A year later, he traveled in Belgium and the Netherlands and returned to Texas in May, 1889. He developed a prestigious exhibition record and earned special respect because of his European training. He also began using a camera from which he painted scenes, and patented several devices including a folding lap easel, a water pump, and a cooling mechanism for internal combustion engines, which he utilized on his sketching trips. In 1929, he opened a studio in Dallas at Fifth and Crawford Streets, and this became a center of creative activity with Reaugh hosting classes in pastel and oil taught by some of his students, especially Josephine Oliver, Reveau Bassett, and Lucretia Donnell. Towards the end of his life Reveau and Virginia Bassett moved in with Reaugh and took care of him during his final illness. He died in 1945, largely ignored by many persons except for some of his devoted students. He was buried in Terrell. Source: Michael Grauer, "Frank Reaugh and His Students," American Art Review, October 2001. 1860 - 1945 Frank Reaugh Reaugh Frank 3151 Born in Bridgeville, Delaware, Edward Redfield moved to Philadelphia as a youngster and lived much of his life near New Hope in Bucks County, an easy distance north of Philadelphia. There he became the leader of the colony of artists known as the New Hope Impressionists. In modified Impressionist style and methods, he did many landscapes, especially panoramic snow scenes of the area, and used thick paint applied to large canvases with long brush strokes instead of the feathery strokes of true French Impressionism. He usually finished his paintings in "one go" meaning plein-air, sometimes strapping his canvas to a tree on blustery days and standing knee-deep in snow. In the summers, he painted at Boothbay Harbor, Maine. He was also a teacher at the Pennsylvania Academy and a skilled craftsman who built his own house, cabinets and restored antiques. Redfield took his early training from a Mr. Rolf in order to pass the examination at the Pennsylvania Academy, where he studied from 1885 to 1889 under teachers including Thomas Anschutz, James Kelley, and Thomas Hovenden. A fellow student was Robert Henri, with whom he developed a strong friendship, and with whom he traveled to Paris in 1889. In Paris, he studied at the Academie Julian and the Ecole des Beaux Arts and his teachers were Adolphe Bouguereau and Tony Robert-Fleury. However, he wearied of the pervasive academic styles at these schools, and spent much time painting landscapes in the Forest of Fountainbleu outside of Paris. He also painted at Barbizon and Pont-Aven. Married, he and his wife returned to Pennsylvania in 1898 and decided to settle in Center Bridge in Bucks County near New Hope. His presence in Bucks County was enough to lure many younger artists to the region making it a nucleus for the American Impressionist movement. Holding a special affection for this man, author and fellow-Pennsylvanian James Michener wrote that Redfield "had a cluttered workshop on the canal in which he did large landscapes, especially snow scenes, and made furniture and delightfully designed hooked rugs. I liked his work, and I liked him, a big Russian-bear kind of man." (Folk 10) He exhibited extensively throughout the country and abroad, and won an impressive array of awards, including a Bronze medal, Paris Exposition (1900); Bronze Medal, Pan-American Exposition (1901); Temple Medal (1903), Jennie Sesnan Gold Medal (1904), Gold Medal of Honor (1907), Lippincott Prize (1912), and Stotesbury prize (1920), all from the Pennsylvania Academy of the Fine Arts; Silver medal (1904), St. Louis Exposition; Fischer Prize and Gold Medal (1908) form the Corcoran Art Gallery, Washington, D.C.; Honorable Mention (1908) and Third Class Medal (1909), Paris Salon; Palmer Gold Medal (1913), Chicago Art Institute; Hors Concous Prize (1915), Panama-Pacific Exposition in San Francisco; Carnegie Prize (1918), Altman Prize (1919), and Saltus Medal (1927), National Academy of Design. His paintings are included in numerous museums and public collections throughout the country, such as the Boston Museum of Art, Brooklyn Art Institute, Carnegie Institute, Chicago Art Institute, Corcoran Gallery, Los Angeles Museum, Metropolitan Museum of Art, National Gallery of Art, Pennsylvania Academy of the Fine Arts, and the Philadelphia Museum of Art. Towards the end of his life, he burned hundreds of paintings that he regarded as inferior. He died in 1965 in Center Bridge, Pennsylvania, and his work received little attention during the decade following his death. However, he has come to be regarded as a key American Impressionist and appreciated for his influence at New Hope. Source: Michael David Zellman, "300 Years of American Art" Newman Galleries Peter Falk, "Who Was Who in American Art" Thomas Folk, "The Pennsylvania Impressionists" 1869 - 1965 Edward Redfield 1 Redfield Edward 2924 Hermann Reisz (1865-1920) Hermann Reisz was born in 1865 in Vienna, Austria and died in 1920. He studied at the Art Institute in Vienna and at the Dusseldorf Academy. Reisz is considered a landscape and genre painter from the Austrian school. His primary subjects are rural landscapes which usually included horses. He would paint them plowing of the farm, in sporting scenes, pulling carriages which typified their importance and use in the lives of Austrians during 19th century. 1865 - 1920 Hermann Reisz Reisz Hermann 1706 Frederic Sackrider Remington was a very significant artist, skilled as a writer and lauded as an illustrator, painter and sculptor. His subtle and powerful work made him the premier chronicler of the late nineteenth century American West. The son of a newspaper publisher, Remington was born in Canton, New York in 1861. He began sketching as a boy. After attending a Massachusetts military academy from 1876 to 1878, he entered the newly formed Yale University Art School in New Haven, Connecticut. His father's death in 1880 induced him to leave school and briefly take on clerical work in Albany, New York. During a short journey West in 1881, Remington received a glimpse of the life and land that would influence and inspire the rest of his life. The trip, consisting of sketching, prospecting and cow punching from Montana to Texas, resulted in his first published illustration in Harper's weekly in 1882. In 1883, he bought a sheep ranch in Kansas, which served as a home base for more trips throughout the Southwest, where he sketched horses, cavalrymen, cowboys and Indians. Remington sold the ranch in 1884, and established a studio in Kansas City, Missouri. Returning to New York City in 1885, Remington quickly became a successful illustrator, his work appearing in many publications. He began writing and illustrating his own books and articles as well, giving Eastern America what became the accepted vision of the American West. Wanting greater acceptance as a fine artist, he studied at the Art Students League in New York City for a few months in 1886. Remington began submitting his paintings to exhibitions, but his illustrations remained the primary source of his remarkable reputation. Remington did start winning prizes for his paintings in the early 1890s. His work consisted of visual narratives of the old West, with landscape secondary to the figure. In 1895, Remington produced his first bronze sculpture: The Bronco Buster (a cast in the Metropolitan Museum of Art), which immediately became popular and was followed by 24 other bronzes. His ability to exhibit a strong sense of life and movement in a three dimensional work was recognized. After moving to a farm in Connecticut, where he established an art gallery and library surrounded by collected Western memorabilia and artifacts, Remington began to experiment with a kind of impressionism around 1905. Many American artists were attracted to the style during that period, but Remington never really ceased to be a realist. Remington died in Ridgefield, Connecticut in 1909 after a sudden attack of appendicitis, leaving a legacy of more than 2,750 paintings and drawings and 25 sculptures from which multiple casts were made. In addition, he had written eight books and numerous articles about the American West, and served in the Spanish-American War as a war correspondent. He was the most important artist ever to record the vanishing Western frontier. Memberships: National Academy of Design National Institute of Arts and Letters Public Collections: Amon Carter Museum, Fort Worth, Texas Buffalo Bill Memorial Association, Cody, Wyoming Metropolitan Museum of Art, New York City Museum of Fine Arts, Houston Remington Art Museum, Ogdensburg, New York Rockwell Museum, Corning, New York Whitney Gallery of Western Art, Cody, Wyoming 1861 - 1909 Frederic Remington 1 Remington Frederic 1804 Andrea Renoux was born on May 7, 1939 in Oran. After finishing his courses at the Ecole des Arts-Deco in Nice, he attended the Ecole des Arts Moderne in Paris. In 1961 he had his first Exhibition in Paris And participated in the Salon de Toile deMontmartre and then also with the Salon des Independents. In 1942, he exhibited in Beyrouth and two years later again in Parts. In 1965, he had several very successful exhibitions: "Le prestige du Círque" with Chagall and Moreti, with Mme Petrides Galerie he exhibited with Cramoysan and Moretti, In Rome he participated in Fiera d'Arte, had a contract with M.B. Beryl Peiken from New York, and also an exhibition on 5th avenue in New York. Later Renoux exhibited in Miami. In 1967 he won le premier príx Mouffetard. In 1969, he was part of a short film by Christopher Mile with Moretti, called "Rue Lepic"- In 1972, he signed a contract with the Roussard Galerie. Andrea Renoux is considered a painter of "par excellence", for his street facades from the old quarters of Paris. He had understood and was able to reproduce the same patina of colors, and the spirit that permeated the store front and houses, which were not necessarily considered grand architecture but which formed the environment of daily life. André Renoux worked day after day to fix in one's memory the face of the capital city of Paris. b. 1 - 1939 1 Andrea Renoux Renoux Andrea 1803 One of the foremost Artists in Taos today is Charles H. Reynolds, best known for his landscapes which depict the New Mexico scene and the Navajo Country of Arizona. He markets his paintings almost entirely through his own gallery in Taos, although he will occasionally hold an exhibition outside the state. Reynolds was born in Kiowa, Indian Territory (now Oklahoma) in 1902. He attended both Oklahoma and Tulsa University, and it was the latter that he met and married Ruth Weaver. The Reynolds have three children and eight grandchildren. The artist began painting in 1925, and except for a short period at the Chicago Art Institute and a brief study with John Elliot Jenkins, he is self-taught. The Reynolds family discovered Taos in 1932, and after fourteen years of vacationing there, they moved out permanently. " I wanted to live there and associate with the 'Taos Greats' said Reynolds. To him it was a great inspiration to live and paint with the men who founded the Taos Colony and saw it successfully launched. Reynolds is a confirmed Realist. He is a fine technician and craftsman, as his paintings show; but he is equally adept as a salesman and promoter of Art. He sells a great volume of artwork in his establishment, both his own and that of others. His gallery is perhaps the largest Commercial Art Mart in the State of New Mexico. W. T. Leviness Santa Fe Author and Journalist b. 1 - 1902 Charles H. Reynolds Reynolds Charles H. 1802 Ribot began his studies at the Ecole des Arts et Metiers de Chalons. Upon the death of his father, he went to Paris where he worked as a store decorator and studied in the studio of Glaize. After a three-year period of travel through Germany, he returned to Paris. He debuted at the Salon of 1861 and received medals in 1864 and 1865, and a medaille de troisieme classe in 1878, the same year in which he received the Chevalier de la Legion d'honneur. Ribot was one of the founders of the Salon du Champs de Mars with Alphonse Legros, Fantin-Latour and Whistler who shared an admiration for Courbet and realism. As a painter of a myriad of subjects including genre, history still lifes and portraits, Ribot shows a rich concern with the effects of painting in 'plein air' and the psychological effects of contrasts between darks and lights. 1823 - 1891 Theodule Augustin Ribot Ribot Theodule Augustin 1705 Landscape painter at NYC (1844-45), Philadelphia (1848-66), and Paris (1868). Before 1856 he exhibited chiefly Pennsylvania views; in 1856 and after he exhibited several Italian and one Welsh scene. His work was shown at the Pennsylvania Academy, the American Institute, the American Art-Union, and the National Academy. Listed: American Institute Catalogue, 1844, Cowdrey AA AAU NAD Rutledge, Pennsylvania Philadelphia BD 1850, 1853 Portfolio (Dec. 1946), 92, repro Member: Artists' Fund Society Philadelphia Society of Artist Philadelphia Art Club 1822 - 1903 Frederick Debourg Richards Richards Frederick Debourg 1704 William Trost Richards combined in his works the grandeur, atmosphere and light of the American painter, the interest in the minutiae of nature of the pre-raphaelites, and the precision and technique of the Dusseldorf School. He was a landscape artist for much of his life and is most remembered for his coastal seascapes. Born in Philadelphia in 1833, Richards began to draw when very young. Despite circumstances that forced him at age 13 to drop out of school and support his family by designing chandeliers and gas fixtures, he studied privately, along with William Stanley Haseltine, under German artist Paul Weber. He may also have attended classes at the Pennsylvania Academy of the Fine Arts. By 1853, Richards felt ready to devote all his time to art. He set out for Europe, probably in the company of his studio-mate, painter Alexander Lawrie, and Haseltine. Traveling through Florence, Rome and Paris, he encountered American artists Hiram Powers, Emanuel Gottlieb Leutze and Albert Bierstadt. He returned from Europe in 1856 with high regard for the uplifting works of Native American landscape artists, such as John F. Kensett and Frederic Edwin Church. In 1856, he married Anna Mattock and honeymooned and sketched at Niagara Falls. They later settled in Germantown, Pennsylvania, on the outskirts of Philadelphia. Richards devoted his attention from then through the Civil War to meticulous, naturalistic landscapes, many with literary themes. He was particularly influenced by an exhibition of the works of pre-Raphaelites painters in Philadelphia in 1858. His paintings of this period are charming; they combine, oddly, an obsessive camera-like precision with grand atmospheric effects. He worked out-of-doors as much as possible, in Pennsylvania, the Adirondacks and the Catskills. At the end of the Civil War, from 1866 to 1867, Richards traveled with his family in Europe. After that, he began to paint his masterful coastal seascapes, which ideally reconcile his love of sharp detail with the larger scale. He began in the 1870s to spend the summers and paint in Newport, Rhode Island. He also traveled frequently to England for further subjects and rnarkets. In 1890, he moved permanently to Newport, where he died in 1905. Memberships: Forensic and Literary Circle of Philadelphia National Academy Of Design Public Collections: Bowdoin College, Brunswick, Maine Brooklyn Museum Cooper-Hewitt Museum of Decorative Arts and Design, New York City Corcoran Gallery, Washington, D.C. Metropolitan Museum of Art, New York City Newark Museum, New Jersey University Of Washington, Seattle 1833 - 1905 William Trost Richards Richards William Trost 1905 Léon Richet was born in Solesmes (Sathe), Normandy in 1847 and he died in Fountainbleau (Seine-et-Marne) on May 26, 1907. He was a student of Narcisse Virgle Diaz de La Pena (1807/9-1876), Charles Victor Eugéne Lefébvre (1805-1882) and Louis Jean Boulanger (1806/7-1867). Diaz had the greatest impression on Richet and it is Diaz who history has remembered. There was a great difference in age between Diaz and Richet, which most likely explains the great respect on the part of the student for his master. Richet began exhibiting in the Paris Salons in 1869. At the Salon of 1885, he was awarded honorable mention and he was awarded a second place medal in the Salons of 1888 and 1901. Richet’s best know landscapes are those set in the forest Fountainbleau where Richet depicts a figure on a tree-lined path or standing by a lake or pond. In these paintings we can very easily sense that, passionately inspired by Diaz’s work, Richet strove to capture the profoundly agrarian aspect of nature, and that he sought to study the effects of light in much the same way the Impressionists would do only a few years later. Like many painters of the 19th century, Richet traveled extensively. He painted in the countryside of Auvergne, Picardie, and seascapes in Tréport and as far away as Guéret in the center of France. He even traveled to Belgium. His subjects were not limited to Barbizon or the Fountainbleau forest. Richet wanted to record the nature and the effects of light on the diverse landscapes of his travels. Museums: Leeds Museum Montréal Museum Musee de Nice Musee de Reims Listed: E. Benezit, Grund, vol.VIII, pg. 742 Thieme Becker Lexikon Index of Artists, Mallet Dictionnaire des Petits Maîtres de la peinture 1820-1920, Gérald Schurr & Pierre Cabanne, vol. I, pg. 336, illustrated pg. 337 1847 - 1907 Leon Richet Richet Leon 2148 Jean Rigaud was born in Boudreaux, France to the well-known painter, Pierre Gaston Rigaud (1874-1949) and his wife on June 15, 1912 and died at his home on a small island just off the coast of France in 1999. The Rigauds moved to the village of Guyenne after World War I erupted in 1914. While living in Guyenne with his parents, young Jean would receive his first formal art training under his father, Pierre Gaston. His father was a well-respected teacher and he would work hard with Jean to give him the tools of the trade that otherwise would take years to develop. He would encourage him to develop a style and hone his talents at a very early age. In l925, Rigaud was invited to exhibit at the Salon d’Art Ancien Espagnol in Paris. He would become a regular exhibitor at the Salons of Paris. Jean would continue his formal education at the l’Ecole de Beaux-Arts in Paris at the Atelier André Dewambez. While at the Atelier, he began to develop his unique impressionistic style and techniques. He also began to paint the marine subjects for which he has become known. From 1938 to 1976, Jean Rigaud was honored with approximately 53 one-man exhibitions. The Galerie Durand Ruel held a one-man exhibition for him every other year from 1956 to 1974. Then, as a tribute, the gallery allowed his work to be the final exhibition for their Grand Finale. Jean Rigaud has invited to exhibit at all of the leading Paris Salons, which included the Societe Nationale de Beaux-Arts, Salon de Comparaisons, Salon du Dessin et de la Peintine a le’au and the Salon de is Marine. Awards: 1937 Gold Medal at The International Exhibition in Paris 1952 Prize of Messageries Maritimes 1953 Prize of Maroco 1956 Painter of The French Navy 1957 Prize Charles COTTET. Museums: Musée de la Marine Musée de Niort Musée de Tours Musée de Poitiers Musée Mulhouse Musée Chalet Musée Pontoise Musée Strasbourg. 1912 - 1999 Jean Rigaud Rigaud Jean 1801 Pierre Gaston Rigaud was born in Bordeaux, April 4, 1874, died 1949. Rigaud was mainly known for his marine scenes, landscapes and church interiors. He studied with d'Albert Maignan and with Bonnat. Rigaud became a member of the Society des Artistes Francais in 1906. After this appointment, he became a main figure in the Salon exhibitions and began exhibiting with the Independents. Rigaud was invited to have a National exhibition with the Salons de Automne at the Tuileries in 1920 where he was awarded a Silver medal. In 1923, Rigaud was awarded a Gold medal. Pierre Gaston Rigaud dedicated his entire life achieving and developing his unique style. He also became very active and involved in the artistic society in Paris. He was a teacher who spent a great deal of energy helping young artists achieve their career dreams. He and Henri de Toulause-Lautec shared a studio in Paris to help each other through difficult times. Rigaud had very little concern with public opinion of his paintings. He painted plein-aire around his home in Corse. He sold very few paintings during his lifetime because he remained so dedicated to the truth of nature, style and subject. He was considered a purist, so most of his very important impressionistic paintings remained with the family and a few small French museums. Exhibitions: 1906?Socitaire de Artists Francais 1920?Silver Medal 1923?Gold Medal 1909?Galerie Georges Petit 1925?Galerie Charpentier Museums: Musee Carnavalet, Paris Le Luxembourg, Paris Musee La Tour Du Pin Musee de Limoges Musee de Bourdeaux Muse de Mulhouse 1874 - 1949 Pierre Gaston Rigaud 1 Rigaud Pierre Gaston 1800 The critical success that Louis Ritman enjoyed throughout his career can be attributed in large part to the sunny, Impressionistic canvases that he executed in Giverny during the 1910s. Like many other American artists of his time, Ritman traveled from his home in Chicago to Paris as soon as he could afford to pay for the trip. After studying at the Academie Julian, he was accepted into the prestigious Ecole des Beaux-Arts. However, it was at one of the legendary cafes in Paris that he became acquainted with Frederick Frieseke, who introduced Ritman to the artistic scene in Giverny. In 1911, the small French town of Giverny was full of American artists who flocked there to paint the quaint area that was adorned with willow trees along the Epte, thatched cottages, and country gardens. It is no wonder that Ritman, "like so many others before him became enchanted with Giverny, which, more than any other place, seemed to possess a potent magic power to captivate Americans." (R.H. Love, Louis Ritman: From Chicago to Giverny, Chicago, Illinois, p. 151) Ritman's painting up to this point had been largely in an academic style. However, the atmosphere in Giverny was more informal than that of Paris, a scenario that led artists to feel more comfortable to experiment with various styles of painting, including Impressionism. Ritman's Giverny pictures combine an Impressionist style and palette with the American notion of intimism, with tremendous success. While many of his counterparts were assiduously emulating the work of Claude Monet, the artistic patriarch of Giverny, Ritman chose a more subtle approach when painting the gardens of Giverny. His works were closely associated with "American intimism which was by contrast quiet, reserved, and above all, discreet, never outside the parameters of the genteel tradition." (Louis Ritman: From Chicago to Giverny, p. 155) 1889 - 1963 Louis Ritman Ritman Louis 1799 Paul Ritter was born in Nuremberg May 4, 1829 and died November 27, 1907. He received his formal training at the Dusseldorf School in Munich. In 1860, he traveled to the United States and established a studio in Vermont where he painted the Green mountain range. He later traveled to North Conway, New Hampshire to continue his studies and painted with the other artists he had met in Munich. He travel throughout the eastern United States painting the White Mountains, the Hudson River Influenced by Frederick Church’s Andes painting, Ritter joined a group of American artists on a trip to explore and paint in the Andes Mountains. Upon his return, Ritter found that the U.S. market for his tonal landscapes had diminished and he made the decision to return to Nuremberg. Awards: 1880 Gold medal at the Berlin Expo. Museums: Nuremberg Museum Berlin Museum Listed: E. Benezit, vol.8 page 781 Thieme, U., Becker Artists as Illustrators, 1800 to the Present Index of Artistic Biography 1829 - 1907 Paul Ritter Ritter Paul 3347 Dan Rizzie (1951-) Born, 1951, Poughkeepsie, New York. Currently resides in Sag Harbor, New York. Education 1975 M.F.A., Southern Methodist University, Dallas, Texas 1973 B.F.A., Hendrix College, Conway, Arkansas Awards 2005 Distinguished Alumnus Award, Hendrix College, Conway, Arkansas Following is an exhibition review by Randy Lerner of "The Geometry of Innocent Flesh on the Bone." People come at making their art from any number personal journeys- some real, some imaginative some superbly dramatic and some, like Dan Rizzie's**, just destined to be the raw material for a far-ranging language of symbols which this show demonstrates have been drawn from memory, observation and I suspect the artist's subconscious as well. This body of work cuts-across compositional themes and arrangements which reveal Rizzie's rare ability to stretch and evolve shapes and colors and surfaces into a signature style that is likely to remain identifiable and lasting. Dan Rizzie's early life was nearly written by T.H. White himself. His father was an Airman during the Second World War and went on to a diplomatic career that took his family to many areas of the world that would inform the future artist's language of symbols- probably most importantly their years in India during which DR was in high school. As varied and exotic as the travels that would drive and impact Rizzie's work, however, were the people that coursed through his life as he and his many-decades old friends received their rites and credentials from the streets and studios, bars and buildings of Manhattan just as had several generations of American artists done before them. Aware of this inheritance, Rizzie evolved a deeply idiosyncratic methodology for arranging his alphabet through a variety of media in collage, easel painting and printmaking- all of which are included in this show. Each of the works shown here were created in Sag Harbor, NY were Rizzie has lived for the last fifteen years. And loosely knitting them together is a gift that was given to DR by the artist Alan Shields who was a dear friend and also was a ferryboat captain and who lived on the neighboring Shelter Island. The gift was of a large black steel (anchor) ball connected to a beautiful, rustic old chain that Rizzie hung from a tree branch at the end of his driveway. This black circle hung in the distance among the branches some twenty feet outside of Rizzie's studio. What's more, it was and remains visible through the studio doors which are essentially garage doors although they are made of mullioned windows divided in roughly 16 inch squares. When put together, one can see that Rizzie was looking at this suspended black ball through a frame, under glass and constantly cropped depending, naturally, on where he stood. As a result, Vine, etching and Serpentine deal with essentially the same subject but from different angles and distances. These factors- both physical, visual and accidental created an ensemble that recurs formally and thematically throughout much of the last decade's work. It also ties together some of his earlier work and thinking- reinforcing the sense that he is constantly evolving as he connects and layers-on the influences and experiences that have impacted him both directly and indirectly. Simply, whether the black circles become geometric elements as in Dunce or SABOR, or berries from Vine, Serpentine or Gypsy Moth and Susan's Garden or more abstracted decorative symbols like in Wild Carnation and Swallow (Untitled), they've become a ubiquitous vowel within Rizzie's alphabet. From the black ball and the green branches, balls and circles of many colors among branches and additional nature symbols such as tulips, chrysanthemums and poppies emerge as central icons which DR both draws, paints, prints and pastes in compositions using various media. The branches evolve as well into neoclassical scrolls or what Rizzie calls arabesques which again become formal and symbolic themes, like musical phrases as in Vessel, Mondrian's Flower, Nizamuddin, Window and Swallow (Untitled). What emerges is Rizzie's principal compositional device which amounts to arrangements- the ordering of his alphabetic symbols in whole, quarter and endless other divided forms resembling in that way his own applied or adapted musical work. He has abstracted these symbols- of balls, still-lifes, vines and scrolls- and created an alphabet from which he then organizes for the most part flat, in-focus colorific arrangements that succeed because of their relationship to each other, just as do instrumental arrangements. And to know Rizzie is to know the dramatic affect the music and musicians have had on his thinking, his friendships and therefore his art-making. The title of this essay comes from a line in Bob Dylan's Tombstone Blues, which I heard DR sing while sitting at the electric piano in his studio. In asking Rizzie his thoughts about the work in this show he mentioned more than once that the vines and scrolls and stems had become "vascular systems" or abstracted bone- structures for the leaves, flowers and balls and birds. Whether formally as in Starlings/Orange and Black (etching) or Starlings/Black and White (etching), Raven (etching), Vines (etching) or more in the abstract as in Order of Summer or even Window, the intersection of musical influences, musical composition and language become strongly evident in Rizzie's work. In Yellow Plum and Susan's Garden, and to a more limited degree Wild Carnation, Red Rose, Mondrian's Flower, Window and Nizamuddin, Rizzie's long-standing use of collage amounts to the compositional device at work. Yellow Plums in particular is one of many, many widely collected collages made from Rizzie's vast archive of printed flowers and fruits as well as stamps and writing fragments among endless other decorative ephemera. These tightly cropped sheets and painted circles arranged geometrically around the centered printed still-life perhaps best illustrates DR's effortless mingling of symbols, media and shapes within an expertly unified image. Across nearly all of the works, to include his prints (and the use of chine colle, in which he glues an additional layer of paper to that which will be printed to enhance the decorative background-Aspidistra, etching), Rizzie's use of surfaces as a core component in his art-making stands out. I suspect from his very early interest in collage, which in his case deals directly with the layering and overlapping of materials, he developed a process of preparing his surfaces, which amount essentially to under-paintings, with inks and glues as well as newspaper, stamps and cards bound by thick, milky coats of gesso. He does this to recreate the bony, textured surfaces that the berries and balls and leaves and still-lifes would be connected to or set against in nature. He also, and equally importantly, builds up his surfaces to establish a sense of permanence against which his aged and found objects, as well as printed and written fragments, can be fixed. Finally, there is Hawthorne. I've treated this painting last because I think it is the most forward-looking. It is the latest development in Rizzie's work and was foreshadowed in some prints- especially Starlings/ Orange and Black, etching and, that were made in a project with printmaker Maurice Payne and friends and fellow artists Stephen Farthing, R.A.. and Humphrey Ocean, R.A.. in 2004, in Amagansett, NY. Initially, Rizzie began to abstract the background armatures- whether branches or vines to where they are no longer in focus as they both advance and recede producing a new depth to his compositions. It is at this moment that Rizzie's work enters a next stage of evolution the compositions are no longer flat, masterly choreographed surfaces but rather dimensioned spaces capable of a whole new narrative component because of the layered depth that DR introduces. While a "collection" of DR's current work, this show also harkens back and looks forward I believe very effectively. From an emphasis on collage and the use of symbols, surface and color as a device often to stage a central image, such as in Mondrian's Flower, Red Rose, Wild Carnation and inimitably in Window, to Hawthorne where Rizzie begins to looking around and behind the his structures, we are given a good look into what will be a very real turning point. Throughout his career Rizzie has relied on his instinct for composition using other various elements- whether random printed fragments or deeply painted shapes and symbols- to complete the image. His shift toward a more abstract ordering of space and therefore handling of his vocabulary leaves the viewer with much, I believe, with which to look forward. Finally, and critically, Rizzie has stayed loyal to the symbols that have expressed his ideas and given life to his imagination throughout his career- even in his newest paintings. And this is why collectors of his work from all periods have the pleasure of seeing elements of their Rizzie's throughout and looking forward. * "The Geometry of Innocent flesh on the Bone" comes from Bob Dylan's Tombstone Blues, which was recorded on Highway 61 Revisited. Solo Exhibitions 2017 Dan Rizzie Prints & Works on Paper, Wilson, Stephens & Jones, London, England 2016 Dan Rizzie, Peter Marcelle Project, Southampton, NY Print Austin Dan Rizzie at Flatbed, Flatbed Press, Austin, Texas 2015 Dan Rizzie Editions /Variations, The Drawing Room East Hampton NY Dan Rizzie Prints, Collage, Monograph, Barry Whistler Gallery, Dallas, Texas Dan Rizzie, Peter Marcelle Project, Bridgehampton, NY 2014 Dan Rizzie Works, Harmon Meek Gallery, Naples, Florida Dan Rizzie, Peter Marcelle Gallery, Southampton, NY 2013A Taste of Rizzie, Sylvester & Co., Sag Harbor, NY Dan Rizzie NEW WORKS, Dallas Art Fair, Dallas, Texas Dan Rizzie, Peter Marcelle Gallery, Bridgehampton, NY 2012 Dan RizzieWORKS, Peter Marcelle Gallery, Bridgehampton, New York Speed & Rizzie In One Room, Gerald Peters Gallery, Santa Fe, New Mexico 2011 Dan Rizzie Monotypes, Gallery at Amagansett Square, Amagansett, NY Dan Rizzie Works, Christie's Art Center, Sag Harbor, NY 2010 Dan Rizzie, Gerald Peters Gallery, New York, New York Dan Rizzie, Peter Marcelle Contemporary, Southampton, New York Dan Rizzie, Anne Reed Gallery, Ketchum, Idaho Dan Rizzie The Flatbed Years, Galveston Art Center, Galveston,Texas 2009 Dan Rizzie Selected Works, Hampton Road Gallery, Southampton,New York 2008 Dan Rizzie Selected Works, Peter Marcelle Contemporary, Southampton,New York Dan Rizzie Islandia, Anne Reed Gallery, Ketchum, Idaho Dan Rizzie, Spanierman Modern, New York, New York 2007 Dan Rizzie Selected Works on Paper 1995-2007, Anne Reed Gallery, Ketchum, Idaho Dan Rizzie Paintings, Drawings and Collages, Gerald Peters Gallery, Dallas, Texas Dan Rizzie Small Works, Christie's Gallery, Sag Harbor, New York 2006 Dan Rizzie New Work, Hampton Road Gallery, Southampton, New York Allene Lapides Gallery, Santa Fe, New Mexico 2005 Monotipos, Gallery Aurora, San Miguel, Mexico Dan Rizzie Postcards from Italy, Armory Art Center, Palm Beach, Florida Dan Rizzie New Work, Hampton Road Gallery, Southampton, New York 2004 Dan Rizzie Ten for Hendrix, Hendrix College, Conway, Arkansas Dan Rizzie New Paintings, Gerald Peters Gallery, Dallas, Texas Seductive Surfaces, The Ross Institute, East Hampton, New York 2003 Dan Rizzie New Work, Lizan Tops Gallery, East Hampton, New York Dan Rizzie The Power of Symbols, El Paso Museum of Art, El Paso, Texas New Paintings and Collages, Harmon Meeks Gallery, Naples, Florida 2002 Dan Rizzie, Harmon Meek Gallery, Naples, Florida Dan Rizzie New Paintings, Pillsbury Peters Fine Art, Dallas, Texas Dan Rizzie New Work, Lizan Tops Gallery, East Hampton, New York 2001 New Works, Flatbed Gallery, Austin, Texas New Work, Lizan Tops Gallery, East Hampton, New York 2000 Rhythms of Nature, Pillsbury Peters Fine Art, Dallas Texas Dan Rizzie "A Retrospective", The McKinney Avenue Contemporary, Dallas, Texas 1999 Lizan Tops Gallery, East Hampton, New York Allene Lapides Gallery, Santa Fe, New Mexico 1998 Dan Rizzie Works on Paper," Dueringer Gallery, Jackson, Mississippi Allene Lapides Gallery, Santa Fe, New Mexico 1997 Liz Mayer Fine Art, New York, New York Allenen Lapides Gallery, Santa Fe, New Mexico Lizan Tops Gallery, East Hampton, New York West End Fine Arts Gallery, West Palm Beach, Florida 1996 Allene Lapides Gallery, Santa Fe, New Mexico Gerald Peters, Dallas, Texas 1995 Allene Lapides Gallery, Santa Fe, New Mexico 1994 Arthur Roger Gallery, New Orleans, Louisiana 1993 Helander Gallery, New York, New York Helander Gallery, Palm Beach, Florida 1992 Arthur Roger Gallery, New Orleans, Louisiana 1991 Allene Lapides Gallery, Santa Fe, New Mexico 1990 Allene Lapides Gallery, Santa Fe, New Mexico Eugene Binder Gallery, Dallas, Texas Kimbell Art Museum, Fort Worth, Texas Ruth Siegel Gallery, New York, New York Thomson Gallery, Minneapolis, Minnesota 1989 Arthur Roger Gallery, New Orleans, Louisiana Gloria Luria Gallery, Bay Harbour Island, Florida Eugene Binder Gallery, Dallas, Texas Ruth Siegel Gallery, New York, New York 1988 Arthur Roger Gallery, New Orleans, Louisiana The Club San Simeon, Dallas, Texas Eugene Binder Gallery, Dallas, Texas Ruth Siegel Gallery, New York, New York 1987 Gloria Luria Gallery, Bay Harbour Island, Florida Eugene Binder Gallery, Dallas, Texas 1986 Arthur Roger Gallery, New Orleans, Louisiana Ruth Siegel Gallery, New York, New York Watson Gallery, Houston, Texas 1985 Carpenter + Hochman Gallery, Dallas, Texas Gallery Lafayette, New York, New York 1984 Fuller Goldeen Gallery, San Francisco, California Peregrine Press, Dallas, Texas 1983 Delahunty Gallery, Dallas, Texas 1982 Delahunty Gallery, New York, New York 1981 Delahunty Gallery, Dallas, Texas Watson de Nagy Gallery, Houston, Texas 1980 Modern Art Museum of Fort Worth, Fort Worth, Texas 1979 Meadows Museum of Art, Shreveport, Louisiana 1978 Dallas Museum of Art, Dallas, Texas Watson de Nagy Gallery, Houston, Texas 1977 Delahunty Gallery, Dallas, Texas 1975 University Gallery, Southern Methodist University Meadows Museum, Dallas, Texas Group Exhibitions 2016 Winter Salon, The Drawing Room, East Hampton, NY Editions and Monoprints Selected Works on Paper, The Drawing Room, East Hampton, NY Works on Paper & Good Dogs on Nice Furniture, Barry Whistler Gallery, Dallas, Texas Summer Exhibition 2016, The Royal Academy of Art, London, England 2015 Selections from the Permanent Collection, Parrish Art Museum, Watermill, NY Tandem Press Artists, Print Fair at the New York Armory, New York, NY Whale of a Show, Whaling Museum, Sag Harbor, NY 2014 Gallery Artists, Wilson, Stevens & Jones, London, England Whale of a Show, Sag Harbor Whaling Museum, Sag Harbor, NY John Alexander, Antonio Asis, Jennifer Bartlett, Mary Ellen Bartley, Chuck Holtzman, Mel Kendrick, Dan Rizzie, and Alan Sheilds, The Drawing Room, East Hampton, NY 2013 Whale of a Show, Sag Harbor Whaling Museum, Sag Harbor, NY American Collage, Gerald Peters Gallery, NY Gallery Artists, Peter Marcelle Gallery, Bridgehampton, NY 2012 Group Show, Peter Marcelle Gallery, Bridgehampton, New York For the Birds, Sag Harbor Whaling Museum, Sag Harbor, New York 2011 Hamptons Artists Then and Now, Gerald Peters Gallery, NY, NY Artists Choose Artists, Parrish Museum, Southampton, NY 2010 Royal Academy Summer Exhibition, Royal Academy, London, England The American Still Life, Parrish Art Museum, Southampton, NY 2009 Northern Print Biennale, United Kingdom Flatbed Press, Austin, Texas 2008 Royal Academy Summer Exhibition, Royal Academy, London, England 2007 Contemporary Culture, Peter Marcelle Contemporary Gallery, Southampton, NY Cultivating a Collection, Mesa Arts Center, Mesa, Arizona 2005 Then And Now Hamptons Artists, Remy Toledo Gallery, NY, NY Royal Academy Summer Exhibition, Royal Academy of Art, London, England Group Exhibition, Hampton Roads Gallery, Southampton, NY Paper, Gerald Peters Gallery, Dallas, NY 2004 Fresh Paint, Hampton Road Gallery, Southampton, NY A3 Edition Etchings, Amagansett Arts, Amagansett, NY 25th Anniversary Exhibition, Arthur Roger Gallery, New Orleans, Louisiana 2003 Gallery Artists, Wilson Stephens Fine Art, London, England The Sea, Glen Horowitz Gallery, East Hampton, NY Group Exhibition, Lizan Tops Gallery, East Hampton, NY 2002 Gallery Artists, Flatbed Press, Austin, Texas 2001 The Global Village, Guild Hall Museum, East Hampton, NY 2000 Flatbed Selections, Flatbed Gallery, Austin, Texas 19993 Americans, Wilson Stephens Fine Art, London, England Flatbed at Ten, Flatbed Press, Austin, Texas Multiple Impressions, ACA Gallery, Austin, Texas Flatbed Press Impressions, Amarillo Museum of Art, Amarillo, Texas Black and, Flatbed Gallery, Austin, Texas 1998 The Centennial Open, The Parrish Art Museum, Southampton, New York First Impressions, Abilene Christian University, Abilene, Texas 1997 Prints, Prints, Prints, Abilene Contemporary Art Center, Abilene, Texas Prints, Prints, Prints, Wayland Baptist University Fresh Ink, Austin Print Workshops, Austin Museum of Art, Austin, Texas Curator's Choice Eight by Eight, Heckscher Museum of Art, Huntington, New York 1996 Gallery Artists, Allene Lapides Gallery, Santa Fe, NY 1995 Tamarind Into the Nineties, Watherspoon Art Gallery, University of North Carolina, Greensboro, North Carolina (traveling exhibition) Made in Texas, Parchman Stremmel Gallery, San Antonio, Texas Selected Tamarind Prints, Horwitch LewAllen Gallery, Santa Fe, New Mexico 1994 Exquisite Corpse, The McKinney Avenue Contemporary, Dallas, Texas Invitational Group Show, Eve Mannes Gallery, Atlanta, Georgia 1993 Magnifico, Albuquerque Convention Center, Albuquerque, New Mexico 1992 Constructed/Contructivist, Galveston Arts Center, Galveston, Texas What's New, Helander Gallery, Palm Beach, Florida Group Invitational, Helander Gallery, New York, New York 1991 Group Show, Eugene Binder Gallery, Dallas, Texas Printing Now, Leedy-Voulkos Gallery, Kansas City, Missouri Collaborations, Tamarind Institute, University of New Mexico, Albuquerque, New Mexico 1990 Printmaking in Texas 1980's, Modern Art Museum of Fort Worth, Fort Worth, Texas Group Show, Eugene Binder Gallery, Cologne, Germany Group Show, Eugene Binder Gallery, Dallas, Texas 1989 Small and Stellar, Ruth Siegel Gallery, New York, New York New Art Paintings from New York, Texas, California, Laguna Gloria Art Museum, Austin, Texas Texas II, San Francisco Museum of Modern Art Rental Gallery, San Francisco, California At the Edge, Laguna Gloria Art Museum, Austin, Texas (traveling exhibition, organized by the Texas Fine Art Association) 198824 Karat Gold, Ruth Siegel Gallery, New York, New York Printmaking in Texas, Archer M. Huntington Gallery, University of Texas, Austin, Texas Third Invitational Art Expo/LA 88, Los Angeles, California Print Show, (Sette Publishing Co.), Mezzanine Gallery, Metropolitan Museum of Art, NY,NY Images of a Summer Vacation, Crescent Gallery, Dallas, Texas Gallery Artists Group Exhibition, Eugene Binder Gallery, Dallas, Texas Zoomorphism, LTV Tower, Dallas, Texas Selected Works from Members Gallery II, Albright Knox Gallery, Buffalo, New York A Gathering of Hearts, Saxon-Lee Gallery, Los Angeles, California Student/Faculty Alumni Show, Southern Methodist University Meadows Museum, Dallas, Texas Group Show, Arthur Roger Gallery, New Orleans, Louisiana 1987 Don't Knock Wood, Helander Gallery, Palm Beach, Florida Selected Works New York Collection, 1987-1988, Albright Knox Gallery, New York, New York Gallery Artists Group Invitational, Eugene Binder Gallery, Dallas, Texas Third Coast Review A Look at Art in Texas, Aspen Art Museum, Aspen, Colorado 1987 Phoenix Biennale, Phoenix Art Museum, Phoenix, Arizona 1986 New Work-New York, Helander Gallery, Palm Beach, Florida Texas Time Machine, 1600 Smith Cullen Center, Houston, Texas Drawings, Knight Gallery/Spirit Square Arts Center, Charlotte, North Carolina New Orleans Museum of Arts Tri-Annual Exhibition, New Orleans, Louisiana Square and , Ruth Siegel Gallery, New York, New York 1985 Artists from Peregrine Press, Art Center, Waco, Texas Print Show, Carpenter + Hochman Gallery, Dallas, Texas Harvest, Ruth Siegel Gallery, New York, New York Printmaking in Dallas, 500X, Dallas, Texas 1984 Works on Paper, Barbara Toll Fine Arts, New York, New York 1983 Small Works, Delahunty Gallery, Dallas, Texas The Brooklyn National, Brooklyn Museum, Brooklyn, New York New Talent, Castelli Graphics, New York, New York A Second Western State Exhibition-the 38th Biennial of Contemporary American Painting, Corcoran Museum of Art, Washington, D.C. Form, Color, Surface, Barbara Krakow Gallery, Boston, Massachusetts 1982 Monotype Collage, Contemporary Arts Museum, Houston, Texas The Americans The Collage, Contemporary Arts Museum, Houston, Texas 1981 Collage/Assemblage, Thomas Segal Gallery, Boston, Massachusetts Dan Rizzie, Watson de Nagy Gallery, Houston, Texas Pegasus, Dallas City Hall, Dallas, Texas In the Constructionist Spirit, Janus Gallery, Los Angeles, California Group Show, Delahunty Gallery, Dallas, Texas Collage, Brooklyn Museum, Brooklyn, New York The Image of the House in Contemporary Art, Lawndale Art and Performance Center, Houston, TX 1980 Works on Paper, Meadows Museum of Art, Shreveport, Louisiana 3 Dans Rizzie, Barsotti, Kiacz, Stephen F. Austin Gallery, Nacogdoches, Texas Response, Tyler Museum of Art, Tyler, Texas 1979 Dixie Annual, Montgomery Museum of Fine Arts, Montgomery, Alabama Group Show, Delahunty Gallery, Dallas, Texas On the Right Bank of the Red River, Contemporary Art in Texas, Root Art Center, New York, NY Made in Texas, Archer M. Huntington Gallery, University of Texas, Austin, Texas 1978 Texas Painting and Sculpture Biennial, Beaumont Museum of Art, Beaumont, Texas Group Show, Delahunty Gallery, Dallas, Texas Outside New York, New Museum, New York, New York Works on Paper, Dallas Museum of Art, Dallas, Texas Wearable Art, D.W.. Gallery, Dallas, Texas 1977 Alumni Show, University Gallery, Southern Methodist University Meadows Museum, Dallas, Texas Shreveport Annual, Meadows Museum of Art, Shreveport, Louisiana Vernon Fisher and Dan Rizzie, Delahunty Gallery, Dallas, Texas Tarrant County Annual, Modern Art Museum of Fort Worth, Fort Worth, Texas Texas Drawing Show, Elmira College, Elmira, Texas 1976 Miniature Exhibition, D.W.. Co-op Gallery, Dallas, Texas 19th Annual Delta Art Exhibition, Arkansas Art Center, Little Rock, Arkansas Tarrant County Annual, Modern Art Museum of Fort Worth, Fort Worth, Texas Texas Painting and Sculpture Show, Dallas Museum of Art, Dallas, Texas 1975 The Dog Show, University Gallery, Southern Methodist University Meadows Museum, Dallas, Texas Texas Drawing Show, Delahunty Gallery, Dallas, Texas 18th Annual Delta Art Exhibition" Arkansas Art Center, Little Rock, Arkansas Print and Drawing Exhibition, Dallas Museum of Art, Dallas, Texas Opening Exhibition, Cutshall Collection, Dallas, Texas 1974 Invitational Show, El Centro College, Dallas, Texas Drawings, Pollock Galleries, Southern Methodist University Meadows Museum, Dallas, Texas Invitational Show, Sewall Gallery, Rice University, Houston, Texas Selected Publications 2015 DAN RIZZIE, Monograph written by Terrie Sultan, University of Texas Press, Austin, Texas 2012 Speed & Rizzie in One Room, by Mary Etherington, Gerald Peters Gallery, Santa Fe, New Mexico 2010 Dan Rizzie, by Jane Livingston, Gerald Peters Gallery, New York, NY 2008 Dan Rizzie, by Robert Hughes, Spanierman Modern, New York, NY 2007 Dan Rizzie, by Randy Lerner, Gerald Peters Gallery, Dallas, Texas 2000 Dan Rizzie, by Michael M. Thomas, Lizan Tops Gallery, East Hampton, NY 2006 Reese, Becky Duval. "Texas 100 Selections from the El Paso Museum of Art," El Paso Museum of Art Foundation, Texas 2006, p.102. 2002 Colacello, Bob. "Studios By the Sea Artists of Long Island's East End," Harry N. Abrams, NY 2002, p.11. Byrne, Chris. "The Original Print Understanding Technique in Contemporary Fine Printmaking," GUILD Publishing, Wisconsin 2002, p. 63. 2001 Jeffery, Noel. "Design Diary Innovative Interiors," Rizzie, NY 2001, p.110,115. 1996 Delehanty, Randolph. "Art in the American South Works from the Ogden Collection," Louisiana State University Press 1996, p. 262-263. 1990 Fisher, James L. "Forty Texas Printmakers," Modern Art Museum of Fort Worth, Anchor Press, Texas 1990, p.60-61. 1986 Robinson, Joan Seeman. " TEXAS Time Machine," Cullen Center, Inc. Texas, 1986, p. 34. Devon, Marjorie. "TAMARINDForty Years". Selected Bibliography 2008 Hughes, Robert. "Dan Rizzie," Spanierman Modern, NY 2008. "Dan Rizzie's Art on View in NYC," Sag Harbor Express, Oct. 16, 2008. Landes, Jennifer. "East Meets West in Dan Rizzie's World," The East Hampton Star, Nov. 6, 2008. Ernst, Eric. "East End Artists Showing in City," Southampton Press, Nov. 6, 2008. 2007 Lerner, Randy. "The Geometry of Innocent Flesh on the Bone", Gerald Peters Gallery, NY 2007. Allmaras, Mary. "Bird House by Dan Rizzie," The East Hampton Press, October 17, 2007. 2006 Eastham, Alan W. "United States Embassy Lilongwe Art in Embassies Program," Art in Embassies Program, US Dept. of State, Washington DC, August 2006. Sansegundo, Sheridan. "Dan Rizzie A Painter Puts Down Roots," East Hampton Star, May 20, 2006. 2005 Helander, Bruce. "Dizzying Rizzie," South Florida Times, April 2002 p.20. Cross, Jennifer. "Seductive Surfaces Six Artists," Ross School Publications, 2002. P.19-20. Farthing, Stephen. "Royal Academy Illustrated, 2005," Harry N. Abrams, NY 2005, p.30. Baum, Joan. "In the Gallery," The East Hampton Independent, Sept. 14, 2005. "Memories of Nature," Palm Beach Daily News, April 27, 2005. Hinckle, Annette. "Dan Rizzie, Globetrotting Artist," The Sag Harbor Express, July 28, 2005. Rogers, Pat. "Artist Finds a Natural Niche," The Southampton Press, Nov. 17, 2005. Hinckle, Annette. "Rizzie's Honor," The Sag Harbor Express, April 14, 2005. 2004 Willeford, Ambassador Pamela. "United States EmbassyArt in Embassies Program (Switzerland and Liechtenstein)," ART in Embasies Program Publications, Vienna, Austria 2004. Ernst, Eric. "Professional Exhibit by Dan Rizzie," The Southampton Press, March 18, 2004. Hinckle, Annette. "At Home in the Hamptons Dan Rizzie," Southampton Press, 2004. Rolf, Carol. "Dan Rizzie A Little Bit of Everything," Log Cabin Democrat, Feb. 5, 2004. 2003 Ernst, Eric. "Lizan Tops Shows," Southampton Press, May 1, 2003. 2002 Ernst, Eric. "Art Survey Show," The Southampton Press 2002. Ebie, Teresa H. "DAN RIZZIE The Power of Symbols," El Paso Museum of Art 2002. 2001 Taylor, Simon. "The Global Village Artists of East Hampton and Eastern Long Island," Guild Hall Nantista Discoveries Series 2, East Hampton, NY April 2001. Cunningham, Bill. "In the Hamptons," The New York Times, 2001. Patton, Amy. "Dan Rizzie Nurtured by Nature," The Southampton Independent, June 27, 2001. 2000 Thomas, Michael. "The Art of Dan Rizzie An Appreciation," Lizan Tops Gallery, NY 2000. Pillsbury, Edmund P. "Dan Rizzie Rhythms of Nature," Pillsbury Peters Fine Art, Texas 2000. Harris, Joyce Saenz. "Longtime Texan Returns with Two Dallas Exhibits," Dallas Morning News, Sept.10, 2000. 1999 Craz, Betsy. "A Cinema Toast," In Style, November, 1999 p. 304 "Festival," The East Hampton Star, October 28, 1999 Sec. III, p. 20. Weiss, Marion Wolberg. "Honoring the Artist Dan Rizzie," Dan's Papers, October 15, 1999. Weideman, Paul. "Rizzie wears down surface of emerging memories, New Delhi to Arkansas and back?" Pasatiempo, The New Mexican, October 1-7, 1999 p.18-19. Sansegundo, Sheridan. "Dan Rizzie on His Career," At the Galleries, The East Hampton Star, August 5, 1999 Sec. III, p.7. Taylor, Nelson. "Dan Rizzie, painter," Fine Arts, Hamptons Country, July, 1999 p. 42. Austin Chronicle, July 30, 1999 Peppard, Alan. "New York's Texas Accent," Dallas Morning News, July 4, 1999 p. 4E. Thomas, Michael. "Want a Hot Treatise on the Sanity of Riches?" The New York Observer, June 28-July 5, 1999 p. 13 deMontravel, Jaqueline. "Exhibition," Portfolio, Hamptons Country, June, 1999 p. 125. Knight, Molly and Brodsky, Renatt. "What's Hot The Hamptons," DNR, May 26, 1999 p. 13. Natasi, Leigh Mary. "Lizan Tops on Top," Art, Attractions, The Independent, May 26, 1999 p. B15-B16. Spencer, Dorothy. "Design in Bloom," Design Forum, March/April 1999 p.14. Braff, Phyliss. "Sometimes a Blur Can Be Clarifying," Art Reviews, The New York Times, March 21, 1999 p. 16I. Peppard, Alan. "Hanging at Javier's," Dallas Morning News, March 29, 1999 p. 19A. Dunlap, William. "Outward Bound American Art at the Brink of the Twenty-First Century," Meridian International Center, Washington, DC, p.67. 1998 Thomas, Michael M. "Art as Possession," Portfolio, Hamptons Country, September, 1998 p. 143-148. Braff, Phyliss, "A Photographic Return to Places and People," Art Review, New York Times, April 5, 1998. Sanegundo, Sheridan. "Dan Rizzie, A Painter Puts Down Roots," The Arts, The East Hampton Star, February 4, 1998 Sec. III, p. 1. Ebony, David. "80's Artists Then and Now," Elizabeth Mayer Fine Art, NY 1998. 1997 DePietro, Anne Cohen and Stein, Donna. "Curator's Choice Eight by Eight," Hecksher Museum of Art, Huntington, NY 1997, p. 2, 16, 17. Sims, Judith. "FRESH INK Austin Print Workshop," Austin Museum of Art, Texas 1997, p. 27. 1996 Johnson, Richard. "Keeping Busy," New York Post, October 19, 1996. Smith, Kelly Ann. "On Order and Chaos, Dan Rizzie," The East Hampton Independent, Feb. 14, 1996. 1995 Fort Worth Star Telegram, August 13, 1995 Sec. F, p. 5. Teitelbaum, Diane. "Grapevine," Dallas Morning News, January 25, 1995 p. 4F. 1994 Kutner, Janet. "Collaborations Yield Big MAC Fun," Art Review, Dallas Morning News, November 9, 1994. "Famed Artist Plays Major Role in Renovation," Northpark Central Advertising Supplement, Dallas Business Journal, July 29-August 5, 1994 p. 4 "Flatbed Press," Editions Report, Spring Press, New York, Summer, 1994. "Flatbed Press in Austin announces its first portfolio," The Print Collector's Newsletter, July-August, 1994 Vol. XXXV, No. 3. "Helander Shows Collage Artist, Rizzie," Sjostrom, Palm Beach Daily News, March 14. 1993 Goad, Kimberly. "Prodigal artist returns, though Dan Rizzie makes it just a visit," Dallas Morning News, July 11, 1993. Kutner, Janet and Lewis, JoAnn. "What's Art? What's Not?" Sunday Reader, Dallas Morning News, November 28, 1993 Sec. J. Peppard, Alan. "Rizzie returns," Today, Dallas Morning News, June 26, 1993 p. 1C. Goad, Kimberly. "The Making of a Legend, Roasting and Toasting James Surls," High Profile, Dallas Morning News, July 4, p. 4E. Sachson, Gail. " Businesses, individuals, leasing art these days. And it works." Park Cities People, December 23, 1993 p. 5. 1991 Hall, Rosanna. "Tracking the Superstar," Santa Fe Reporter, August 14-20, 1991 Vol. 17, Issue 8. Primeau, Marty. "Wild at Art," SMU Magazine, Summer, 1991 Vol. 41, No. 3, p. 15. Thomas, Alice B. "Art Show judges perspective global," Alexandria Daily News, Alexandria-Pineville, Louisiana, April 12, 1991 p. C1. "High Profile, 10 th Anniversary Issue," Dallas Morning News, September 22, 1991 p. 13E.. "Modernism Redefined," Southern Accents, 1991 p. 64-65. "Peyton Arts Winners," Alexandria Daily News, Alexandria-Pineville, Louisiana, April 23, 1991 p. C2. 1989 Kutner, Janet. "One-Man Exhibit Showcases Rizzie's Strongest Work Ever," Dallas Morning News, December 3, 1989. Kutner, Janet. "Doer's Profile," Dallas Morning News, December 2, 1989. Wicker, Christine. "Making it Big," Dallas Life Magazine, May 14, 1989. Kirk, Scott. "Cut-out' Artist is a 'cut-up," Abilene Reporter-News, March 14, 1989. 1988 Donohue, Marlena. "The Galleries-Wilshire Center," Los Angeles Times, February 5. Kutner, Janet. "Collages Show Rizzie's Dazzle," Dallas Morning News, December 22. Johnson, Ken. "Dan Rizzie at Ruth Siegel," Art in America, December, 1988. 1987 Kutner, Janet. "Rizzie's fire," Dallas Morning News, May 9, 1987. Mitchell, Charles Dee. "Why Does Rizzie Sell So Well," Dallas Observer, May 14, 1987. Nixon, Bruce. "Rizzie's Work a Colorful Collage," Dallas Times Herald, May 6, 1987. Klein, Ellen Lee. "Art's Reviews Square and," Arts Magazine, February, p. 108-109. 1986 Kutner, Janet. "Works by Dallas artist are on exhibit in New York," Dallas Morning News, September 29, 1986 p. 1F. Klein, Ellen Lee. "Arts Reviews Dan Rizzie," Arts Magazine, November p. 123-124. Primeau, Marty. "Dan Rizzie, High Profile," Dallas Morning News, February 9, 1986. 1985 Kutner, Janet. "Dan Rizzie Goes Big in a Bold Way," Dallas Morning News, April 16, 1985 Sec. F. 1984 "Carpenter + Hochman to Exhibit Leibovitz & Rizzie," Park Cities News, March 21, 1984. Freundheim, Susan. "Collage A Personal Vocabulary," Dallas Observer, May 13-16, 1984 1983 Kutner, Janet. "An Album for Autumn," Dallas Morning News, December 4, 1983. Lichtenstein, Therese. "Dan Rizzie/Delahunty," Arts Reviews, Arts, January,1983 p. 36. 1982 Johnson, Patricia. " Mono-Collage, Rich Variety of Forms," Houston Chronicle, March 2, 1982 Sec. 44, p. 1. Phillips, Deborah C. "New York Reviews Dan Rizzie," ARTnews, December, 1982, p. 157-158. Kutner, Janet. "An Album for Autumn," Dallas Morning News, September 22 p. C1-2. "Corcoran Biennial," Review, Washington Post, Washington, D.C., March 1982. 1981 Kutner, Janet. "The Art of Piecing Together Collages," Dallas Morning News, December 4, 1981 p. C1. 1980 Dillon, David. "Surface Impressions," D Magazine, June, 1980. Freundheim, Susan. "Peregrine Press to bring the printmaking art to Dallas," Texas Homes, November, 1980 p. 116, 118, 119. Kutner, Janet. "In Striking Collages, Artist Finds Order in Chaotic Images," Dallas Morning News, October 27, 1980 p. C33. Smith, M.J.. "Dan Rizzie at the Meadows Museum," Art in America, February, 1980 p.137 "Dan Rizzie," Review, Dallas Times Herald, July 3, 1980. "Subtle Compositions Highlight Rizzie Show," Fort Worth Star Telegram, May 16, 1980. Gleason, Ron. "Response," The Tyler Museum of Art, 1980, p. 30-31. 1979 Rifkin, Ned. "Fire or Flood," Artweek, March 10, 1979. Review of Houston Show, ARTnews, May, 1979. Reese, Becky Duval. "Made in Texas," The University of Texas Press, Austin 1979, p. 61. 1978 Outside, Inside, All Around Town," Village Voice, November 13, 1978. Kutner, Janet. "Latest DMFA Exhibition Makes Lively Impression," Dallas Morning News, December 30, 1978. McIntyre, Mary. "In New York, It's Spelled ART," Austin American Statesman,October 8, 1978. "Southwest 1978 Works on Paper," Artweek, 1978 Vol. 9., No. 18. Zimmer, William. "Two-Fisted Painting," Soho News Weekly, October 19-25, 1978. 1977 Kutner, Janet. Dallas Morning News, October 28, 1977. "Capricious Places," ARTnews, December, 1977. "Review of Delahunty Show," Texas Monthly, October, 1977. 1976 "Twelve Days of Texas," Art in America, July/August 1976. Selected Collections Acorns Children's Hospice, Birmingham, England American Airlines, Dallas, Texas American Embassy, Riyadh, Saudi Arabia ARCO, Dallas, Texas Arrowhead Stadium, Kansas City, Missouri AT&T Corporate Center, Chicago, Illinois Blanton Museum of Art, Austin, Texas Cadillac Fairview, Dallas, Texas Cigna Investment, Inc., Dallas, Texas City of Phoenix, Arizona Cleveland Browns Football Club, Cleveland, Ohio The Cleveland Clinic, Cleveland, Ohio Cleveland Museum of Art, Cleveland, Ohio Crescent Hotel, Dallas, Texas Dallas Museum of Art, Dallas Delta Airlines, Washington, DC El Paso Museum of Art, Texas Enron Corporation, Houston, Texas Fidelity Investments, New Haven, Connecticut Frito-Lay, Plano, Texas Guild Hall, East Hampton, New York Hendrix College, Conway Arkansas Hyatt Hotels, Washington, DC Indianapolis Museum of Art, Indianapolis, Indiana LTV Center, Dallas, Texas Mayo Clinic, Rochester, Minnesota MBNA America, Hunt Valley, Maryland Mesa Arts Center, Mesa, Arizona Metropolitan Museum of Art, New York Mobil Oil, Dallas, Texas Modern Art Museum of Fort Worth, Texas Museum of Modern Art, New York Museum of Fine Arts, Houston, Texas New York Public Library, New York Nona & Richard Barrett Collection, Texas Northern Trust Bank of Texas, Houston, Texas Parrish Art Museum, Southampton, New York San Antonio Museum of Art, San Antonio, Texas Scottsdale Museum of Contemporary Art, Scottsdale, Arizona Sprint Telephone, Dallas, Texas Southern Methodist University, Dallas, Texas The Ogden Museum of Southern Art, New Orleans, Louisiana United States Department of State, Washington, D.C. University of New Mexico, Art Museum, Albuquerque, New Mexico Witte Museum, San Antonio, Texas Source The Artist 3 Dan Rizzie 1 Rizzie Dan 1717 Alcide Thèophile Robaudi was born in 1850 in Nice and died in Paris in 1928. He is considered a historical genre, illustrator, landscape and portrait painter from the French school. Robaudi received his initial formal art education with sculptor Gustav Bonardel (1837-1896) and landscape painter Fèlix Malard at the l'Ecole de dessen de Nice. In 1865, Robaudi traveled to Paris after being accepted into the l'Ecole de Beaux-Arts Academe under one of France's leading academic painters, Jean Léon Gérome (1824-1904). Gèrome was the single greatest influence in this young artist career. Being accepted into Gèrome's atelier was most difficult because it was only open to France's most gifted students, Robaudi being one of the few Robaudi debuted at the Paris Salon of 1874 with works depicting historical genre which showed the direct influence of Gèrome. In the Salon of 1884, Robaudi received honorable mention for his more figurative works As an illustrator, the largest publishing houses sought Robaudi. As a seasoned illustrator, he worked for the publishing House of Conquet, Hachette Calmann-Lèvy where he illustrated for Dumas, George Sands (Francois le Champi), Balzac (La Femme de trente ans), Munger (Scènes de la vie de bohème), Verlaine (Fêtes galantes). In 1897, Robaudi illustrated Bibliothéque Esmérian au Palais Galiéra a unique collection of waters colors depicting beautiful women which in 1974 was purchased by the Sarah Bernhardt, de Lorenzacco de Musset. Museums: Le Musèe de Nice "Quasimoto au pilori secouru par la Esmeralda" Listed: E. Benezit, Vol.8, pg.791 1820-1920 Les Petits Maitres de l Pieture Valuer de Demain, Gêrald Schurr 1850 - 1928 Alcide Theophile Robaudi Robaudi Alcide Theophile 2026 Ellen Robbins was a respected figure in Boston art circles during the second half of the nineteenth century, lauded for her precisely painted watercolors of flowers and autumn leaves and her colorful coastal scenes. Born in Watertown, Maine, she spent one year studying drawing techniques at the Merrimac Printworks, but as a watercolorist she was essentially self-taught. She began her professional career by painting watercolor albums of autumn leaves, which she sold to clients like the sculptor Harriet Hosmer, a childhood friend. Later, on moving to Boston, she taught watercolor methods in her studio, advertising her "Flower and Autumn Leaf Painting Classes" in local newspapers. She also began exhibiting her work at Doll and Richards Gallery with great success. Robbins spent many of her summers in the island of Appledore, on the Isle of Shoals off the New Hampshire coast, where she drew her specimens from the lush flower garden of the poet Celia Thaxter. Many of her floral pieces were reproduced as chromolithographs by Louis Prang and Co. and dispersed to a wider audience. In his Book of the Artists: American Artist Life (1867), Henry T. Tuckerman noted the popularity of her work in England. 1828 - 1905 Ellen Robbins Robbins Ellen 3369 Gary Lynn Roberts (1953-) The son of noted Western artist Joe Rader Roberts, Gary Lynn Roberts grew up surrounded by art. "I was fortunate to grow up in that atmosphere" he says. "In addition to my father, I received one on one training from many of his friends such as G. Harvey and A.D. Greer to mention only a couple. Many of my trainers were some of the Nation's most notable artists". The desire to capture history on canvas by totally researching the event depicted has made Gary Lynn one of America's most sought after historical print artists. Gary Lynn says "I want to do more than create a historically correct scene I want to tell a story. When someone views one of my paintings, I want them to feel like they are part of the painting. " Gary Lynn lives with his wife Nancy and four children in Austin, Texas. Source http//www.newmarkusa.com/GaryLynnRoberts.html 1 Gary Lynn Roberts Roberts Gary Lynn 1798 Priscilla Roberts was born in 1916 in Glen Ridge, New Jersey; within a few years she moved with her family to New York City. She spent one not-so-very-successful year at Radcliff College; then, the third generation of her family to go to Yale University, she attended its School of Art for part of another year; in 1937 she began to study with Charles Courtnay Curran (1861-1941) and Sidney Dickinson at the Art Students League; and finally, she enrolled at the National Academy of Design where she studied until 1943. Ms. Roberts does acknowledge one significant influence on her work, Johannes Vermeer. In 1940 she saw Vermeer's "Maid Servant Pouring Milk", lent by Amsterdam's Rijksmuseum to the New York's Worlds Fair. After leaving the National Academy, Roberts tried her hand at commercial art, but found art on command alien to her nature, in less than a year she quit her job and rented a studio in the old Van Dyke Studio building in the Hell's Kitchen area of New York. In 1946 she was invited to become an artist member of Grand Central Galleries, where in 1961 she had her first one-man show. In 1951 she was elected an Associate Member of the National Academy; in 1957 she was elected a National Academician. Her paintings are in private collections in this country and abroad, as well as several museums. Three of her paintings are in the permanent collection of the Metropolitan Museum, New York, the Dallas Museum of Fine Art, The Butler Institute of Fine Art, the Canton Art Institute of Art, and the Westmoreland County Museum of Art. In 1948, Roberts moved to Wilton, Connecticut, where, attended by her thirteen cats, she lives today a reclusive life in rather cramped quarters furnished with a certain lackadaisical charm. b. 1 - 1916 Priscilla Roberts Roberts Priscilla 1797 Of the many American painters drawn to the French Village of Giverny, Theodore Robinson made the most lasting and meaningful contribution to American Impressionism. "The most significant of the Girvernois," writes Professor William H. Gerdts "was Theodore Robinson. Though he died quite young, his work received far more critical notice in America than that of any other artists during Impressionism's crucial formative years there... Most important his painting was stronger, more varied and at its best perhaps more beautiful than that of many of his contemporaries." (American Impressionism, New York, 1984, p. 66) Whereas Robinson's pictures from the late 1880s and earlier were more tightly rendered, it was not until around 1888, when he moved next door to Claude Monet, that he fully adopted the Impressionist aesthetic. And by the early 1890 he had liberated his paint application to create more painterly, livelier surface qualities clearly evident in paintings. Robinson acquired a thorough understanding of Impressionism through the work of Claude Monet, yet the American painter was not merely an imitator of the French master. Robinson absorbed Monet's theories and built on them to create works that reflected his personal style of Impressionism. Sona Johnson has written, "He did not abstract the image before him as Monet had advised. With few exceptions his forms remain solid, firmly defined, and the subject matter is always clearly identifiable. Although the degree of his initial devotion to Monet's Impressionism is obvious, his art demonstrates a selection and a subsequent interpretation of these elements most sympathetic to his manner of expression." (Theodore Robinson, Baltimore, Maryland, 1973, p. xiv) Unlike many American painters who converted to the Impressionist aesthetic with little thought, Robinson continued to probe the nature of Impressionism until his early death in 1896. He wrote in his diary in 1894, "I am impressed with the necessity of synthesis, and ignoring of petty details, and seeing things du grand cote. And this is not incompatible with modernite and the true pleinair feeling. . . Altogether the possibilities are very great for the moderns, but they must draw without ceasing or they will 'get left,' and with the brilliancy and light of real outdoors, combine the austerity, the sobriety, that has always characterized good painting." 1852 - 1896 Theodore Robinson 1 Robinson Theodore 3103 Robinson was born on September 15, 1861, in East Gloucester, Massachusetts, and died on January 11, 1945, Biloxi, Mississippi. He was in Old Lyme, summers, c. 1905-20; and permanently. c. 1921-37. In his lifetime, William Robinson was the recipient of numerous awards and exhibition prizes. After his death in 1945, however, his name all but faded from the American art scene. Though at times he painted seascapes and maritime subjects in Gloucester, Massachusetts, and Monhegan, Maine, he was especially fond of, and skilled at, painting the Old Lyme hillsides and pasturelands, and the laurel that grew along the banks of the Lieutenant River — subjects especially suited to his Impressionist palette and brushwork. In his early career, Robinson developed his talents as a marine artist while he held a number of teaching positions. He taught at several Boston area schools during the early 1880s and from 1885-89 was an instructor at the Maryland Institute in Baltimore. He then traveled abroad and studied at the Academic Julian under Benjamin Constant and Jules Lefebvre. Robinson first exhibited at the National Academy of Design in 1891, shortly after his return to the United States. In the 1890s he taught at the Drexel Institute, Pennsylvania Academy of the Fine Arts, and Columbia University's Teachers College. He continued to exhibit his Barbizon-influenced landscapes and seascapes. Robinson told William Macbeth in 1893: "I do marines, that is surf and boat subjects, also Dutch fisherfolk." Beginning around 1905, Robinson made yearly journeys from New York to Old Lyme. He always stayed at the Florence Griswold House, working in a studio across the brook from the Lyme Art Association. Robinson was a charter member of this organization and later became its president. Additionally, he was president of the American Watercolor Society from 1914 through 1921 and a member of the National Arts Club, Salmagundi Club, and Lotos Club. He was elected an associate of the National Academy of Design in 1907 and a full academician in 1911. His canvases received many awards, including honorable mentions at the Paris Exposition of 1900 and the Pan-American Exposition in Buffalo in 1901; a bronze medal at the St. Louis Exposition in 1904; and silver medals at the 1910 International Exposition in Buenos Aires and the 1915 Panama-Pacific Exposition in San Francisco. Robinson was also the recipient of a number of prizes from the National Academy of Design, Salmagundi Club, and Lyme Art Association. In 1925 one of his paintings of mountain laurel was awarded the Lyme Art Association's Museum Purchase Prize and was given to the Cleveland Museum of Art. In about 1921 Robinson seems to have moved to Old Lyme year-round, staying, as usual, in the Griswold House, until Miss Florence died in 1937. He lived in Biloxi, Mississippi, during the final years of his life. 1861 - 1945 William S. Robinson 1 Robinson William S. 1796 The Syracuse Standard of July 27, 1859, reported that the "accomplished Artist" Augustus Rockwell of Buffalo "left yesterday afternoon for the fishing grounds of the Walton Club" in Brown's Tract.' Rockwell's party was led by H.H. Thompson of Whitestown who subsequently wrote of later camping trips with Rockwell as his canoe partner. Thompson made no claim for Rockwell's talent as a hunter or fisherman but reported his quick wit when the bottom of their canoe struck a snag on a sunken log. "The water rushed in through a hole an inch in diameter, close to Rockwell's right side. He had a coat over the breach in the twinkling of an eye, and in about seven twinklings more the boat had been beached, unloaded and upturned." Rockwell patched the hole with a cut out from the campers' tin butter pail and some white lead from his artist's box. His experience as a camper is recorded in 4th Lake Camp. The boat is pulled up to shore, the lean-to and cooking pots are set out and firewood is waiting to be lit. Rockwell's minute attention to detail won him distinction in the field of portraiture. This same gift brings a sense of immediacy to the camping scene in 8 Lake. Its careful notation of the manned canoe on the blue waters. Rockwell followed the group of Hudson River School painters' primarily known for their treatment of lighting effects. The "Luminist" as they were known, used a layering of paint that enabled them to achieve unparalleled success during the middle to end of the nineteenth century. An important artistic development in the 1850's was the invention of chemical pigments, which replaced the earlier mineral-based paints. These new brilliant colors gave artist such as Rockwell more flexibility and range, especially in depicting the effects of light. Biographical Information: "Hot for Brown's Tract," Syracuse Standard Uuly 27, 1859). This news article was quoted from the Utica Herald July 26,1 859). H.H. Thompson, "Camping Twenty Years Ago," The American Angler, A Weekly Journal of Fish and Fishing, vol. V, no. 15 (April 12,1884), pp. 225230. The article relates Thompson's trip with Rockwell on the Raquette River in July 1862. H.P. Smith, "Augustus Rockwell," History of Buffalo and Erie Cty (Syracuse, NY.: Mason, 1884), vol.II, p. 89. 1822 - 1882 Augustus Rockwell Rockwell Augustus 2102 Born in New York City in 1894, Norman Rockwell always wanted to be an artist. At age 14, Rockwell enrolled in art classes at The New York School of Art (formerly The Chase School of Art). Two years later, in 1910, he left high school to study art at The National Academy of Design. He soon transferred to The Art Students League, where he studied with Thomas Fogarty and George Bridgman. Fogarty's instruction in illustration prepared Rockwell for his first commercial commissions. From Bridgman, Rockwell learned the technical skills on which he relied throughout his long career. Rockwell found success early. He painted his first commission of four Christmas cards before his sixteenth birthday. While still in his teens, he was hired as art director of Boys' Life, the official publication of the Boy Scouts of America, and began a successful freelance career illustrating a variety of young people's publications. Portrait of Rockwell as a young artist Photo by McManus Studios, New York City At age 21, Rockwell's family moved to New Rochelle, New York, a community whose residents included such famous illustrators as J.C. and Frank Leyendecker and Howard Chandler Christy. There, Rockwell set up a studio with the cartoonist Clyde Forsythe and produced work for such magazines as Life, Literary Digest, and Country Gentleman. In 1916, the 22-year-old Rockwell painted his first cover for The Saturday Evening Post, the magazine considered by Rockwell to be the "greatest show window in America." Over the next 47 years, another 321 Rockwell covers would appear on the cover of the Post. Also in 1916, Rockwell married Irene O'Connor; they divorced in 1930. The 1930s and 1940s are generally considered to be the most fruitful decades of Rockwell's career. In 1930 he married Mary Barstow, a schoolteacher, and the couple had three sons, Jarvis, Thomas, and Peter. The family moved to Arlington, Vermont, in 1939, and Rockwell's work began to reflect small-town American life. In 1943, inspired by President Franklin Roosevelt's address to Congress, Rockwell painted the Four Freedoms paintings. They were reproduced in four consecutive issues of The Saturday Evening Post with essays by contemporary writers. Rockwell's interpretations of Freedom of Speech, Freedom to Worship, Freedom from Want, and Freedom from Fear proved to be enormously popular. The works toured the United States in an exhibition that was jointly sponsored by the Post and the U.S. Treasury Department and, through the sale of war bonds, raised more than $130 million for the war effort. Although the Four Freedoms series was a great success, 1943 also brought Rockwell an enormous loss. A fire destroyed his Arlington studio as well as numerous paintings and his collection of historical costumes and props. Norman Rockwell surrounded by studies for his 1955 painting The Art Critic Photo by Bill Scovill In 1953, the Rockwell family moved from Arlington, Vermont, to Stockbridge, Massachusetts. Six years later, Mary Barstow Rockwell died unexpectedly. In collaboration with his son Thomas, Rockwell published his autobiography, My Adventures as an Illustrator, in 1960. The Saturday Evening Post carried excerpts from the best-selling book in eight consecutive issues, with Rockwell's Triple Self-Portrait on the cover of the first. In 1961, Rockwell married Molly Punderson, a retired teacher. Two years later, he ended his 47-year association with The Saturday Evening Post and began to work for Look magazine. During his 10-year association with Look, Rockwell painted pictures illustrating some of his deepest concerns and interests, including civil rights, America's war on poverty, and the exploration of space. In 1973, Rockwell established a trust to preserve his artistic legacy by placing his works in the custodianship of the Old Corner House Stockbridge Historical Society, later to become the Norman Rockwell Museum at Stockbridge. The trust now forms the core of the Museum's permanent collections. In 1976, in failing health, Rockwell became concerned about the future of his studio. He arranged to have his studio and its contents added to the trust. In 1977, Rockwell received the nation's highest civilian honor, the Presidential Medal of Freedom, for his "vivid and affectionate portraits of our country." He died at his home in Stockbridge on November 8, 1978, at the age of 84. 1894 - 1978 Norman Rockwell 1 Rockwell Norman 2101 Nicholas Roe (born c. 1819 (in New York 1850) Nicholas Roe was born in New York in the early 19th century (listed in the 1850 New York census). Like many American artists from the early 19th century, little is known of their life or training. Without more information and after discovering this incredible 1880's Yosemite painting, Nicholas Roe could very well could have joined John Wesley Powell's government-sponsored exploration of the Colorado in 1870 or followed 10 years later. Powell's Survey was part of a decades-long effort to generate an accurate image of the native cultures and natural landscapes of the American West. Painters like Thomas Moran, Albert Bierstadt, Thomas Hill, Nicholas Roe and many others who made the difficult journey West were explorers as well as artists. These brave men became intimately familiar with the geology and geography through their explorations via every mode of transportation (rail, wagon, horseback and mule) necessary to gain access to magnificent and wild western American landscape. Images of the American West became popular with merchants and industrialists, who were major patrons of the arts. A rare example of Nicholas Roe's works was discovered in the Marshall Collection of Peoria, Illinois. The painting Yosemite Falls, is signed using the artist unique monogram signature and dated 1880. Apparently Roe, like several other artists traveled West to capture the dramatic geographic qualities on of Yosemite and returned to New York to execute them on canvas. Yosemite would become a National Park in 1859 thanks to these artists turned exploders. The public was ripe for allegories of the West to promote expansionism and exceptionalism. As seen in Roe's "Yosemite", 1880, he captured the sublime atmosphere of the Yosemite Falls from the floor of the canyon in the style of the Hudson River School. Listed The Dictionary of American Painters, Sculptors and Engravers, From the Beginning through the turn of the Twentieth Century, William Young, Research Editor Philip Baker, Jr. Associate Editors Janet M. Conn and Dorothy M. Young, illustrated p. 82 Who Was Who in American Art, 1564-1975, Three Volumes, Falk, Peter Hastings (Editor) The Marshall Collection (Exhibition catalog) 1957. Love, Richard H William H. Marshall, page 108 The New York Historical Society's Dictionary of Artists in America 1564-1860, Groce, George David Wallace. p. 543 1 Nicholas Roe Roe Nicholas 3161 Paulette van Roekens was born on New Year's Day, 1896, in Chatcau-Thierry, France, about fifty miles east of Paris. Her parents, Victor and Jeanne van Rockens, immigrated with their infant daughter to the United States shortly after she was born, and settled near Philadelphia, in rural Glenside, Pennsylvania, where Victor, a horticulturist, established a tree nursery. Van Rockens entered the Philadelphia School of Design for Women (now Moore College of Art and Design) in 1915, and later continued her studies at the Pennsylvania Academy of the Fine Arts and the Graphic Sketch Club (now the Fleischer Art Memorial) in Philadelphia. Among the artists she studied with were Henry B. Snell, Joseph T. Pearson Jr., Leopold Seyffert, Samuel Murray, and Charles Grafly. Her artistic ability was quickly recognized. In 1916 she was selected for the John Sartain Fellowship at the School of Design, which led to a lifelong friendship with Harriet Sartain, dean of the school. In 1923, after spending some time in Newport, Rhode Island, van Roekens joined the faculty of Moore College of Art and Design as an assistant professor of drawing and painting. Moore was to remain a key part of van Roekens's life. When she retired from teaching there in 1961, she was awarded an honorary doctorate for her contributions to the college. The following year Moore College named her professor emeritus, and on her ninetieth birthday the college established the Paulette van Roekens Scholarship Fund. Van Roekens also taught at the Graphic Sketch Club from 1920 to 1927. One of van Roekens's early paintings, in the permanent collection of the Pennsylvania Academy, drew the attention of her husband-to-be, the artist Arthur Meltzer, when he was a student at the academy. He admired the painting but decided that "P. van Roekens" must be "an old hag" of great renown to be in such a prestigious collection) The couple finally met six years later when Meltzer joined the teaching staff at Moore College. He was intrigued to discover that van Roekens was actually a twenty-nine-year-old blue-eyed blonde. They married on June 15, 1927, and moved to an old farmhouse in Trevose, Pennsylvania. Both continued to teach sharing child-raising responsibilities for their two children, Davis and Joanne. The family settled in Huntingdon Valley when their Trevose home was slated for demolition by the Pennsylvania Turnpike Commission. Van Roekens's innate love of color had been well nurtured by instructors like Snell and Pearson. Although early works were often still lifes with flowers and pots, she is best known for her vivid scenes of people in motion. She won the Pennsylvania Academy's fellowship award in 1928. She also won prizes in exhibitions at the Philadelphia Plastic Club (1920), the Philadelphia Sketch Club (1923), the Woodmere Art Gallery (now Woodmere Art Museum, 1946 and 1956), and the National Association of Women Painters and Sculptors. Van Roekens's work is in many public and private collections, including the Pennsylvania Academy, the Philadelphia Graphic Sketch Club, the Pennsylvania State University (State College), the Reading Public Museum, and the Woodmere Art Museum. On January 11, 1988, van Roekens died at her home in Huntingdon Valley, Pennsylvania, surrounded by the people, art, and things she loved. She was survived by her husband and two children. She was ninety-two years old. 1896 - 1988 Paulette van Roekens 1 Roekens Paulette van 1794 Julius Rolshoven was born in Detroit, moving to New York to begin his art studies at Cooper Union in 1877, progressing to the Dusseldorf Academy, then to Munich, and finally travelling to Paris in 1882 to study at the Academie Julian. After teaching art in Paris for six years, Rolshoven moved to London and afterwards to Florence. The outbreak of World War I in 1914 forced the artist to return to the United States. In 1916, inspired by the examples of New Mexico architecture he had seen at the Panama California Exposition in San Diego, Rolshoven decided to honeymoon in New Mexico. He and his wife were immediately captivated by Santa Fe and Taos and spent over two years in New Mexico before returning to Florence. Rolshoven was elected an associate member of the Taos Society of Artists in 1917 and became an active member the following year. A studio was made available to him in the Palace of the Governors in Santa Fe, although he often set up a tent for outdoor sketching which helped to soften the effect of the harsh New Mexico light. Rolshoven befriended many of the local Indian people by painting their portraits, although many of his more fanciful subjects such as Taos War Chief were completed in his Italian studio. He said: "I have traveled all over . . . in search of atmosphere, but nowhere else have I seen nature ever provide everything, even the conception, as it does in New Mexico" (Arell Morgan Gibson, The Santa Fe and Taos Colonies: Age of the Muses, 1900-1942, Norman, Oklahoma, 1983, p. 11). After two years living full time in Santa Fe, Rolshoven divided his last eleven years between Italy and New Mexico, before his death in 1930. 1858 - 1930 Julius Rolshoven Rolshoven Julius 1716 A highly respected academician and the only formal instructor of Winslow Homer, Frederick Rondel is noted for his landscape, marine, interior and animal paintings in oil. Born in Paris in 1826, Rondel studied there under Theodore Gudin and then under Gudin's pupil, Auguste Jugelet, both romantic marine and landscape painters. He came to the United States as a young man and was in Boston from 1855 to 1857 and in South Malden, Massachusetts in 1858, although he also maintained a studio in New York City. In 1860, Rondel moved to New York City and became an associate member of the National Academy of Design. He left for an extensive stay in Europe in 1862, returning in 1868 to teach at the National Academy. Rondel's most famous pupil was Winslow Homer. Rondel is credited with teaching him how to use brush and pigment when Homer began painting in oils. Combining broad, deep perspective and clear, subtle light, Rondel's landscape and marine paintings reflect the romanticism of Gudin and Jugelet, his teachers. But the subjects of his paintings are American, scenes of New York City and the New England countryside where he lived and worked. They are exemplified by Waiting for the Pilot, a large view of New York Harbor painted between 1872 and 1874. Rondel's works have been exhibited at the national Academy of Design in New York City, at the Pennsylvania Academy of the Fine Arts in Philadelphia and at the Boston Anthanaeum. He died in 1892. Memberships: National Academy of Design, New York City 1826 - 1892 Frederick Rondel Rondel Frederick 3291 The following was prepared by Roy Wood, Jr., of Ivyhill Gallery, who is friend of the Roney family. Harold Roney was born in Sullivan, Illinois in 1899. His artistic training began at the Chicago Art Academy and was followed by training at Art Institute of Chicago. After working for a period as an art teacher in South Bend, Illinois, he moved to Houston in 1925, and moved again after three years to the Boerne hill country outside San Antonio. Although most of his life was spent in Texas, the state that he is closest identified with, he did spend several years during the 1930s training in New Hope, Pennsylvania with John Folinsbee and Harry Leith Ross. He received further training from two Texas painters, Harry A. deYoung and Paul Schuman. He was a landscape painter of some note, and never failed to enjoy painting the Texas landscape. A colorist of note, he primarily painted in oil with brush or palette knife. He was also known as "The Cloud Master." In 1958, he began teaching at the Froman School of Art, in Cloudcroft, New Mexico, where he continued teaching until 1978. He exhibited at the Southern States Art League, the Connecticut Academy of the Fine Arts, Phillips Mill in New Hope, PA, and the New Orleans Art Association. He also was the subject of several one-man shows. His work is in the collection of the Witt Museum; the Austin, Texas Public Library; the Panhandle Plains Museum in Canyon, Texas; the South Bend, Illinois Public Schools; the Southwest Texas State Teachers College and the Austin Art League. He died in 1986 from the devastating effects of Alzheimers disease. 1899 - 1996 1 Harold Arthur Roney Roney Harold Arthur 2135 Allessandro Rontini (1850-1931) was born in Florence on April 5, 1850. He was the first true artist of the Rontini family. His brother Augusto was the father of the painter Ferruccio Rontini (1893-1964). Except for the fact that Allessandro Rontini is an incredibly gifted painter, little is known of his formal art education. His reputation was built around small landscapes incorporating children and beautiful women in a classic Tuscan setting. As a medium, Rontini mastered both watercolor and oil. His works are known for their precise but fluid detail. He magically captured innocence on faces of young children and the natural pure beauty of a woman. Rontini filled each work with long shadows and rustic light reflecting a rainbow of color cast only from the warm rays a Tuscan sun. Rontini’ s rare jewel like works are often compared to those of 19th century Italian genre painters Giovanni Boldini (1842-1931) Allessandro Sani and Raffaello Sorbi (1854-1931. Like Boldini and Sani, he was a master of "less is more." Rontini was a regular exhibitor in Florence, Rome, Turin and Venice. Allessandro Rontini’ s paintings can be found in many international public and private collections. Not only was Allessandro a magnificent designer, a refined watercolorist and a great painter in oil, he also dedicated his time and energy to the restoration of works of art in Florence and at the Uffizi Museum. Allessandro Rontini was able to pass his legacy to a very gifted grandson, Ferruccio Rontini (1893-1964). He would successfully teach him all of his secrets he developed. With this precious gift, Ferruccio Rontini also became a master in his own right. Ferruccio would also continue the family legacy with sons, Giulio da Vicchio (1925-1997) and Ferruccio Rontini Junior "Feron" (1963-1994). The Rontini family (of Giulio) has conserved a magnificent collection of paintings by these great Italian artists. To share them with the public, the family has developed a web site. It is located at HYPERLINK "http://www.galleriarontini.com" www.galleriarontini.com and it is worth the trip. Listed: E. Benezit Comanducci, Agostino Mario: Dizionario illustrato dei pittori, disegnatori e incisori italiani moderni e contemporanei 1850 - 1931 Allessandro Rontini Rontini Allessandro 3104 Edward F. Rook was born on September 21, 1870 in New York City, and died on October 25, 1900 in Old Lyme. He was in Old Lyme, 1903-60. The artists at Old Lyme generally had two kinds of thoughts about Edward Rook — that he was one of the finest painters in their group and that he had one of the most interesting personalities. As artist Nelson C. White phrases it, "Mr. Rook was noted for his originality of approach to almost every subject, not only in his art but in his daily life.'' His training in art was conventional for American painters of the time. He had studied in the 1880s with Benjamin Constant and Jean-Paul Laurens, probably at the Academie Julian. Except for one or two visits home, Rook remained in France until the end of 1900. He did exhibit a painting in the 1898 exhibition of the Pennsylvania Academy of Fine Arts, which was awarded the Temple Cold Medal. In 1901, on Valentine's Day, Rook was married to Edith Sone. The following summer they traveled to the Canadian Rockies, then down the Pacific coast to California. Rook won a bronze medal that same year at the Pan-American Exposition in Buffalo. Near the end of 1902, the Rooks went to Mexico, where they lived for eleven months. Rook came from a family of means and apparently could afford to do pretty much as he liked. Edward Rook and his wife were in Old Lyme in late October of 1903. Why they chose to go there is not clear, but they obviously liked it, because in April, 1905, they moved to Old Lyme, "made it our residence.'' And it was there they stayed, their travels over, Mrs. Rook even behaving like a recluse at times. Rook continued to exhibit at major expositions: he won two silver medals at the Universal Exposition, St. Louis, in 1904; a silver medal at the International Fine Arts Exposition, Buenos Aires, in 1910; and a gold medal at the Panama-Pacific International Exhibition, San Francisco, in 1915. He was also an active member of the Lyme Art Association. He did not have a New York gallery dealer, and since he deliberately set his prices high, he sold relatively little. He is represented, however, in the permanent collections of several American museums and of the Lotos Club, to which he belonged. He painted landscapes, still lifes, and marines. Rook was nude a full member of the National Academy of Design in 1924, the same year he and his wife moved into a new home they had built in Old Lyme. The house was the talk of the town because Rook, who had grown passionately fond of automobiles, had designed the garage as the focus of the structure. The house, arranged tightly against either side of and over the garage, acted as a kind of picture frame for it. Rook owned three cars, among them a Hupmobile and a Locomobile. At night he raised their hoods and spotlighted the engines so he could admire the machinery, which he thought very beautiful. He never learned to drive and had to hire driver-mechanics, most of whom dismayed him because of their casual attitude toward the machines. Rook was essentially a gentle, courtly man, which seems to have made his vagaries all the more endearing to his friends. He loved mountain laurel, as did many of the Impressionist artists, and shared their frustration that the flowers often faded faster than they could be painted. Sometimes Rook tied pink cotton balls onto laurel bushes for a "second blooming,'' so he could finish a painting. Rook stories are plentiful. One that is often told has to do with a sheet of plate glass lying on the ground near Rook's back door. Artist Gregory Smith asked what it was all about. "Why, that is for the rats, sir,'' said Rook. Smith pressed for an explanation. "That is to cover the garbage pail, don't you see. The garbage pail is sunk in the ground and the plate glass is to cover it. And the rats can come. That is to torment them. They can see the garbage but they can't get it." It tormented some of Rook's friends that though he worked hard at his art, he never worked much at exhibiting it or promoting his reputation. Some of his paintings have only recently begun to appear in galleries again. Someday the work of this painter, so admired by his peers for its proficiency and vision, will have to be reassessed. 1870 - 1900 Edward F. Rook 1 Rook Edward F. 1795 Camille Joseph Etienne Roqueplan was born in Mallemort on February 18, 1803 and died in Paris September 29, 1855. He is considered a very important genre, landscape and marine painter and lithographer from the French school. He also was one of the leaders of the New School of French Art, 1830. Roqueplan received his academic training under Baron Antoine-Jean Gros (1771-1835) and with Alexander Denis Abel de Pujol (1787-1861) at the l’Ecole des Beaux-Arts. Roqueplan debuted at the Paris Salon of 1822. In 1824, he was awarded a second class medal and in 1828 a first class medal. Roqueplan was appointed Chevalier de la Légion d’Honneur in 1832 and Officer in 1852. He continued as a regular exhibitor at the Paris Salons from 1822-1855. He exhibited landscapes, Italian figure paintings and pastels, which were received with the highest awards. Literature: Curiosités esthétiques (Salon de 1845) in (Euves, Paris, Gallimard, 1954 (Bibliothéque de la Pléiade). Marcel Brion: Peinture romantique, Paris, Albin Michel, 1967. Listed E. Benezit, vol. XI, pp. 82-83 Museums: Bagnols Museum National Gallery, Berlin Musée de Bourges Musée Condé Musée Bordeaux Musée de Chartes Fountainbleau Gratz Le Harve Wallace Museum, London Brooklyn Museum, NY Louvre, Paris 1803 - 1855 Camille Joseph Etienne Roqueplan Roqueplan Camille Joseph Etienne 1793 Guy Rose was born in San Gabriel, California and studied at the San Francisco Art Association before traveling to France in 1888. Shortly thereafter Rose exhibited at the Paris Salon and in 1890most likely at the suggestion of the artist Theodore Robinsonhe visited Giverny. Rose became a member of the local American art colony, painting with other impressionists such as Frederick Frieseke, Richard Miller and Lawton Parker. By 1904 the artist and his wife Ethel purchased a house, and for the next eight years Rose immersed himself in painting the Giverny landscape. In 1912 Rose returned to the United States where he lived briefly in New York and Rhode Island. By the time he returned home to California in 1915 his reputation as an Impressionist painter was well known, and he was greeted with critical acclaim. In a review of Rose's 1916 exhibition at the Los Angeles Museum the critic Antony Anderson wrote, "He is a stronger painter today, you will admitand a more American one, certainly a more western one. His recent pictures from La Jolla and Laguna Beach will tell you exactly what I mean.... Charming, as are the pictures from Giverny and Toulon, they have not the grasp on the solidities that we find in those from Laguna and La Jolla. They are not so translucently poetic. Perhaps the painter has always needed the sunlight of his boyhood" (Antony Anderson, "Art and Artists: Paintings by Guy Rose," Los Angeles Times, February 20, 1916). It is noteworthy that at about the same time, Childe Hassam and William Merrit Chase were both in California: Hassam to participate in the PanamaPacific International Exposition and Chase to conduct his summer school in Carmel. Indeed, Carmel became a place not only where Rose found inspiration, but also where a number of artists' colonies began and remain today. Ilene Fort notes, "The coastal views of Carmel rank among Rose's most powerful paintings. In the sunlight scenes, the light is less diffuse, sharper than in the warm Southern California atmosphere. Rose heightened the intensity of his huesdeep ultramarine blues and greens often dominateand painted with a fully loaded brush of bold, forceful strokes. Surely he knew the views of the rocky cliffs of Etretat, Fecamp, and BelleIsle that Monet painted in the 1880s, and while their invigorated brushwork and strong coloration found no echo in Rose's French work, they were surely an important source for his paintings of the Carmel coast" (Irene Fort, "The Cosmopolitan Guy Rose," California Light, Laguna Beach, California, 1990, p. 107). 1867 - 1925 Guy Rose Rose Guy 1715 Genre painting enjoyed tremendous popularity in nineteenth-century America. It was a style that allowed a painter to tell a story, evoke an emotion, tell a joke, or educate. Largely superseded in the twentieth century by changes in popular taste and improvements in photographic technology, genre painting nevertheless remains a strong sub current in popular taste. One of the most notable painters in this mode was Harry Roseland. Roseland, born in Brooklyn, new York in 1868, matured as an artist while waves of change were sweeping over the art world. Largely self-taught, he chose to paint what he saw. He receive some education in art under J.B. Whittaker in Brooklyn, and at first painted some landscapes and still lifes, but his natural flair was for telling a story in his paintings. His subject matter was at first highly sentimental and heavily influenced by fashionable taste: smartly turned-out young women, old folks, and idealized farm scenes. He abandoned the mawkishness that is the downfall of so many self-educated artists when he found a topic that was close to home and yet largely unnoticed: the post-Civil War blacks who formed the underpinning of Northeastern society. Roseland's clever, skillful scenes of homely activities - such as checkers or letter-reading, were remarkably dispassionate and candid for the time, though to modern eyes they seem condescending and dated. The capture with gentle humor of a way of life that existed through the first half of the twentieth century and has now vanished. Harry Roseland never left his native Brooklyn, dying in New York in 1950, but enjoyed a remarkable success as an artist in his chosen specialty, improving and maturing continually. The archetype of the independent American artist, he never traveled to Europe to study or observe, choosing to carve his own path. Memberships: Brooklyn Arts Club Brooklyn Society of Artists Brooklyn Painters Society Salmagundi Club Exhibited: Brooklyn Art Club, 1888 (gold) Boston, Mass., 1900 (medal), 1904 (gold) Charleston Expo, 1902 (medal) National Academy of Design, 1898 (prize) Brooklyn Society of Artists, 1930 (prize) American Art Society, Philadelphia, 1902 (medal), 1907 (gold) Pennsylvania Academy of the Fine Arts Art Institute of Chicago Public Collections: Brooklyn Institute of Arts and Sciences Brooklyn Museums Charleston Art Museum Heckscher Museum, Long Island, New York 1868 - 1950 Harry Roseland Roseland Harry 3152 Charles Rosen was born on a farm in 1878 in Reagantown, Westmoreland County, Pennsylvania. He opened a photographic studio at the age of sixteen in West. Newton, in the coal mining region of western Pennsylvania. Upon moving to Salem, Ohio, to work in a photography shop, he became interested in becoming a newspaper illustrator. This challenge drew him to New York in 1898 to enroll in classes at the National Academy of Design, where he studied with Francis Coates Jones. While in New York, Rosen took classes at the New York School of Art, where he studied with William Merritt Chase and Frank Vincent DuMond and became interested in landscape painting. Rosen also became acquainted with landscape painters Robert. Spencer and Rae Sloan Bredin, who would later join him in New Hope, Pennsylvania. In 1903 the artist married Mildred Holden. The couple moved to the New Hope area, where they lived for the next seventeen years. During his residence in New Hope, Rosen enjoyed close relationships with Daniel Garber and Edward Redfield and became known for his large, vigorously painted Pennsylvania snow scenes. Unlike Redfield, Rosen did not feel challenged to finish his canvases in one day. He painted them both on the spot in nature and in the studio. His compositions were simple, consisting of close-up views and high horizon lines. By 1915 Rosen's interpretations of nature became less vigorous and more sensitive. His decorative approach to painting appears to have been influenced by Garber's stitch like interweaving of daubs of paint as well as Spencer's broken and flecked brushwork. In 1912 Rosen became an associate member of the National Academy of Design, and by 1915 he was awarded life membership in the Salmagundi and National Arts Clubs. His landscape paintings received two Hallgarten Prizes from the National Academy of Design, in 1910 and in 1912, and he was awarded a silver medal at the Panama-Pacific International Exposition in San Francisco in 1915. Spring Branch, a landscape painted along the Delaware River in 1916, exhibits the artist's flecked brush strokes as well as a strong influence of Japanese prints. Rosen placed a large blossoming tree branch in the foreground over a receding landscape to create a work with a dynamic, novel effect—much like the style of Japanese printmaker Ando Hiroshige in Plum Estate, Kameido (from the series One Hundred Famous Views of Edo, published in 1857). In 1916 tonalist landscape painter Birge Harrison remarked on the virility, sincerity, and power of Rosen's Pennsylvania landscapes: By 1916 Rosen had achieved his mature impressionist style, which often combines a sense of the decorative patterning found in nature with its more dynamic, vigorous aspects. Icebound River, dating to around 1915, reflects the artist's experimentation with the abstract, decorative qualities of natural forms. In 1916 Rosen earned the National Academy of Design's Inness Gold Medal for Winter Sunlight (Butler Institute of American Art, Youngstown, Ohio), which portrays the playful effect of turquoise and violet shadows as they spread across a brilliant expanse of snow. By this time the artist had become increasingly dissatisfied with the impressionist style of landscape painting. He told fellow Bucks County painter John Folinsbee, "That's the last picture of that kind that I shall ever paint." From 1919 until 1921, when the artist began working in a more modern style, he served as an instructor and later as director of the Art Students League summer school in Woodstock, New York. He moved permanently to Woodstock in 1920 and adopted a cubist-realist style, which would characterize his work until his death in 1950. 1878 - 1950 Charles Rosen 1 Rosen Charles 3196 James N. (Rosenberg (1874-1970) was born in Allegheny City, Pennsylvania and died in 1970, White Plains, New York. He is considered a painter, printmaker, art patron, lawyer and play write. One of Rosenberg’s most noted works is his depiction of the fateful day which shows dark storm clouds above Wall Street, as the buildings crash onto the doomed people in the street below. The title Rosenberg chose for his lithograph, Dies Irae, means "day of wrath" in Latin. He also painted March Parade of Colonel John B. Glenn (New York City, March 1, 1962), 1962, which hangs in Smithsonian American Art Museum, Gift of James N. Rosenberg through the National Gallery of Art. The painting shows Glenn's triumphant return to New York City, where an enthusiastic crowd of about four million people welcomed him home. Memberships: National Arts Club, NY Society of Independent Artists Washington Arts Club American Federation of Artists Listed: American Painters, Sculptors & Engravers, Mantle Fielding Public collection: Farnsworth Museum, Maine Metropolitan Museum, NY Museum of Fine Arts, Boston National air & Space Museum, Washington, D.C Robert Hull Fleming Museum, Vermont Smith College Museum, MA Smithsonian American Art Museum, Washington, D.C Telfair Museum, Savannah, GA The Brooklyn Museum, Brooklyn, NY The Nelson-Atkins Museum, Kansas, MO The Newark Museum, Newark, NJ The Phillips Collection, Washington, DC Publications: Painter's Self-Portrait James N. Rosenberg by James N. Rosenberg, 1958 Pastel expressions: Return of the 27th Division, March twenty-fifth, 1919 by James N Rosenberg American Art Review, December, 2000 “Realist Prints and Drawings”, McCoy, Garnett 1874 - 1970 1 James N. Rosenberg Rosenberg James N. 1792 Johannes Rosierse was born in Dordrecht on 11th September 1818, coincidentally close to the home of Godfried Schalcken (1643-1706), the prime exponent of candlelit paintings and nocturnal scenes of the seventeenth century. Rosierse as a youth was apprenticed to a shoemaker before becoming a pupil of the artist, Michael Versteeg (1746-1843). He was a painter of figures, interiors and market scenes, but it is as a painter of these subjects by lamplight or candlelight that he is renowned. He is likely to have seen and studied the work of Schalcken in Dordrecht and so to have adopted this genre. Rosierse worked and exhibited in Amsterdam, Groningen and The Hague, and briefly in Leeuwarden in 1855. His works can be found in museums in: Leeuwarden; Dordrecht; Rotterdam and Montpelier. 1818 - 1901 Johannes Rosierse Rosierse Johannes 2929 Alexander Mark Rossi (1840-1916) Alexander M. Rossi spent the early part of his career in Preston, Lancashire, working at the local art school. From 1870 – 1873 he sent a number of paintings to London for the yearly Royal Academy exhibitions; among them were: A Family Group (1871); Anxious Moments (1872) and Past & Present (1873). By 1875 he had moved to Coningham Road in Shepherd’s Bush and would remain in the London area for the rest of his artistic life. Like many of the late Victorian artists, Rossi specialized in genre paintings often centered on subjects involving children and young adults. These works were executed in a style that incorporated both the traditional Academy teachings and the avant-garde brushwork and colors of the impressionists. In all, he exhibited 66 works at the Royal Academy between 1871 and 1903 including: A Letter from the Camp (1882); A Cinderella (1885); The Little Lovers (1888); Caught in the Tide (1889); A Country Dance (1892); Dominoes (1895) and Forbidden Books (1897). Rossi also exhibited 47 oils and watercolors at the Royal Society of British Artists between 1870 and 1893.Alexander Rossi's favorite subjects were child portraits and beach scenes, and in this picture the two themes are beautifully combined. While possibly Victorian in conception the direct treatment of the figures and the play of light over sky and water suggest the artist's continental training. Rossi spent successive summer holidays in Hastings, where his children often acted as his models. Although the foreground bathers seem to be turning into sea nymphs, the whole scene is keenly observed. Literature: Graves, Algernon, The Royal Academy of Arts - Exhibitors, 1769 - 1904, S.R. Publishers, Ltd., 1970, pg 371 Wood, Christopher, The Dictionary of Victorian Painters, The Antique Collectors Club, Woodbridge, Suffolk, 1978, Ill. pg 708 1840 - 1916 Alexander Mark Rossi Rossi Alexander Mark 1714 A painter of genre subjects, born in Naples on September 8, 1856 and died in the same town on February 17, 1916. He studied at de Morelli et Palizzi. His work was exposed in Milan, Naples, and Rome. Listed: E. Benezit Thieme/Becker 1856 - 1916 Enrico Rossi Rossi Enrico 2134 Agathe Rustle is considered a Romantic Academic genre painter from the German school. She was born in Munich, Germany. The confusion regarding the proper spelling of Agathe’s name (Rustle vs. Roestel) has made it difficult to determine her actual birth and death dates. Adding to the confusion, she signed her early work A. Rustle and her later work A. Roestel. The other contributing factor is that she, like other female artists during the 19th century , tried to hide her gender. Women during this period typically hid their gender from the inescapable prejudice of the Salon juries and the art patrons held against females competing in a male dominated world. According to records, Roestel was active between 1871-1893, which could mean that she was regular exhibitor in Munich and at the Salons in Paris or she was born in 1871 and died in or around 1893. In a few publications, her birth is listed as 1868 and her death 1893. If this is true, Roestel only lived to be 25 years old, which would be the reason enough for the lack of biographical and historical information pertaining to her career and for the sacristy of her paintings. Roestel is an incredible painter. She captures the beauty and innocence of children with a fluidness and ease rarely found in such a young artist. Agathe is a genus at telling stories with her paintings by capturing children in their everyday lives as in “Combing her Hear” or as they interact with each other while playing “ Play in the Autumn Leaves.” Roestel uses natural surroundings mixed with the essence and atmosphere of local color in her large format paintings. Listed: E. Benezit, vol. IX, pg. 112 Comanducci Arte Italia Catalogo Artisti Theme Becker Lexicon Unknown Agathe Rostel Rostel Agathe 1791 Rothermel was one of America's best known history painters of his day. His reputation dwindled as the public's appetite for depictions of emotionally charged events, both real and allegorical, ebbed. Born July 8, 1817 (some historians use 1814 and 1812) in Nescopek, Pennsylvania and died August 15, 1895 in Linfield, Pennsylvania. Initially he was trained as a surveyor, then worked as a sign painter. Rothermel studied briefly with John R. Smith and Bass Otis. Later he said that it took him six months to get rid of the bad habits Otis taught him. He also studied the collections of the Pennsylvania Academy of Fine Arts. He began painting portraits in Philadelphia, but later turned to history, considered to be the highest form of painting to which an artist could aspire. He soon became active in the administration of the Pennsylvania Academy (director 1847-1855), and was a benevolent influence on several generations of aspiring artists. In 1851, he painted Patrick Henry in the House of Burgesses of Virginia, delivering His Celebrated Speech against the Stamp Act (Patrick Henry Memorial Foundation), one of his best known paintings. Some critics of the day hailed it as " perhaps the best historical painting executed in America"; others thought it looked unfinished. Rothermel went to Europe in 1856 and lived in Rome until 1859, painting religious and historical works. After the Civil war he was commissioned by the Pennsylvania Legislature to paint a colossal work on the Battle of Gettysburg. It took him five years to complete the painting, now in the William Penn Memorial Museum in Harrisburg, and when it was finished it was 1817 - 1895 Peter F. Rothermel Rothermel Peter F. 1790 Antonio Rotta was born in Gorizia, Italy February 28, 1828 and died in Venice September 11, 1903. He received his formal training at the Beaux-Art Academy of Venice, which was controlled by the French Beaux-Arts Academy. Rotta is considered to be one of Italy's most important 19th century genre painters. He is mainly known his depiction of city life in Venice in the mid-nineteenth century. Rotta was invited to have a one-man exhibition in Berlin in 1891. He was also invited along with several other Italian artists for an exhibition at the Philadelphia Museum of Fine Art. Museums: Helsinki Trieste Listed: E. Benezit, Vol.9, pg.120 1828 - 1903 Antonio Rotta Rotta Antonio 1789 Pierre Etienne Theodore Rousseau was born on April 15, 1812. His parents were part of the rising successful merchant class, who recognized their son's interest in nature and art and did their best to encourage it. As a young boy, Rousseau spent a great deal of time in the Bois de Boulogne, and at the age of thirteen was sent to the country, in the Franche-Comte, where he sketched his surroundings at every opportunity. On his return to Paris a year later, his work Encouraged by his family, Rousseau began studying in earnest, primarily at the studio of Jean Charles Joseph Remond. Even at this early age, Rousseau made frequent excursions in and around Pans including Fontainebleau. Like many Barbizon artists, Rousseau spent a great deal of time in the Louvre copying the Dutch 17th century landscape artists. He also exhibited his first painting at the Salon of 1831. This painting, a landscape from his recent trip to the Avergne, hung high on the wall of the Salon and received only slight and scattered praise. Rousseau spent the next year on the Normandy Coast with several other artists, including Paul Huet, the predominant landscape artist of the time. Huet exerted a strong influence on Rousseau, and encouraged his young pupil to draw directly from nature. It was in the 1830s that Rousseau became acutely aware of the English romantic painters, especially John Constable and landscapes were somewhat hard and severe. They were often rocky and dark and frequently set within the forest. These pictures were eventually supplanted by the style that predominates perhaps some of his best known paintings. The pictures became softer, lighter, and were generally considered more Romantic. Though success had followed Rousseau from the end of the 1840s, by the late 1850s his fortunes began to decline. He was spending most of his money to purchase Old Master prints by German and Dutch masters, most notably Durer and Van de Velde, as well as on his new found passionJapanese prints. Rousseau was profoundly interested in their flatness and color, and he immediately set about repainting old canvases and beginning new ones. His pictures from this period show a great flatness and a sense of Oriental atmosphere in color. It has also been suggested that the influence of Japanese art was not only of visual importance for Rousseau, but that he, as the Japanese, shared the important concept that man was one with nature. By 1865, Rousseau's fortune was again on the rise, though his health was failing. In 1867, at perhaps the height of his popularity and with the favor of Napoleon 111, Rousseau became the head of an international jury at the Universal Exhibition. In the same year, a major exhibition of his work was held, but by this time Rousseau's health was deteriorating rapidly and Millet cared for him until his death on December 22, 1867. 1812 - l867 Pierre Etienne Theodore Rousseau Rousseau Pierre Etienne Theodore 3153 He was born on April, 15, 1812, and when Jean-Francois Millet became the painter of country works and intimist scenes of the farm from his arrival in Barbizon, Theodore Rousseau was the one of clusters of tall trees and glades in the forest. Though he was called “ the perpetual refused of the salons ” he was more famous than Millet when he settled in Barbizon around 1844. The friendship between Theodore Rousseau and Jean-Francois Millet was proverbial. Their connection was warm, absolute and boundless. They shared a mutual esteem and each one regarded the other as a highly talented painter if not a master. Theodore Rousseau, with a fraternity peculiar to elders, brought a constant help to his friend who was two years younger. How different these two men were! Theodore Rousseau was smart, moved in the fashionable salons of the capital city whereas the hermit of Barbizon fled society and preferred “the silence that could be enjoyed so thoroughly either in the forests or in the plowed fields”. Wasn’t it said that Rousseau had come to Barbizon to forget his sorrow after an abortive marriage to George Sand’s niece? And he could not find any support from Elisa Gros, his companion who was to become a lunatic. Theodore Rousseau was a contemplator and said: ”he who lives in silence becomes the center of the world”. He was the outstanding painter of light, and the lights of his forests at each hour of the day paved the way for the impressionists who would soon succeed the Barbizonian landscape painters. “ Luncheon on the grass “ , executed by Claude Monet in Chailly-en-Biere in 1866, would be another forewarning. Rousseau was also the leader of nature ‘s ardent supporters “ a druid who likes nothing but his dogs “ Barbey d’Aurevilly said. The first sanctuary in Fontainebleau forest was created on a petition to Napoleon III, who had then his dwellings in Compiegne, and was intended for “ the sole pleasure of the stroller and the artist “. Like all his contemporaries, Theodore Rousseau used to write a lot and the hundreds of letters he exchanged with Jean-Francois Millet give a precious account of their unfailing friendship together with their lives as painters in Barbizon. And Jean-Francois Millet ended his letters in a style that was peculiar to him: “ I say hello to you, my dear Rousseau, and I strongly shake your hand a thousand times”. 1812 - 1867 Theodore Rousseau 1 Rousseau Theodore 2136 Marius Roy is considered a French genre painter from the French school. He was born in Lyon in 1833 and died in Paris (death date unknown). Roy began his formal studies in at the Beaux-Art Académie with historical painter Gustave-Clarence-Rodolphe Boulanger (1824-1888) and at the atelier of Jules Lefebvre (1836-1911), who was also from Lyon. Marius Roy debuted at the Paris Salon of 1881 and listed military genre as his specialty. As his popularity grew and as he began to receive commissions, Roy would open an atelier on l’avenue du Maine in Paris. Rather than paint the violent military battles filled with death, Roy specialized in soldiers in camp or at rest authentically rendered to the last detail. To this day, historians refer to his paintings for reference material because of their authenticity. Museum: Musée de Lyon et de Sète: “À la salle d’armes” Listed: E. Benezit, vol. IX, pg.150 1820-1920, Les Petits Maitres de La Peinture Valeur de Demain, vol. IV, page 107. Gérald Schurr Dictionnaire des Petits Maîtres de la peinture, 1820-1920,vol. II, pg 367, Gérald Schurr & Pierre Cabanne. Popular 19th Century Painting, A Dictionary of European Genre Painters, Philip Hook and Mark Poltimore. 1833 - unknown Marius Roy Roy Marius 1713 Ferdinand Roybet (1840-1920) was born in Uzès (Gard) April 12, 1840 and died in Paris April 10, 1920. He is considered a portrait and genre painter from the French school. Roybet was also an engraver. Roybet received his first training as a print maker at the Academy in Lyon, France. He then traveled to Paris to study with Jean Vibert (1840-1902) at the Beaux-Arts Academie. In 1865, Roybet debuted at the Salon des Champs-Elysèes with two small watercolors. In the Salon of 1866, he exhibited "Unfoursous Henri III" which was purchased by Princess Mathilde. This solidified his career and future as a genre painter. Roybet's small costume paintings of Musketeers and handsome gentleman became sought after by collectors. In 1871, Ferdinand Roybet traveled to Holland to study and paint in the museums. During this period, Roybet developed his skills by painting numerous Rembrandt and Franz Hals copies. At the 1892 Salon, Roybet exhibited "Juana Romani" and "Propos galants" which was purchased by M. Mac Leod for 100,000fr. He won a Mèdaille d'honneur at the Expositions Universelles d'Anvers in 1894 for the work " Charles le Tèmèraire à Nesles". In 1893, he won the Mèdaille d'honneur and was appointed Chevalier de la Lègion d'honneur. Museums: Ameins: "Duc d'Urbino Avignon: "L'homme au verre de vin" Bagnols: "Etude d'enfant" Bordeaux: "Le gèographe" Boston: "Une Enfant", "Petit garcon avec plateau" Bucarest: "Portrait de Sènègalier" Cologne: "Dèpart pour chasse" Dunkerque: "Le hallebardier" Grenoble: "Un fou sous Henri III" Lyon: "Un arquebusier", "Portrait of d'Hector Brame jeune" Montpellier: "Gentilhomme flamand du XVII siècle" Montrèal: "Le brigand" Moscow: "Page avec de cheins" Mulhouse: "Le gèographe", "Le buveur" Metropolitan,NY: "Le jeu de cartes" Nice: "Propos galants" Paris (Louvre, Collection Chauchard): "Le fumeur", (Luxembourg) "Jeune fille au perroquet" Reims: "Seigneur Louis XIII au manreau rouge" Rouen: "Tète de jeune homme" 1840 - 1920 Ferdinand Roybet 1 Roybet Ferdinand 1788 Painter of history, genre and portraiture from the French Academic School. Born in Chateau-du-Loir (Sarthe) on 25 December 1852, died in Neuilly (the Seine) on June 31, 1926. He studied With Alexandre Cabanel (1823-1889) and William Aldophe William Bouguereau (1825-1905). He began exhibiting with the Salon in 1874, he won a third class medal in 1884 and a second class medal in 1896. He showed, but did not enter competitions with the Artistes de Francais (French Artists). Public Collections: Gray Museum Chartres Museum Mans Museum du Puy Museum Listed: Thieme / Becker, v. 29/30, page 131. E. Benezit, v. 9, page 153. Cyclopedia of Painters and Paintings, v. IV, page 81. 1852 - 1926 Lionel Nol Royer Royer Lionel Nol 3105 Andree Ruellan, a noted painter of the 1930s and '40s whose complete body of work spans almost the entire 20th century, died on July 15, 2006 in Kingston, N.Y. She was 101 and lived for many years in Shady, N.Y., near Woodstock. A child prodigy, Ms. Ruellan first exhibited her work at age 9. As a young woman, she was known for her sympathetic depictions of scenes from ordinary life, which she observed on the streets of New York and in her travels in the American South. Ms. Ruellan's work is in the permanent collections of the Metropolitan Museum of Art and the Whitney Museum of American Art, both in New York, and elsewhere. Ms. Ruellan was born in Manhattan on April 6, 1905, to parents who had come from France. Her father, Andre, was an aviator and airplane mechanic. She began drawing early. In 1914, when she was 9, the Ashcan School painter Robert Henri invited her to join a group show in the East Village. In 1920 Ms. Ruellan's father was killed in an airfield accident, and she began selling her work to support herself and her mother, Lucette. The same year, she was awarded a scholarship to the Art Students League of New York, where she studied with the noted painter Maurice Sterne. For much of the 1920s, she and her mother lived in Paris. There, she met John W. Taylor, a painter, whom she married in 1929. Soon afterward, the couple moved to Shady, where for decades they were part of Woodstock's lively artists' colony. Mr. Taylor died in 1983. During the Depression, Ms. Ruellan and her husband made several trips to the South, which resulted in some of her most memorable work. Her paintings from the period are notable for their portrayals of ordinary African-Americans at work and at play. In later years her work was more influenced by surrealism and abstract expressionism. But to the end of her career — she continued to draw well into her 80s — she remained a realist, committed to the idea that art should represent solid, flesh-and-blood humanity. 1905 - 2006 Andree Ruellan 1 Ruellan Andree 3246 Carl Rungius is considered by many art historians to be the greatest wildlife painter of the western wilderness because of his ability to study the animals and landscape so closely and to paint them with skill and understanding. His father and grandfather were amateur naturalists in their native Germany, and Rungius studied wildlife painting at the Berlin Academy. In 1894, he received an invitation from relatives to come to America for a moose-hunting expedition in Maine. He stayed afterwards, settling in New York, and developed a career for the next ten years as a wildlife illustrator for a variety of outdoor magazine. In 1895, he journeyed to the Rocky Mountains to a ranch at the foot of the Wind River chain in Wyoming. He hunted and sketched profusely for five months, traveling as far as Jackson Hole and the Yellowstone country. Returning to New York, he adorned his studio with his trophies and determined to stay in America. Rungius returned to Wyoming in successive years, and in 1904 accompanied a scientific expedition into Canada’s Yukon Territory where he studied high mountain sheep. Back in New York, he became a popular and well-respected artist, and regularly exhibited his work to high acclaim. “There is not likely to be another fellow who will have the opportunity to study big game as you are doing,” Frederic Remington wrote him admiringly, “and I think records of us fellows who are doing the ‘Old America’ which is so fast passing will have an audience in posterity.” In 1910, responding to another invitation, Rungius visited the Canadian Rockies near Banff, Alberta, and immediately fell in love with the region. He built a studio there in 1921, naming it “The Paintbox,” and returned to work nearly every summer until his death. Bighorn sheep, which he thought “our finest game animal,” became his favorite quarry in these mountains. Rungius was an acknowledged master of wilderness painting and an active member of several wildlife and conservation organizations. He generally favored a dramatic mountain setting for his landscapes, where steep and craggy slopes would fall away to misty depth, and high, sharp peaks loom against deep blue skies. Here the assured brushstrokes of the foreground rocks suggest the richness of the plant life that clings to them; the yellow, reds, and green seem invigorated by the sharp sunlight. This was the splendor that Carl Rungius immortalized in paint. Sources include: The American West: Legendary Artists of the Frontier, Dr. Rick Stewart, Hawthorne Publishing Company, 1986 1869 - 1959 Carl Clemens Moritz Rungius 1 Rungius Carl Clemens Moritz 1712 Charles M. Russell lived the life he depicted during his prolific career as painter, sculptor and illustrator of Western scenes. He spent his youth living and working in the American West; the public grew to know him as the "Cowboy Artist." Born in 1864 in what is now the Oak Hill section of St. Louis, Russell went to Montana at age 16. He worked as a sheepherder, trapper and cowboy. He had begun to draw many years earlier and to paint on wood and model figures for his own pleasure and that of his friends. He always thought of himself as a cowboy who painted. In 1888, he rode to Canada with a friend, and on the return trip he wintered with a tribe of Blood Indians, members of the Blackfoot nation. He spent almost six months with the Blood, gaining a deep insight into Indian life, which was reflected in his later works. Russell's artistic reputation was established in the 1890s when he displayed his works in frontier saloons throughout the Montana territory. In 1890, he published Studies of Western Life, a portfolio of 12 paintings. In 1893, he was commissioned by manufacturer and rancher William Niedringhaus to produce several paintings-his first serious art assignment. When Russell married 18-year-old Nancy Cooper in 1896, she became the motivating force in his art career. They settled in Great Falls, Montana, which was his permanent headquarters. "Mame," as he called her, insisted that he limit his cowboy-style drinking and observe regular working hours. She also encouraged him to write for magazines, as a way to sell the illustrations he painted. In 1903, he visited New York City and continued to do so annually. His first one-man show was held there in 1911. That year, the Montana state legislature commissioned Russell to create two murals for its House of Representatives. In 1912, Lewis and Clark Meeting the Indians at Ross' Hole was installed. The painting hints at the changes soon to come in the West. Russell was also skilled in pen-and-ink drawing, watercolor and sculpture. He produced more than 100 bronze statues, a natural outcome of his practice of modeling in clay and wax for his paintings. His work was often exhibited in New York City, Chicago and London; he held 28 one-man shows. In 1904, he exhibited at the St. Louis World's Fair, and in 1925, at the Corcoran Gallery of Art in Washington, D.C. Magazines expanded Russell's popularity, and Harper's Weekly featured his illustrations as early as 1888. He was soon published in McClure's and in Leslie's. In addition, his works were reproduced on numerous calendars. Widely acclaimed by critics and the public, Russell died in 1926 in Great Falls. Public Collections: Amon Carter Musuem of Western Art, Fort Worth Gilcrease Institute, Tulsa Montana Historical Society, Helena National Cowboy Hall of Fame, Oklahoma City Norton Gallery, Shreveport, Louisiana State Capitol Building, Helena, Montana Trigg C. M. Russell Gallery, Great Falls, Montana Whitney Gallery of Western Art, Cody, Wyoming Woolaroc Museum, Bartlesville, Oklahoma 1864 - 1926 Charles Marion Russell 1 Russell Charles Marion 1787 Chauncey Ryder was born in Danbury February 29, 1868 and died May 18, 1949. Soon after his birth, the Ryder family moved to New Haven, where he spent most of his early years. Later he moved to Chicago, where he was married to Mary Dole Keith in 1891. After their marriage, he enrolled in evening classes at the Art Institute. Then in the mid-90s, he spent two years at Smith's Art Academy in Chicago, first as a student and then as an instructor. In 1901, Ryder and his wife sold their house in order to finance a move to Paris. It was a now-or-never act of desperation. It indicated how important it was for American artists to study in Paris with hopes of becoming a respected painter. Ryder was probably at least ten years older than most students at the Academie Julian when he enrolled. He worked there for two years under Jean-Paul Laurens and Raphael Collin. In 1903 the first work he submitted to the Paris Salon was accepted, and he continued to exhibit there regularly until 1907. To augment his income, he gave art lessons. Ryder's work was recognized in 1907 by William Macbeth of Macbeth Galleries in New York, and from that point on his career as an artist was launched and success followed. William Macbeth not only ran one of the only two galleries devoted to American art, but he worked hard to promote the artists he represented and to win respect for American art. He even produced, to that end, a serial publication called Art Notes, which remarked on many exhibitions other than his own and often chided American art collectors for "buying European." After he began his association with Macbeth, Ryder maintained studios in both New York and Paris for the next several years. Ryder exhibited with the Lyme artists' group in both 1910 and 1911. He also stayed in Miss Florence Griswold's house, and painted one of the panels in her dining room. He must have been looked up to by the artists in Old Lyme, because participation in the annual exhibitions was by invitation, and permission to stay in the Griswold House was far from automatic. Most important, to be asked to paint one of the panels was considered a rare privilege. The summer of 1910 must have been a busy one for Ryder, for besides visiting Old Lyme, he spent time in Ipswich, Massachusetts, and Monhegan, Maine, as well as Wilton, New Hampshire, where he bought a summer studio. From then on Ryder spent most of April through November there, painting the New Hampshire landscape. In 1911, however, he seems to have visited Old Lyme again briefly. Ryder sold at least one of his paintings in Old Lyme to Mrs. Woodrow Wilson. By this time he had developed a sketch-like style of landscape painting that was unique. A contemporary art critic said, "Ryder paints with a freedom and a facility which is not deterred by quibbling details. He is always lyrical and poetic in his approach, and often achieves a certain luminous quality . . . transforming a whole scene into something of other-worldly loveliness." His oils with loosely-defined forms, usually small in size, sold well. Some larger, more diverse, compositions were acquired by major museums, including the Art Institute of Chicago, the Metropolitan Museum of Art, and the Pennsylvania Academy of Fine Arts. Ryder received numerous awards and prizes, including a silver medal at the Panama-Pacific Exposition in 1915; the Salmagundi Club Show Prize in 1926; the National Academy of Design, Obrig Prize in 1933; and a gold medal at the Paris International Exposition in 1937. He was named an associate of the National Academy of Design in 1915 and a full academician in 1920. He was also a member of the Salmagundi Club, the National Arts Club, the Lotos Club, and Allied Artists of America. Although best known for his oil paintings, Ryder was a proficient draftsman, printmaker, and watercolorist 1868 - 1949 Chauncey F. Ryder 1 Ryder Chauncey F. 1725 Jules Emile Saintin (1829-1894) was born in Lemée (Aisne), France on October 14, 1829 and died in Paris on July 14, 1894. He is considered a portrait, historical and genre painter from the academic French school. He received his formal art education in 1845 at the Ecole des Beaux-arts under Michel-Martin Drolling (1786-1851), Achille-Jean- Babtiste (1793-?) and Francais Edouard Picot (1786-1868). Saintin debuted at the Paris Salon of 1848 where he was awarded medals in 1866, 1870 and 1886. He was awarded Frances highest honor as a Chevalier de la Legion d'honneur. Listed: Benezit Vol. 9, p.240 Theime Becker Museums: Muse de Nice; "tete d'étude" Muse de Saint-Brieuc; "Apes l'orage á Portrieux" 1829 - 1894 Jules Emile Saintin Saintin Jules Emile 2100 From the years of the Great Depression through President Lyndon Johnson's Great Society of the 1960s, Texan Porfirio Salinas (1910-1973) remained one of the Lone Star State's most popular artists. Today, his works remain popular with Texas collectors and those who love landscapes of the beautiful "Hill Country" that lies in the center of the state. One of the first Mexican-American painters to become widely recognized for his art, Salinas was a favorite of President Lyndon Johnson and his wife, Lady Bird Johnson, as well as of Sam Rayburn, the longest-serving Speaker of the House of Representatives, and Texas Governor John Connelly. In fact, President Johnson was so enamored with his Salinas paintings that the artist will forever be associated with America's first Texas-born President. Works by Porfirio Salinas are in a number of museum collections, grace the halls of the Texas State Capitol and the Governor's Mansion in Austin, and are included in virtually every major private collection of Early Texas Art. Porfirio Salinas was born on November 6, 1910 near the small town of Bastrop, Texas, about thirty miles from Austin. His father, Porfirio G. Salinas (1881-1967), and his mother, Clara G. Chavez, struggled to make a hardscrabble living as tenant farmers, but eventually were forced to give up farming. The family moved to San Antonio, where Salinas' father was able to get a job working as a laborer for the railroad, but the scenic area around Bastrop, with its pine trees and the wide expanse of the Rio Grande River, would forever remain a touchstone for the artist. For the rest of his life, Salinas and his brothers went back frequently to visit their grandmother in her little farmhouse. When in Bastrop, Porfirio painted on the banks of the Rio Grande or in the groves of pine trees. The Salinas family was close-knit and Porfirio was the middle child of five children, so he had an older brother and sister as well as a younger brother and sister. His mother was a native of Mexico, so throughout his childhood the family made the long drive to Mexico to visit Clara Salinas' family. As a child growing up in the bi-lingual section of San Antonio, Salinas drew and painted incessantly and by the time he was ten, he was already producing work that was mature enough to sell to his schoolteachers. Many years later in an article in the New York Times he was described as a "boy whose textbooks were seldom opened and whose sketchbook was never closed." Instead of studying, the young artist spent his spare time watching artists paint in and around San Antonio. As an aspiring painter, Salinas was fortunate to grow up in the historic city, which had the most active art scene in Texas. It was his exposure to older, professional painters that encouraged the precocious young painter to leave school early in order to help his family and pursue a career as a professional artist, despite his father's inability to see art as a career with any future for his son. When Salinas was about fifteen he came to know the artist Robert W. Wood (1889-1979). He met Wood while he was employed in an art supply store and he soon began to work as an assistant to the English-born painter, who had moved from Portland to San Antonio in 1924. Although the diminutive Englishman was already an established professional artist, he did not have a great deal of formal art training and so he was then studying with the academically trained Spanish painter Jose Arpa (1858-1952) in order to augment his knowledge and give his work a more polished look. Salinas was an eager young man, and while working in Wood's downtown San Antonio studio he learned to stretch canvases, frame paintings and to sketch in larger compositions from small plein-air studies for the English artist. He began to accompany Wood and Arpa to the hills outside San Antonio, where they painted small Plein-air studies of fields of blue lupin - the state flower, the famous "Bluebonnets" of Texas - in the springtime and scenes of the gnarled Red Oaks as they changed color in the fall. He was soon assisting Wood in the tedious work of painting the tiny blue flowers that collectors wanted to see in the landscapes they purchased of central Texas. According to a 1972 newspaper story, "Legend has it that one day in the 1920s artist Robert Wood decided he could not bear to paint another bluebonnet in one of his landscapes. He hired young Porfirio Salinas to paint them in for him at five dollars a painting." Whether this story is accurate or apocryphal isn't clear, but the ambitious and independent young Salinas wasn't destined to be anyone's assistant for very long. The formative event of Porfirio Salinas' teenage years was the Texas Wildflower Competitive Exhibitions, a Roaring-Twenties dream of the eccentric oilman Edgar B. Davis (1873-1951). These competitive shows of paintings of wildflowers and Texas life were mounted in San Antonio from 1927 to 1929. Held at the newly opened Witte Museum each spring, the exhibition featured large cash prizes donated by the philanthropic Davis, which were an inducement for artists to travel from all over the United States to paint in the Hill Country of Texas. The "Davis Competions," as they were known, helped to cement San Antonio's reputation as an art center, a legacy that remains with the "River City" today. The shows generated a great deal of excitement in the area, helping to make celebrities of the some of the artists who had already settled there and encouraging others to make San Antonio their home. Over the three years that the wildflower competitions were held, more than 300 paintings were exhibited, and many thousands of viewers saw the paintings at the Witte Museum and on tours throughout the state and in New York. Each year Davis would generously purchase the winning paintings and then donate them to the San Antonio Art League. Young Porfirio Salinas would have been able to not only watch his two mentors - Robert W. Wood and Jose Arpa - paint the works that they entered in the Davis Competitions, he would have been able to see Arpa take several of the major prizes, receiving the judge's accolades for "Verbena," "Cactus Flower" and "Picking Cotton," works that are still on view at the San Antonio Art League Museum today. Unfortunately, Davis eventually put his donations to work in other charitable endeavors, bringing to an end the wildflower events, but only after they inspired Salinas and other young painters and had helped to make wildflower paintings the most sought-after subject for traditionalist Texas collectors. In 1930, when he was only twenty, Salinas hung out a shingle and began to paint professionally, augmenting the sales of his easel paintings with what little business he could garner by painting signs for local concerns. It was a struggle for the young artist to make a living, as the effects of the Great Depression were settling in. His early works are very similar to those of Robert Wood's, both in subject matter and treatment. Salinas did small paintings of Bluebonnets for the tourists who visited San Antonio to see the famous Alamo as well as paintings of the Texas missions. While a few of his early works have a soft, tonalist quality, with subtle gradations of sunset colors, most were painted in a style that fits well within the currents of the late American Impressionist style, with solid drawing and a warm, chromatic palette. Like Robert Wood's works of the 1930s, the paintings Salinas produced as a young man were usually well composed and detailed views of the spring wildflowers in full bloom in the Texas countryside. In contrast to Wood's work, however, early Salinas compositions were usually pure landscapes without the pioneer farms or dilapidated fences that Wood often used to add visual interest to his wildflower scenes, and he also painted scenes of San Antonio itself as his mentor Jose Arpa had done. To residents of the Hill Country, Salinas was especially adept at accurately capturing the palette of the region and its unique atmosphere. In 1939 Salinas began working with Dewey Bradford (1896-1985), one of the great characters of Texas art. Bradford was a second-generation dealer whose family operated the Bradford Paint Company in Austin, where they sold art supplies, framed artwork, restored paintings and exhibited paintings by Texas artists. Salinas was struggling when he met Bradford, but the older man took the young artist under his wing and began to sell his work reliably, even though the prices that people would pay for a painting were still low due to the lingering effects of the Great Depression. Bradford was a born salesman with a gift for storytelling, and truth be told, a bit of embroidery. The relationship between Bradford and Salinas was often rocky, but it was to last the rest of the artist's life and give him a modest sense of loyalty and security, things which are all too rare in the art world. While Bradford could be critical of his work, Salinas knew that he had a dealer who encouraged him, believed in him and was not shy about singing his praises to anyone who entered Bradford's store on Guadalupe Street. During the early years of World War II Salinas met a pretty Mexican woman from Guadalajara named Maria Bonillas, who was working as a secretary for the Mexican National Railways office in San Antonio. While he was walking downtown with a painting of a bullfighter under his arm, he started a conversation with the young woman, and things progressed rapidly. The couple were married on February 15, 1942 and settled into life in bi-lingual San Antonio and they eventually purchased a tidy stone home on Buena Vista street that had a detached studio in back. By the time the United States entered World War II, Salinas was starting to make a decent living selling his art and beginning to garner recognition across Texas. However, in 1943, like millions of other young men, he was drafted into the service of his country. Fortunately, as an older Army draftee with special talents, after his training he was assigned to Fort Sam Houston, right in San Antonio, allowing him to remain at home while still completing his obligation to "Uncle Sam." Because of his artistic abilities, Salinas was asked to do paintings for the Army as well as a mural for the Officer's Club, which has been re-discovered in recent years. In his spare time he kept working on landscapes and when the war ended in 1945, he was not faced with the same rocky transition from military to civilian life as many veterans. That same year, Salinas became a father as he and Maria celebrated the birth of his only child, Christina Maria Salinas. Like most landscape artists of the era, Salinas was an avid Plein-air painter, and he took his easel and paint box with him on trips throughout Texas and into Mexico. He and his wife traveled deep into her native country, where the artist painted the majestic volcanic peaks of Iztaccihuatl (known as the "Sleeping Woman" because of its unique shape) and Popocatepetl (called the "smoking mountain" because the volcano is still active), south of Mexico City. Salinas also painted studies of rustic villages and their residents. While his most popular paintings were always the scenes of the Texas Bluebonnets and other wildflowers that bloom all over the Hill Country in the spring, he also painted scenes of the twisted Texas oak trees of central Texas, the more arid landscapes of the Texas panhandle and West Texas, and the historic Texas missions he even sold rapidly executed scenes of bullfights and cockfights for Mexican-American collectors. By the late 1940s, the American economy was finally growing again and wealthier Texans began to collect Salinas paintings, purchasing them from galleries in San Antonio and Dallas and at Dewey Bradford's County Store Gallery in Austin. Salinas also sold work to the Atlanta dealer Dr. Carlton Palmer, who represented Robert W. Wood for many years. In 1948 Palmer sold two large Salinas paintings to the Citizen National Bank in Abilene, Texas. Because Austin was the state capitol, Bradford counted many of the state's elite among his patrons, and due to his interest in history and literature, he played a large role in the cultural history of central Texas. Bradford introduced a number of the major Texas political figures to Salinas' work, including Lyndon Baines Johnson (1908-1973), who was then in the House of Representatives and on his way to winning a controversial election that vaulted him in the United States Senate. Johnson became an enthusiastic collector, as did his political mentor, the legendary House Speaker Sam Rayburn (1882-1961). Johnson decorated his Washington offices with Salinas paintings and he brought a number of them home to his vast LBJ Ranch, near Johnson City, Texas. In spite of his important patrons, Salinas went through a fallow and difficult period in the late 1950s. He had a volatile temperament, which made relationships difficult, and it took great patience for his wife to help him manage his career. As Salinas entered middle age his work began to sell steadily, but except for tourists who purchased his paintings in San Antonio, he was known primarily only to Texas art collectors. All that changed in 1961 with the election of John F. Kennedy (1917-1963) to the Presidency of the United States and his running mate Lyndon Johnson to the Vice Presidency. Johnson was an expansive, larger-than-life character and his status as a long, tall Texan in a cowboy hat was a large part of his imposing political image. During his storied career in the House of Representatives and the United States Senate, Johnson and Lady Bird Johnson (1912-2007) spent their time in Washington in a modest house on the edge of Rock Creek Park, but this home would not do for a Vice President. So, in 1961, the Johnsons purchased a French chateau-styled home in the Spring Valley section of the Capitol. Obtained from the famed socialite and ambassador Perle Mesta (1889-1975), the house came with a fine collection of French furniture and tapestries, and the designer Genevieve Hendricks was hired to meld the French look with objects from the Johnsons' overseas travels and paintings of the flora and fauna of their native Texas. Featured prominently in the foyer were the paintings of Porfirio Salinas. Because of the Johnsons' patronage, his work was mentioned in Time Magazine and other national publications. Lady Bird Johnson loved her landscapes of the Texas Hill Country and told reporters that, "I want to see them when ever I open the door, to remind me where I come from." After President Kennedy's death thrust Lyndon Johnson into the Presidency, he brought his Salinas paintings into the historic halls of the White House, further enhancing the Texas painter's national reputation. At the time of the President Kennedy's assassination, Salinas had completed a scene of a horse drinking titled "Rocky Creek" that was to have been presented to Kennedy during his ill-fated visit to Dallas. Instead, in an effort to memorialize the fallen President, Salinas painted a symbolic work of a lone horse depicted against foreboding clouds. During his tenure in the White House, President Johnson presented a Salinas landscape as a state gift to the President of Mexico, Gustavo Diaz Ordaz (1911-1979). During the 1960s, Salinas paintings sold briskly and, thanks to Presidential patronage, for escalating prices. In an interview with a writer from the New York Times, President Johnson enthused about the work of "his favorite artist" and said that, "his work reminds me of the country around the ranch." Salinas was invited to the LBJ Ranch frequently during the Johnson administration and his paintings were hung throughout the ranch, in the President's offices and even in the private quarters of the White House. The connection to President Johnson was a great boon to sales of Salinas paintings, and in 1964, when the demand was at its height, Texas Governor John Connelly (1917-1993) was told that all Salinas' work was sold and that he would have to wait for a painting. In 1960, a half century after his birth, Salinas was honored by his home town of Bastrop, a celebration that touched the modest artist. In 1962 Salinas was given a solo exhibition at the Witte Museum in San Antonio that featured more than twenty of his works. By the early 1960s, sales of reproductions of the artist's landscapes by the New York Graphic Society and other publishers grew rapidly, enlarging his audience throughout the United States. In 1967, Dewey Bradford helped to organize the production of a book of Texas stories titled "Bluebonnets and Cactus" (Austin Pemberton Press 1967), which was profusely illustrated with paintings by Salinas. His works were still popular when Salinas died after a brief illness in April of 1973, just a few months after former President Johnson's passing. He was memorialized in the City of Austin by Porfirio Salinas Day, which honored him for having "done much to bring the culture of Mexico and Texas together with his paintings." Bastrop, Texas, the city of the artist's birth, has been holding a Salinas Art Exhibition annually since 1981. The entire artistic oeuvre of Porfirio Salinas is estimated to be between two and three thousand works in all, with the vast majority being landscapes of Central Texas. He painted hundreds of scenes of the wildflowers, including the various varieties of Blue Lupin, the state flower, as well as other flowering flora. These show the influence of his artistic mentors Robert W. Wood and Jose Arpa Y Perea. Salinas also painted a number of scenes of Prickly Pear Cactus that show the influence of the English painter Dawson Dawson-Watson (1864-1939), who painted many such works during his tenure in Texas. He painted the more arid Texas landscape infrequently and these works are very rare today and sought after by collectors from the Texas Panhandle and West Texas. Salinas also painted many river landscapes along the Guadalupe, Rio Frio, the San Antonio and the Rio Grande. On trips to his wife's homeland of Mexico, he painted a number of scenes of the volcanic peaks as well as scenes of peasant villages and villagers. Figurative paintings are rare among Salinas' works and these scenes of bullfights, fandangos and cock fights are probably the least sought after of his paintings. There are also a small number of modest marines, painted on trips to the Texas and California coast. Salinas paintings are highly prized by collectors of early Texas art, with the paintings of wildflowers in greatest demand. Works by Porfirio Salinas can be found in a number of public collections, including the Panhandle Plains Historical Museum in Canyon, Texas the Texas State Capitol the Texas Governor's Mansion the Lyndon Baines Johnson Ranch the Sam Rayburn Library and Museum in Bonham, Texas Amarillo High School the Witte Museum in San Antonio the historic Joan and Price Daniel House in San Antonio the Stark Museum in Orange, Texas the R.W. Norton Art Gallery in Shreveport, Louisiana the Sangre de Cristo Arts Center in Pueblo, Colorado Texas A & M University and the Modern Art Museum of Fort Worth. Salinas has been featured in a number of reference works as well as anthologies devoted to American Western Art. Salinas has been the subject of a modest biography by Ruth Goddard (Portfirio Salinas, Rock House Press 1975) that was based on interviews with the artist. Exhibitions 1940, Exhibition of Paintings by Texas Artists, J.W. Young Galleries, Chicago 1947, Laguna Gloria Art Museum, Austin 1953, San Antonio Local Artists Annual Exhibition 1989, Painters of Texas Artists 1900-1950, Museums of Abilene 1991, Survey of Texas Artists 1890-1990, Longview Museum and Arts Center 1994, Images of Texas 1880-1950, Art Center, Waco 1997, Hock Shop Collection Rediscovering Texas Artists of the Past, Museum of the Big Bend, Alpine Selected Public Collections Governor's Mansion, Austin J. Wayne Stark University Center Galleries, Texas A&M University, College Station Museum of Texas Tech University, Lubbock Stark Museum of Art, Orange Buckhorn Hall of horns and Fort Sam Houston Officers Club, San Antonio Burleson Hall, Baylor University, Waco Wichita Falls Museum and Art Center Copyright 2010, Jeffrey Morseburg, not to be reproduced without specific written permission of the author. "Porfirio Salinas and the Hill Country Landscape" By Jeffrey Morseburg 1910 - 1973 Porfirio Salinas Salinas Porfirio 3259 Juan Pablo Salinas y Teruel was born in Madrid, Spain in 1871 and died in Rome, Italy in 1947. He studied painting at the San Fernando School of Fine Art, where a generation earlier Goya had worked. In 1886 he moved to Rome to join his brother Augustin Salinas, was there since 1883 on a scholarship awarded to him by the government of Saragossa. The two brothers lived in Augustin's studio at Via Margutta in Rome. They became part of the Spanish colony of artists resident in Rome. Salinas also attended classes at the International Circle of Fine Art and the Chigi Academy, which was just down the street from his brother’s studio. In 1887 Juan Pablo attended the National Exhibition of Madrid. His initial paintings were of ancient and medieval subjects, which were influenced by his brother and the Florentine school. His later works were of every day life and 18th-century costume pieces within luxurious settings, ornate church interiors and popular genre scenes of Spanish and Italian life. Salinas spent most of his painting career in Rome. Salinas developed a reputation among dealers and collectors for his rich coloring and delicate style and fanciful brushwork. Salinas, who was collector of antiques, used his collection as backdrops in many his paintings. He was also known to have used family members in his paintings, particularly his two daughters The magazine "Illustacion Artistica" commenting his works "His key characteristic is the poetry he brings to all his paintings (including his genre works) in depicting our everyday life and landscapes". Juan Pablo Salinas was regular exhibiter at various Salons in France and Italy Public Collections: Galerie Moderne, Madrid 1871 - 1946 Juan Pablo Salinas y Teruel Salinas y Teruel Juan Pablo 2112 Adolf Karol Sandoz was either born in Odessa, Ukraine (known as “Kievan Rus” from which Russia is a derivative) in 1845 or in Trybusovka in 1848. His death date is unknown. Sandoz is considered a genre, portrait, Orientalist and architectural illustrator. He received his formal academic training in Paris at l’Ecol des Beaux-Arts under historical genre painter Jules Elie Delaunay (1828-1891) and at the atelier Pierre C. Puvis de Chavannes (1824-1898), one of Paris’ most celebrated painters. After exhibiting at the Salons in Paris, Sandoz opened a studio in Paris where he established himself for the remainder of his career as an Orientalist and portrait painter. Listed: E. Benezit, Volume 9, page 274 Museum: Galerie Nationale de Lemberg or Lviv (Lvov, Lwow, Loewenburg, Lemberg, Leopolis) - is the city in western Ukraine. Lviv was a part of Poland, Austro-Hungarian Empire, and Russian empire): The Young Arab Girl; Portrait of the Young Sheik of the Oasis El-Kantara, Interior of a Biskra Tent, The Art Gardens. 1845 - ? Adolf Karol Sandoz Sandoz Adolf Karol 3308 Birger Sandzen (1871-1954) Birger Sandzen was born Blidsberg, Sweden, Feb. 5, 1871 and died in Lindsborg, June 19, 1954. He is a painter, who specialized in landscapes. Sandzen was also an etcher, engraver, lithographer and teacher. He attended the College and Academy of Skara as a pupil of Olof Erlandsson. After graduation from Skara College, Sandzen spent a semester at Lund University attending art history lectures and continuing the study of French. Following Lund University he went to the technical high school at Stockholm, where he studied perspective and form drawing. Sandzen joined a group of young artists and they rented a studio at Anders Zorn’s suggestion. They received instruction from Zorn as well as Richard Bergh, a well-known portrait painter and Per Hasselberg, one of Sweden’s best sculptors. Sandzen then went to Paris to study with Aman Jean, where he began to associate with American students in the French studies. On returning home in 1894, a family friend sent Sandzen a booklet about Bethany College, Lindsborg and the town called “Little Sweden.” Sandzen moved to Lindsborg in 1894 to teach French, voice, art history, drawing and painting at Bethany College where he remained on the faculty until 1946. He first painted in the Colorado Springs, CO area in 1916, and became a frequent visitor to Santa Fe and Taos, NM beginning in 1918. Sandzen spent the summers of 1923-24 teaching at the Broadmoor Academy in Colorado Springs (presently the Colorado Springs Fine Arts Center). Sandzen also taught at Chappell House (the forerunner to the Denver Art Museum), Utah State Agricultural College, Stephens College, the University of Michigan, and the 188 Kansas City Art Institute. Sandzen’s style of painting is unusual in its thick and heavy application of impasto in bold and bright color combinations, interpreting the landscape of the western United States. He is known for very colorful renderings of mountain lakes with boulders, cypress and aspen trees and moonrises along waterways. Sandzen was an important advocate for art in the region, spending time talking to people about art, organizing exhibitions and establishing art clubs. He donated artwork to the local art club to help raise money for the purchasing of art books for the library, the financing of exhibitions, and the occasional awarding of a scholarship. He painted murals for the Halstead Post Office, Where Kit Carson Camped, in 1941, for the Lindsborg Post Office, Smoky River, in 1938, and for the Belleville Post Office, Kansas Stream, in 1939. He illustrated three books, With Brush and Pencil (1905), In the Mountains, (1925), The Smoky Valley, (1922). Source: AWARDS: First Moore prize, Artists of Kansas City and Vicinity, 1917; Prize, Annual Exhibition of the Artists of Kansas City and Vicinity, 1920; Nichols Purchase Prize, Midwestern Artists’ Exhibition, 1922; Philadelphia Water Color Club Prize, 1922; Honorary doctorates from Midland College of Fremont, NE, by University of Nebraska, and by Kansas State University Knight of the Swedish Order of the North Star, 1940. COLLECTIONS: Library of Congress; Sandzen Memorial Gallery; Brooklyn Museum of Art; Art Institute of Chicago; National College of Fine Arts; Yale University Art Museum; Luxembourg Museum, Paris; Stockholm & Lund Museums; Nelson-Atkins Museum of Art; British Museum; Bibliotheque Nationale; Los Angeles County Museum of Art; Museum of New Mexico; Wichita Art Museum; Mulvane Art Museum; Kansas State Historical Library; Beach Museum; Museum of Nebraska Art; Spencer Museum of Art, and others. MEMBERSHIPS: New York Watercolor Club; California Watercolor Society; Philadelphia Watercolor Club; Prairie Print Makers; Prairie Water Color Painters; Chicago Society of Etchers; Smoky Hill Art Club; Associate member of the Taos Society of Artists. SOURCES: Susan Craig, "Biographical Dictionary of Kansas Artists (active before 1945)" Lindquist, Emory Kempton. Birger Sandzen: An Illustrated Biography. (Lawrence University Press of Kansas, 1993); American Magazine of Art, (Jan. 1927); International Studio (Apr. 1923); Kansas Teacher (Nov. 1927); Greenough, Charles P. The Graphic Work of Birger Sandzen. (Lindsborg: Bethany College, 1952); Fielding, Mantle. Mantle Fielding’s Dictionary of American Painters, Sculptors and Engravers, with an Addendum containing Corrections and Additional Material on the Original Entries. Compiled by James F. Carr. New York: James F. Carr Publ., 1965; Newlin, Gertrude Dix (Development of Art in Kansas. Typed Manuscript, 1951); Sain, Lydia. Kansas Artists, compiled by Lydia Sain from 1932 to 1948. Typed Manuscript, 1948; WW26-27; American Art Annual. New York: American Federation of Arts, 1898-194727; Who’s Who in American Art. New York: American Federation of Arts, 1936- v.1=1936-37 v.3= 1941-42 v.2=1938-39 v.4=1940-47. 1, 2, 3, 4; Reinbach, Edna, comp. “Kansas Art and Artists”, in Collections of the Kansas State Historical Society. v. 17, 1928. p. 571-585.; A &C KS por il.; Dunbier, Paul. The Dunbier Value Guide; Over 1200 Painters in the Western U.S. Before 1920. Scottsdale: Altamira Press, 1981.; Dawdy, Doris Ostrander. Artists of the American West: A Biographical Dictionary. Chicago: Swallow Press, 1974. Wiebe, Joanna K. “Kansans Cared About their New Deal Art”, in Wichita Eagle Beacon, May 21, 1972. p.1E & 7E, “Local Legends Live in Art”, in Wichita Eagle Beacon, May 22, 1972, p.1A & 3A, “Age Enhances Fort Scott Mural”, in Wichita Eagle Beacon, May 23, 1972, p.1A & 8A, “Halstead Legend Perpetuated”, in Wichita Eagle Beacon, May 24, 1972. p.1A & 16A, “Scenics, Murals and Lithographs Included in Kansas New Deal Art”, in Wichita Eagle Beacon, May 25, 1972, p.15A; Samuels, Peggy. Illustrated Biographical Encyclopedia of Artists of the American West, Garden City, NY: Doubleday & Co., 1976; Snow, Florence. “Kansas Art and Artists”, in Kansas Teacher Aug-Sept. 1927, p.18-19; Oct. 1927, p.10, 12; Nov. 1927, p.11-12; Dec. 1927, p.7-8; Jan. 1928, p. 14-15; Feb. 1928, p.20-21; Mar. 1928, p.10-12; Apr. 1928, p. 16-17; May 1928, p.14, 16; June-July 1928, p.13-14.; American Art Annual. New York: American Federation of Arts, 1898-194724/12/18/20/22; KAC; Dawdy 2: Dawdy, Doris Ostrander. Artists of the American West: A Biographical Dictionary. Volume 2. Chicago: Swallow Press, 1981; Annual Exhibition of the Artists of Kansas City and Vicinity (Kansas City Art Institute, 1915-21) 1915, 1917, 1920-21; Midwestern Artists’ Exhibition (Kansas City: Kansas City Art Institute, 1920-1942 Mines, Cynthia. For the Sake of Art: The Story of an Art Movement in Kansas, sl. Mines, 1979.) 1922-23, 1925. 1929-33, 1935-40; Beach; Porter, Dean A, Teresa Hayes, Ebie, Suzan Campbell. Taos Artists and Their Patrons, 1898-1950. South Bend, IN: Snite Museum of Art, 1999; Bruner, Ronald Irwin. New Deal Art Workers in Colorado, Kansas and Nebraska. Thesis: University of Denver, 1979; 100 Years of Art; AskArt, "http://www.askart.com" www.askart.com, Accessed Dec. 23, 2005 This and over 1,750 other biographies can be found in Biographical Dictionary of Kansas Artists (active before 1945) compiled by Susan V. Craig, Art & Architecture Librarian at University of Kansas. 1871 - 1954 Birger Sandzen 1 Sandzen Birger 2120 Landscape and still-life painter Helen Alton Sawyer was the daughter of a prominent Washington, D.C. family. She spent much of her childhood in Spain where she was exposed to fine art and other elements of culture. Her father was painter Wells M. Sawyer with whom she studied as well as in New York City at the National Academy of Design and the Art Students League, and with painter Charles Hawthorne on Cape Cod, Massachusetts. Her talent manifested itself early, and she and her father exhibited in a two-person show in 1921 in New York City at the Babcock Galleries. Sawyer married artist Jerry Farnsworth from Dalton, Georgia, whom she met when they both studied with Hawthorne. He referred to his wife as a "born artist, while terming himself a made artist" (Sternberg, 107). She continued to use her maiden name of Sawyer throughout her career. Her painting career is primarily associated with Cape Cod where from 1933; she and her husband founded an art school, which in 1940, they had near their home at North Truro. In 1943, they also founded an art school in Sarasota, Florida where the Ringling Brothers Circus had their headquarters. Both Helen and her husband painted circus scenes. Sawyer evidenced a very personal style with elements of the primitive combined with impressionism. She used both oil and watercolor. Her oil, "Road to Shankpainter Pond, Provincetown," is a landscape depiction with two tiny figures on a road between clustered foreground cottages that contrast with one isolated in the middle distance. This lonely house appears to be their physical destination, but thanks to the artist's handling, is also the symbolic goal of their emotional or spiritual journey. The artist's seascapes also tend to be rich in mood, often expressing certain loneliness. Another example of her talent is her 1950 painting, "Circus Wagon," an image of a worn-out wagon whose blocky forms are strongly painted in intense, moody, dark colors, and almost savagely expressive of loss and abandonment. She was elected an Associate of the National Academy of Design in 1937 and an Academician in 1950. She was also a member of the National Association of Women Artists, the National Arts Club, Washington Society of Artists, the Hudson Valley Art Association, Washington Art Club; Yonkers Art Association, New York; and Provincetown Art Association, Massachusetts. She regularly exhibited with those groups as well as venues including the Pennsylvania Academy, Art Institute of Chicago, Corcoran Gallery, Ringling Museum and Atlanta Museum. Her work was included in the "American Art Today" New York World's Fair exhibit in 1939 and the 1933-34 Century of Progress International Exposition in Chicago. Helen Alton Sawyer died in 1999. From Jules and Nancy Heller, "North American Women Artists of the 20th Century" Paul Sternberg Sr., "Art by American Women" 1900 - 1999 Helen Anton (Farnsworth) Sawyer Sawyer Helen Anton (Farnsworth) 2074 Gabriel Schachinger was born in Munich, Germany March 31, 1850 and died in Egfling, Germany May 9th, 1912. Schachinger is considered an academic figure and historical painter from the German school. Schachinger began his formal studies at the Munich Academy under historical painter and director Karl Theodor von Piloty (1826-1886). It was while at the academy that he would develop his very unique approach to figure painting. Upon finishing his studies at the academy, Schachinger would travel to Rome, Venice and Florence to study the old masters. He would later return to Munich to open his studio where his would remain for his entire career. Museums: Kunsthalle, Hamburg: Portrait of the artist and a portrait of the artist’s son Pinacothéque, Munich: Portrait of a Young Girl and a portrait of artist Berni B. Gronvold Listed: E. Benezit, vol. IX. Pg.333 1850 - 1912 Gabriel Schachinger Schachinger Gabriel 1724 Adalbert Schäffer was born in Gross-Karoly (Budapest), Hungry in 1815 and died in Dusseldorf, May 1, 1871. Schäffer was a portrait and still life painter from the Hungarian school of academic painters. He received his formal training under Professor Pest in Vienna. Museums: Musée de Debreczen, Budapest Musée d"Erlau, Budapest Musée de Kaschau, Vienna Le Musée d'Hermannstadt Listed: E. Benezit, vol. 9, p.338 1815 - 1871 Adalbert Schaffer Schaffer Adalbert 1723 Franz Schams was a genre, portrait and historical painter from the Austrian school. He was born in Vienna on March 22, 1823 and died March 22, 1882. Schams received his formal training at the L'ecole Beaux-Arts in Vienna. In his delightful pair of pictures, "WE WANT TO MARRY EACH OTHER", Schams demonstrates his ability to express the feelings of his characters and therefore communicates his painting as through the eyes of its viewers like an author writing a book. Mere technical excellence was not enough: a work needed imagination and imagination was to be displayed in the choice and presentation of the subject. The result of paintings like these was a very literary sort of painting, and art was never closer to literature than in the nineteenth century. Museums: Musee de Cetteville," Le Duc Frederic lV, se fail reconnaitre des Tyroliens" and "Portrait de Waldmuller" Listed: E. Benezit Thieme Becker 1823 - 1883 Franz Schams Schams Franz 3320 Jules Henri Jean SCHAUMBURG 1839 - 1869 Jules Henri Jean Schaumburg was born on 15th July 1839 in Antwerp, Belgium, and studied at the Academy of Fine Arts under the tutelage of Lucas Schaefels (1824-1885), a famous engraver. Two works by Schaumburg, ‘Marine’ and ‘Les Moulins’ (1861) are documented in the European art literature. However, by May 1864 Jules was in Bombay planning to accompany Louis Rousselet on travels round central and northern India which would last until September 1868. The mode of passage or date of Jules' arrival at Bombay have not yet been discovered; although there is a hint that he may have survived shipwreck. During his stay in Bombay he possibly lived in Mazagon - an engraving entitled 'Ma Maison à and appeared in the first edition of Rousselet's published account of their travels. Louis Rousselet was a renowned French surveyor, traveler, photographer, and writer, who arrived in Bombay on 3 July 1863 aboard the SS Malta. Having already spent almost 12 months visiting southern India and parts of the Deccan, he says “Towards the middle of May (1864) I again set out on my travels. To reach the north of India two roads were open to me ... the other, which passes through the country of the Bheels and Rajpootana, was longer, more difficult, more dangerous, but less known. I did not hesitate to choose the latter. A young Flemish painter, M. Schaumburg, whose acquaintance I had made at Bombay, proposed to accompany me, and I acceded to his request with great pleasure.” On 10th June 1864, Schaumburg joined Rousselet in Baroda and after spending about 6 months there as the guest of the Guicowar, these two Europeans spent the next few years travelling central and northern India, with an emphasis on the Princely States. While in Baroda, the Guicowar provided them with use of a summer palace: the Motibaugh. Eventually they turned up in Calcutta. Jules Schaumburg was appointed to work for The Geological Survey of India as an Artist, possibly Chief Draughtsman (1875), is known. However his whereabouts during the following 8 years is unclear. Jules was elected as an Associate Member of the Royal Asiatic Society of Bengal in 1874 for his learned knowledge in classical Indian Sculpture and Paleontology.” He married Ruth O'Brien Harris, the 20 year old daughter of Isabella Caroline and David Harris, at St. Paul’s Cathedral on his 39th birthday - 15 July 1878. They had two children Ruth Nina and Jules Leonard. Sadly, the children were not able to enjoy the company of their father for long as he died suddenly of a fever on 17 February 1886 and was buried the same day at the General Episcopal Cemeteries in Circular Road and Park Street. At the time of his death, Jules Schaumburg, in addition to his responsibilities with the Geological Survey of India, was Acting Principal of the Government School of Art in Bow Bazar Street, a role he had held at least since 1884 when the Principal, Henri Hover Locke went on leave. Mr. Locke predeceased Jules by only two months and the two men are buried next to each other. Jules Schaumburg won an award at the 3rd Calcutta Fine Arts Exhibition held in 1879; was Chairman of the Sculpture Committee for the First International Exhibition in Calcutta in 1883-84 and also took part in subsequent art exhibitions in Calcutta. 'View of the Deserted City of Amber, Rajputana, from the Walls of the Palace' circa 1866 is only known watercolour and is in the collection of the Victoria and Albert Museum in London (not on public display: All the following came from Sylvia Murphy's now defunct website. Since culling the information below, Sylvia has done a great deal of digging into her Schaumburg ancestry. 1839 - 1869 1 Jules Henri Jean Schaumburg Schaumburg Jules Henri Jean 1904 Barend Cornelis Koekkoek, the prime exponent of Dutch Romanticism wrote of Schelfhout "See how a flat, simple country tableau, just as nature herself stamped it, can become the hallmark of truth, beauty and grace. That is our great Schelfhout. In him you shall see innocent nature at its most elegant, but still with a faithfulness and truth that only Schelflhout possesses"'. Such admiration is indicative of the high regard in which Schelfhout was held by his peers. Andreas Schelfhout was born in The Hague, 16th February 1787, the son of a gilder and frame maker, Jean Baptist and Cornelia van Hove. He trained as a house painter but would have been exposed to artists and their work through his father's business. By 1806 Schelfhout was painting in oils, winter scenes, very much precursors of his mature works, between 1811 and 1815 studying with J. A. A. H. Breckenheimer. By 1818 he was earning favorable reviews and developing a growing reputation, the following year winning a gold medal at an exhibition in Antwerp. That year also saw the creation of Amsterdam's Royal Academy for Visual Arts of which Schelfhout was made a member. The following years saw the artist develop winter landscape painting into a genre of its own, a genre that was to be adopted by numerous contemporaries and followers. In the 1830's he travailed to France, Germany and England, developing a warmer palate. Like the majority of his contemporaries Schelfhout owed a significant debt to his seventeenth century predecessors; Hendrick van Avercamp (1585-1663) as a source of subject matter and Philips de Koninck (1619-1688) for composition, his typically low horizons reflected in many of Schelfhout's landscapes. Hugely admired by his contemporaries, Schelflhout had a number of students who were to approach him in stature, among them Johan Bartold Jongkind (1819-1891), Charles Leickert (1816-1907) and Nicolaas Johannes Roosenboom (1805-1880). Schelflhout himself collaborated on occasion with other artists and towards the latter part of his career he worked with the Belgian artist Josephus Jodocus Moerenhout (1801-1874) on a number of compositions. He is primarily known as a painter of animals, battle scenes and landscapes. Schelfhout's works can be found in museums in: Amsterdam; The Hague; Leiden; Munich and Rotterdam. 1787 - 1870 Andreas Schelfhout 1 Schelfhout Andreas 3326 Richard Schmid (b.1934) At the apex of his long and distinguished career during which he has achieved the honor of winning nearly every major art award in the United States, including the Medal of Honor from the prestigious Salmagundi Club of New York City, the $100,000 National Arts for the Parks award, and the John Singer Sargent Medal for Lifetime Achievement-Richard Schmid still experiences every new painting as a process of discovery. Says Schmid, "I seek what I love about a subject and try to convey it honestly. As I have grown as an artist, I have found I have the capacity to see more. The more I see, the more I find to paint, and the more I wish to convey on canvas. It's an unstoppable sequence. "And that's the adventure." Born in Chicago in 1934, Schmid was fortunate to have a series of teachers who taught him classical techniques, in what is known as "The Grand Manner." At age 12, he began his studies in landscape painting, figure drawing, and anatomy. Later, he attended Chicago's American Academy of Art where he was greatly influenced by teacher William H. Mosby. Mosby, a graduate of the Belgian Royal Academy in Brussels and the Superior Institute in Antwerp, was a technical expert on European and American realism. Studies with him involved working exclusively from life, at first using the conceptual and technical methods of the Flemish, Dutch, and Spanish masters, and eventually all of the late 19th century European and American painters. The emphasis in each period was on Alla Prima, or Direct Painting systems of the various periods. In 1998, Schmid published a book by the same name, Alla Prima: Everything I Know About Painting," which has received international acclaim and is currently in its tenth printing. Throughout the second-half of the Twentieth Century when representational art was out of vogue, Schmid kept alive the knowledge he received from Mosby and from Mosby's circle of luminaries that included Sargent, Monet, and Degas. A gifted teacher himself, Schmid has generously shared this knowledge through his books and through his mentoring of young artists. Today, he believes we're entering a new Golden Age of representational art. Explains Schmid, "It's been like watching a rocket launch. At first the rocket appears to be going slowly, but quickly it picks up speed and takes off. "Over the last few decades, I'm noticing more and more young people appearing on the art scene with amazing skills and hungry for what Alla Prima offers - everything they didn't learn in art school. Most art schools offer predominately modern art. They discourage anything that might inhibit the spontaneous act, such as prior knowledge of traditional methods." As we enter this new Golden Age at the birth of this new century, Schmid's achievements have continued to grow. In 2000, when he received the John Singer Sargent Medal for Lifetime Achievement, the presentation was made by Richard Ormond, Sargent's grandnephew during a special awards ceremony at the Metropolitan Museum of Art in New York. In 2005, he was presented with an Honorary Doctorate Degree from the Lyme Academy College of Fine Art in Old Lyme, CT. And in 2009, West Wind Fine Art, which has represented Richard Schmid's paintings since 1998, curated an historic exhibition RICHARD SCHMID & HIS INFLUENCE at the Salmagundi Club in New York City with paintings by Schmid and a selection of recognized artists who he has mentored, including his wife, Nancy Guzik. Also featured at the show were Timothy R. Thies, Daniel Gerhartz, Rose Frantzen, Scott Burdick, Susan Lyon, Paul Mullally, Clayton Beck III, Molly Schmid, Gretchen Schmid, Judy Stach, and Casey Baugh. Then, in 2009, Schmid wrote and published The Landscapes, featuring over 300 of his images spanning 50 years of painting directly from nature. Schmid is also working on a revised and expanded edition of Alla Prima and has several other books in the developmental stages. At the conclusion of Alla Prima Schmid writes, "Somewhere within all of us there is a wordless center, a part of us that hopes to be immortal in some way, a part that has remained unchanged since we were children, the source of our strength and compassion. "This faint confluence of the tangible and the spiritual is where Art comes from. It has no limits, and once you tap into it you will realize what truly rich choices you have. "May each painting you do from that sacred place include an expression of gratitude for the extraordinary privilege of being an artist." As we enter this new Golden Age, it is art lovers worldwide who are expressing gratitude to Richard Schmid - for the generous sharing of his accumulated wisdom and for the extraordinary privilege of witnessing his artistic vision. By Sheryll Reichwein ©West Wind Fine Art, LLC 2010 Selected Exhibitions: Richard Schmid: A Retrospective, The Butler Institute of American Art, Youngstown, OH The Smithsonian Institution, Washington, D.C. The Pennsylvania Academy of Fine Arts, Philadelphia, PA The Art Institute of Chicago, Chicago, IL Richard Schmid & His Influence Exhibition, curated by Kristen Thies of West Wind Fine Art and held at NY City's prestigious Salmagundi Club. American Masters Exhibitions, Salmagundi Club, NY, NY The Richard Schmid Art Auction, Stove Prairie, CO The Connecticut Academy of Fine Arts, Hartford, CT The National Academy of Design, NY, NY Beijing Exhibition Center, Peoples Republic of China, Beijing, China The American Watercolor Society, NY, NY The Thomas Gilcrease Museum of American Art, Tulsa, OK The Frye Museum, Seattle, WA The Colorado Historical Society, Denver, CO Project Hope Exhibitions, Williamsport, PA The Holter Museum, Helena, MT The Palette and Chisel Academy of Fine Arts, Chicago, IL The Loveland Museum, Loveland, CO The Bennington Center for the Arts, Bennington, VT The Harvard Club of Boston, Boston, MA Kristen Thies, CEO and Co-Founder of West Wind Fine Art represents Richard Schmid's paintings. 1 Richard Schmid Schmid Richard 3337 Albert Schmidt was an early member of the Santa Fe art colony, best known for his high-key modernist landscapes. Schmidt was born in Chicago, the son of a physician. He attended the Art Institute of Chicago for four years before enrolling at the Julian Academy in Paris. In 1912 he married fellow student and Chicagoan, Marjorie Hanson, and the couple returned to Chicago the following year. Schmidt exhibited at the Pennsylvania Academy of Fine Arts in 1911, the National Academy of Design in 1914, and the Panama-Pacific Exposition in 1915. In 1921 Schmidt visited the Southwest and was so impressed with Santa Fe that he resolved to move there. The next year, the couple arrived in New Mexico, settling in the village of Tesuque, just north of Santa Fe. They asked Santa Fe artist and builder, William Penhallow Henderson, to design and construct their home. Schmidt's early paintings are in the manner of the French Impressionists, but he soon developed a modernist style with simplified, sometimes angular drawing, and a bright palette clearly influenced by the Fauves with whom he worked in Paris. He painted mostly in oil or pastel. Schmidt's compositions employed the concepts of Dynamic Symmetry, developed by the artist Jay Hambidge, which use a proportioning system based on specific mathematical ratios including the Golden Section. The Schmidts apparently were able to live on Marjorie's inheritance, and Albert did not feel compelled to actively market his work. However, he did participate in many exhibitions at the Museum of Fine Art in Santa Fe from 1924 until his death, including twelve solo exhibitions. The Museum held a memorial exhibition for Schmidt in 1958. After Marjorie's death in 1992, her granddaughter inherited the estate and discovered a cache of hundreds of Schmidt's works in the garage of the Tesuque home. Albert Schmidt was an early member of the Santa Fe art colony, best known for his high-key modernist landscapes. Schmidt was born in Chicago, the son of a physician. He attended the Art Institute of Chicago for four years before enrolling at the Julian Academy in Paris. In 1912 he married fellow student and Chicagoan, Marjorie Hanson, and the couple returned to Chicago the following year. Schmidt exhibited at the Pennsylvania Academy of Fine Arts in 1911, the National Academy of Design in 1914, and the Panama-Pacific Exposition in 1915. In 1921 Schmidt visited the Southwest and was so impressed with Santa Fe that he resolved to move there. The next year, the couple arrived in New Mexico, settling in the village of Tesuque, just north of Santa Fe. They asked Santa Fe artist and builder, William Penhallow Henderson, to design and construct their home. Schmidt's early paintings are in the manner of the French Impressionists, but he soon developed a modernist style with simplified, sometimes angular drawing, and a bright palette clearly influenced by the Fauves with whom he worked in Paris. He painted mostly in oil or pastel. Schmidt's compositions employed the concepts of Dynamic Symmetry, developed by the artist Jay Hambidge, which use a proportioning system based on specific mathematical ratios including the Golden Section. The Schmidts apparently were able to live on Marjorie's inheritance, and Albert did not feel compelled to actively market his work. However, he did participate in many exhibitions at the Museum of Fine Art in Santa Fe from 1924 until his death, including twelve solo exhibitions. The Museum held a memorial exhibition for Schmidt in 1958. After Marjorie's death in 1992, her granddaughter inherited the estate and discovered a cache of hundreds of Schmidt's works in the garage of the Tesuque home. 1885 - 1957 Albert Herman Schmidt Schmidt Albert Herman 1786 Hans W. Schmidt was born October 6, 1859 in Hamburg, Germany and died in 1940. Schmidt is considered a genre, illustrator from the German School. He received his formal education at the New University under Professor A. Brendel. Museums: La Nouvelle Universite "Charles-August de Saxe Weimar et Goethe" Musee de Weimar "Prise du pouvoir par le grand-duc Wilh Ernst de Sax" 1859 - 1940 Hans W. Schmidt Schmidt Hans W. 1950 Michael Schofield was born in Florida in 1947 and moved with his family to California that same year. He began painting and studying watercolor while still in high school. His art teacher recognized his very special talent and for nearly two years tutored Schofield privately to develop his talent in the watercolor medium. After high school, Michael went into the military, and then on to art school in Nashville, Tennessee. During the summers, he studied with well-known watercolorist John Pike (a contemporary of Robert Wood) in Woodstock, New York. He soon opened his own art studio where he taught and painted for 12 years. Schofield believes that art is fundamentally communication. He chooses to create more traditional landscapes because it is with this imagery that most people relate. It is imagery that evokes a memory and therefore a feeling. In this manner, the artist and those who live with his art share a common experience. "I paint landscapes because they speak to everyone. In sharing a place I have known, I know that others will see places they have known. In that way, I communicate with others without using a single word." Schofield's precision and exactitude somehow meld harmoniously with a more ethereal sense of a place. In this way, his work conveys at once the palpable and the perceptual about a place. He hopes, in fact, to strike a visceral note in those who view his art, re-awakening dormant memories and forgotten feelings. As a successful artist for several years, Schofield's work can be found in many private and corporate collections. Partial List: Bank of America The Library of Congress Xerox Corporation Occidental Twentieth Century Insurance Company, Inc. b.19 - 1947 Michael Schofield Schofield Michael 3154 Schofield was born on 10th September 1867 in Philadelphia. His parents had emigrated from England, and his father became part owner of Delph Spinning Company in Philadelphia. Not enjoying the best of health as a child, he was sent out West by his father to toughen him up, and, for eighteen months in 1884/5, he lived the life of a cowboy. His earliest works date from this period. Between 1889 and 1892, he studied at the Pennsylvania Academy of Fine Arts before, in late 1892, going to Paris, where he enrolled at Julian’s Academy, studying under Bouguereau, Ferrier, Aman-Jean and Doucet. During his three years in Paris, he traveled to Fontainebleau and Brittany and was fired with enthusiasm for Impressionism. In 1894, he returned to the States and tried to work in the family business but it did not suit him. He returned to Europe in 1895 with his charismatic and influential friend, Robert Henri, and fellow art student, William Glackens, and, from Paris, they cycled round Holland and Belgium to view the Dutch masters. The following year, he visited England. In October 1897, he married Muriel Redmayne of Southport, whom he had met initially in Philadelphia. She did not take to life in America and so, in 1901, they emigrated to England, living initially in Southport. In 1903, now with two young sons, they moved to St Ives, Cornwall, where they stayed for four years, during which time he was instrumental not only in recommending St Ives to other American artists, such as George Oberteuffer and Frank Shill, but also in getting work by his St Ives colleagues, such as Hayley Lever, hung at Pittsburg and other American shows. Schofield was primarily a landscape painter, and this was the period when the landscape and marine work of the St Ives artists Arnesby Brown, Julius Olsson, Algernon Talmage, Noble Barlow and Arthur Meade was winning high plaudits at the Royal Academy. There is little doubt that Schofield was influenced by the plein-air approach of these artists, and he adopted a broader view and lighter palette. Commenting to his friend, C.Lewis Hind, on his new found enthusiam, he stated, “Zero weather, rain, falling snow, wind - all of these things to contend with only make the open-air painter love the fight...He is an open-air man, wholesome, healthy, hearty, and his art, sane and straightforward, reflects his temperament.” In addition, Schofield started to use huge canvases for his outdoor works, and the result was panoramic landscapes, boldly and expansively painted. Schofield was a restless spirit. No sooner had he settled into any new home that Muriel had located for the family than he would announce “Well, it’s time to be moving on.” And he developed a lifestyle that involved him spending as much as six months a year - normally from October to April - in the States away from his family. Schofield always favored the American exhibition circuit and American patrons and, as a result, during the first three decades of the twentieth century, he became regarded as one of America’s leading landscape painters and is now lauded as one of the most important of the American Impressionists. His medal tally at American and International exhibitions is impressive and include a ‘Mention Honorable’ at the Paris Salon in 1900, a First Class Medal at the Carnegie Institute in 1904, a Gold Medal at the 1910 Buenos Aires Exhibition, the Medal of Honor from the Panama-Pacific International Exposition in San Francisco in 1915 and a silver medal at the Corcoran Gallery of Art, Washington D.C. in 1926. In fact, the Corcoran held three one-man exhibitions of his work in 1912, 1920 and 1931 and he was well-respected in art circles, serving on exhibition juries and selection committees. Schofield made more than forty crossings of the Atlantic by steamer, and, between 1902 and 1937, the only years when he did not visit the States were the War years. In 1915, aged 48, Schofield felt so deeply about Germany’s actions that he enlisted as a private soldier in the Royal Fusiliers but, with Olsson’s assistance, he received a commission from the Royal Artillery the following year. He fought at the Somme and rose to the rank of Major but his only painting exploits were in camouflaging the guns under his command. In 1921, he returned to Cornwall, living at Doreen Cottage at Perranporth for four years, although, as always, he was constantly away from home, seeking new subjects, new inspiration and, most importantly, new purchasers. In 1925, the family moved to Otley, Suffolk, where his son, Sidney had started farming. In the late 1920s and 1930s, with his marriage under strain, Schofield spent as much as nine months a year in the States and, in addition to returning as always to his home state of Pennsylvania, he spent long periods in California, Arizona and New Mexico, where he painted scenes of the American West. However, when his son, Sidney, in 1937, purchased Godolphin House, the impressive manor dating from the 15th century, near Helston, he could not resist the lure of Cornwall again, and he and his wife moved in during the autumn of 1938. He immediately joined the St Ives Society of Artists - Moffat Lindner, Fred Milner and Arthur Meade would have been colleagues from his first visit to St Ives - and his exhibits soon were highly applauded. In 1941, after his son’s marriage, he moved to Gwedna House, a smaller residence on the estate, where he died from a heart attack in 1944. 1867 - 1944 Walter Elmer Schofield 1 Schofield Walter Elmer 1785 Schulz-Briesen was born on May 11,1831 and died in Dusseldorf on February 21, 1891. He studied in Wappers with Hildebrandt, Sohn, Schadow, Vautier and Dykmann. In 1848 he traveled to Dusseldorf and at the Academy of Dusseldorf continued his studies with Hahn and Cormon. In the latter part of his life he spent time in Italy and France. In 1889 he was exposed to the Paris Salon for the first time, he gained an honorable mention. And again, in 1890 he received a third class medal for his work. He was known for his detailed, sensitive and romantic genre scenes. Like all artist of the time, portraiture was also a specialty and a easy way of procuring commissions. Museums: Dusseldorf Liege Medals: Cologne: 1871 October Literature: H.A. Muller, Biographer, Gegenw,1884 Listed: Thieme/Becker Allgemeines, Lexikon der bildenden Kunstler E. Benezit, Dictionaire Des Peintres, Sculpteurs, Dessinateurs et Graveurs 1831 - 1891 Eduard (Edouard) Schulz-Briesen Schulz-Briesen Eduard (Edouard) 1981 William Samuel Schwartz was born in Smorgen, Russia on February 23. 1896 and died in Chicago February 10, 1977. He studied at the Vilna Art School in Russia from 1908 to 1912. At the age or six-teen he immigrated to America and three years later entered the Art Institute of Chicago where he was awarded a schol-arship. To help support himself, he worked 16 hours a day waiting on tables, ushering in theatres, singing in concerts and operas. In 1912, the year after graduation from the School at the Chicago Art Institute (with honors in life study, portraiture and general excellence in painting), he made his American debut at the an-nual show of Artists of Chicago and Vicinity. Since that time his work has been seen in national and international exhibitions held in this country and abroad. Schwartz worked in oils, watercolor, lithography, and as a sculptor. Schwartz’s work has been exhibited in the Metropolitan Museum or Art; Museum of Modern Art; Whitney Museum; Pennsylvania Academy; Art Institute of Chicago; Joslyn Museum; Oklahoma Museum; Dallas Public Museum and State Muse-um of Illinois; Associated Artists Gallery and numerous other museums. His works are also included in many important private collections. He is represented in the following permanent public collections; the Art Institute of Chicago; the San Francisco Museum; the Joslyn Art Museum, Omaha; Pennsylvania Academy of Fine Arts, Philadelphia; Santa Barbara Museum or Art; Denver Art Museum; Art Alliance of Philadelphia; Encyclopedia Britannica, American Peoples Encyclopedia: Dallas Museum of Fine Arts; Library of Congress and Department of Labor, Washington. D. C.; Henry Gallery; Des Moines Art Center; Montclair Art Museum; Elgin Academy; Detroit Insti-tute of Arts; Musee Julf, Paris, France; En Herod Museum; Tel Aviv Museum, Israel, Bir-Bidjan Museum, Russia. Collec-tions of Universities of Illinois, Chicago, Nebraska, Montana, Wyoming, Minne-sota, Monticello College, Bradley, Chicago Public Schools. Oshkosh Public Museum. Union League Club of Chicago and others. In total, fifty-three museums and university galleries own William S. Schwartz’s works. He has done murals at the Chicago World's Fair or 1933; Cook County Nurses Home, Chicago; and in Post Offices at Fairfield, Eldorado, and Pitts-field. Illinois. Since 1922, Schwartz's works have been written about and reproduced in more than one hundred publications by every major art critic in the nation. He received awards for paintings and lithographs at the Detroit Institute of Arts; Art Institute or Chicago (on five dif-ferent occasions from 1927-1945); the Scarab Club of Detroit; Honorable Men-tion; Monticello College, Godfrey, Illinois; First Prize; Albert Kahn Prize, Temple Beth El, Detroit, First Prize; Covenant Club, Chicago, Prizes, 1936-1941; First National Lithography Exhibi-tion, Oklahoma Art Center, Honorable Mention; 4th National Lithography Ex-hibition, Oklahoma Art Center, First Prize; Corpus Christi Art Foundation, Corpus Christi, Texas, Honorable Men-tion; Union League Club of Chicago, First Prize. 1896 - 1977 William Samuel Schwartz Schwartz William Samuel 1722 Carl Schweninger, Sr. was considered a genre, Animal and Landscape painter from the Austrian school. He was born in Vienna on October 30,1818 and died October 13,1887. Schweninger received his formal training at the Royal Academy in Vienna. His son, Karl, Jr. and his daughter, Rosa, were also accomplished genre painters. "Not Willing" is a wonderful example of the phenomenon which popular nineteenth century paintings represented to the public. The depiction of everyday domestic scenes on as intimate - and often comical - level as possible. Even today the we are delighted by the emotion evoked between the subjects and our own emotions. Museums: Musee Vienna, " Le Laboureur et Pausage Italien" Listed: E. Benezit, Thieme Becker 1818 - 1887 Carl Schweninger Schweninger Carl 3356 Shortly after Louis Marie de Schryver's birth, the Impressionists began using the life of Paris for their artistic compositions. Everyday life of Paris was not a new subject, but what was introduced during the latter half of the nineteenth century was a growing interest in its fashionable streets and the city people who wandered through them. As the century came to a close, fashionable cafes, large-scale department stores, and World's Fairs, such as that of 1900, invited Parisians to step outside of their homes and interact with one another in the fashionable and creative center of the arts. Artists, such as Louis Marie de Schryver, became intrigued by the life along the streets and certainly with the fashionable upper society. Louis Marie de Schyrver was born in Paris on October 12, 1862. His father was a well-established journalist, but his son did not follow the same path. From an extremely young age de Schryver recognized his precocious artistic capacities and began training for his career as an artist by twelve. He was so talented that he exhibited his first works at the Salon (1876) at the age of thirteenMarguerites et Chrysanthmes (Marguerites and Chrysanthemums)andViolettes et Fleurs Printanires (Violets and Spring Flowers),two still life paintings. What is perhaps even more unusual was that at this time, he was apparently not studying under any master his entry in the Salon catalog does not denote any specific teacher, though he may have been informally studying under an artist. The following year he continued his exhibitions at the Salon while studying under Philippe Rousseau, a still life and genre painter. It was unusual, though not unheard of, for a student of such a young age to enter the school of a master, where his fellow students may have been more than a decade older than he was. He remained under the tutelage of Rousseau for a very short period, since by the next Salon he had already left his atelier and was again without a teacher. Three years later, at the age of 17, he won a bronze medal at the World's Fair of Sydney for his painting entitledLilas (Lilacs). De Schryver was clearly on a path to establish himself in not only the art world of Paris, but internationally, with themes that were attractive and appropriate for the time. He continued diligently submitting to the annual Salons, relying heavily on still lifes but also introducing portraits and genre scenes. By 1886 he had turned his attention to the daily life of Paris and began receiving commissions to paint portraits of society people. The depictions of contemporary daily life had become increasingly popular during the period of La Belle poque as artists began to depict the bustling life and the various activities taking place in Paris, recording everything from the fashionable women of the period to the architectural subtleties of the city. At the Salon of this same year he submittedMes Derniers Fleurs (My Last Flowers),a fitting title for his transitioning thematic choice, andLe Premier Jour de Printemps (The First Day of Spring), receiving an honorable mention. Two years later he became a member of the Socit des Artistes Franais. De Schryver's views of Paris began attracting a great deal of attention, not only for his technical abilities, but for the spontaneity of the scene. His depictions of flower vendors, horses and carriages and the elegant people of Paris, as well as his portrayal of street sweepers and washers were imbued with a realism and light that placed Schryver at the highest level of the Belle poque artists. Grald Schurr, in his bookLes Petits Matres de la Peinture 1820 1920(Paris ditions de l'Amateur, 1986), had the following to say about Schryver's work (pg. 173) Some of his garden spots vaguely touch on or could be compared with the Nymphas by Claude Monet Schryver demonstrates accents of passion, outbursts of pure color and tones which ring true. His scenes of Paris are often bathed in a light of rare subtlety in shades of gray the large canvas hanging in the white room at the Cambrai City Hall Le marchand des quatre-saisons (Paris Salon 1895), is a masterpiece of sensibility. By 1891, de Schryver had entered the atelier of Gabriel Ferrier (1847-1914), a genre and still life painter, after having taken a substantial hiatus from formal training. To this year's Salon he exhibited one painting entitledLa Fin d'une Rve (The End of a Dream), which earned him a third-class medal, his first medal received at the Parisian Salons. Throughout this period and until 1900, Schryver maintained a studio in Paris on the rue Pergolse, giving him ample opportunity to step outside to find his new subject matter. His work submitted to the Exposition Universelle of 1900 earned him a gold medal. This same year he left Paris and built a home in Neuilly, coinciding with a shift in his work wherein he turned to portraiture and costume painting featuring elegant men and women from a bygone era, dressed in their silks and satins. As with his earlier Paris street scenes, these paintings found a ready clientele both at home and abroad. In 1901 he exhibitedLesbiennes(Lesbians) at the Salon, a painting that many claimed was a brilliant work of art, but one that created such a scandal that it had to be removed from the show. During the early 1900s he became enamored with automobile races frequenting the popular race tracks and began to capture these images on canvas. Schurr remarked that (pg. 173) ... his work for the Salon of 1907, L'arrive du vainqueur au Premier prix de l'Automobile Club shows him to be a forerunner of the Futurist artists Giacomo Balla and Carlo Carra the viewer gets the same flashing impression as a driver would get of the thrill of color before a large crowd the sensation of speed and the rush of air is knowingly created by the soft light of the surroundings, by the power and suspense, by the trembling, by the touch of jolts cutting through the wheels. What Schurr fails to mention was that this work was shown more specifically at the Salon des Artistes Indpendants, one of the exhibitions which tried to provide artists with an outlet besides the annual Salon for the display of their work. These exhibitions were more progressive and showed an appreciation of new artistic trends that were often not recognized by the annual Salons (des Artistes Franais). These works also were linked to the increasing interest in photography during the period, which could capture what would not be discernible to the naked eye. Artists began using photography more and more not only for models, but also to pique their interest in the physical action, that could now be documented and studied. Many of Schryver's automobile works were captured in a more impressionistic style with beautiful color and quick brushstrokes, but he found little acceptance for them in the market place. By 1910, for financial reasons, he returned to his successful images of Paris at the turn or the century. Between 1919 and 1925 he traveled to the Rhineland to study and paint the landscape of this occupied territory. He returned to Neuilly many times, and, from time to time, would go back to Paris he died there on December 6, 1942 at the age of 80. De Schryver continued to exhibit at the Salons, albeit sporadically, until the end of his life. Throughout his career he had been witness to the fluctuating artistic temperament of the art world of Paris, but he had maintained similar themes throughout his career beginning early on with still lifes and portraiture, finding his greatest success with his Parisian scenes, dabbling for a short time in the culture of the automobile, but then returning to his popular Parisian scenes after also working with landscapes. Louis Marie de Schryver's images contributed to the interest in contemporary scenes of Parisian life that remained popular throughout the majority of his lifetime. His work can now be found in the following museums Cambrai Le marchand des quatre saisons, 1895Muse de la Voiture, Compigne L'arrive du vainqueur au Premier prix de l'Automobile Club, Muse de l'Arme, Paris Le drapeauMuse d'Art Moderne de la Ville, Paris Porte de Paris?Muse Tavet-Delacour, Pontoise Nature morte 1879 Tourcoing Mes dernires fleurs 1886 1862 - 1942 Louis Marie de Schyrver Schyrver Louis Marie de 3239 Specializing in ship portraits set within realistic atmospheres, Henry Scott offers historic champions of sail in his art. During his career he made the acquaintance of many 19th & early 20th century sailing captains. Earning their respect as well as developing an appreciative commercial art audience, Scott was made an honorary member of the International Association of Master Mariners. This group is often referred to as “the Cape Horners”. Scott exhibited with the Royal Society of Marine Artist from 1950 to 1966. Many of his works, while depicting majestic sailing ships, features geographically recognizable locations. Comparisons between Scott and his most noted contemporary, Montague Dawson, are easy to make: excellent detail and accuracy bended into the romantic senses of speed, movement and light which make their works rise above that of many others. Noted as an artist who, during his career, continued to explore the oceans and visualize the reality of the era’s passing, he assists the capture of the romantic essence of nautical history. Scott's works are today sought after for their strong artistic merit and historical appeal. His paintings are executed with particular care taken in the creation of a strong sense of movement and attention to the elusive elements of marine atmosphere. 1911 - 1966 Henry Scott Scott Henry 1721 Alfred Seifert was born in Horovic on September 6, 1850 and died February 4, 1901 in Munich. His first formal training was with landscape painter Alois Kirnig (1840-1911) in Prague. Seifert later studied with portrait and genre painter Michael Echter (1812-1879) at the Academy in Munich. It was while studying in Munich that Alfred Seifert developed his very distinct style of genre painting. Alfred Seifert was a painter of life in and around his home town of Horovic, Czechoslovakia. He is known for his genre scenes depicting lovely women and children. He also was a portrait painter of similar subject. He studied at de Kirnig in Prague, at de Strahuber and etching at Raab a l' academie de Munich. He worked at the Peoples Housing Project called Oberon, and Titania. He painted a picture of Philippine Welser at the Gallery de Peinture de Prague. Listed: E. Benezit Thieme/Becker 1850 - 1901 Alfred Seifert Seifert Alfred 1546 Paul Seignac was horn in Bordeaux on 12 February 1826. He became a pupil of Edouard Picot (1786-1868) in Paris, a history painter who executed a number of commissions in churches in Paris. Seignac followed a different path specializing in genre painting depicting children and rural life. This was a popular genre throughout Europe in the nineteenth century, compatriots included Simon Cahaillot (1810-1885) known as Louis Lasalle, Theophile Emmanuel Duverger (1821-1895) and Pierre Edouard Frere (1819-1886); in England artists such as William Bromley and Thomas Webster specialized in this field. Many of Seignac's works show children in endearing, if unlikely roles, "The History Lesson", "A Willing Helper", "Hard at Work", achieving an almost didactic quality. In others, children might be reprimanded for some slight misdemeanor, but all are calculated to appeal to maternal and paternal feelings. Seignac also painted rural life, outdoor scenes set in country villages, depicting charming scenes of everyday life. These works, picturesque as they are, show the germ of social realism propagated by Jules Bastion Pelage (1848-1884) and Jean Francois Millet (1814-1875) whose works enjoyed huge popularity in the latter half of the century. Seignac exhibited at the Paris Salon, making his debut in 1849, and receiving an honorable mention in 1889. His works were, and remain, popular with collectors in France, (he was represented by Galerie des Artistes Moderne in Paris in his lifetime), England and the United States. Museums: Ajaccio Corsica Reims 1826 - 1904 Paul Seignac Seignac Paul 1784 Born in New London, Connecticut, on January 24, 1886 and died in Erie, PA. on January 25, 1924. He received his formal education at the Arts Students' League in New York with Charles Woodbury and Birge Harrison. Selden also studied with Frank Duvenech in Cincinnati, Ohio. He exhibited at the Pennsylvania Academy of Fine Arts in 1910 and 1911. He was a very active member of various organizations: Lyme Art Association, American Watercolor Society, Allied Artists Association, Artists Fun Society NY, Connecticut Academy of Fine Arts, the National Arts Club (established in 1898 in New York to foster applied arts) and the Salmagundi Club (established 1871) which was an early, very important art club in New York City. It heldregular exhibitions and housed collections. Membership was by election. Selden was awarded the Flagg Prize at the 1929 Connecticut Academy of Fine Arts and again in 1931. He later became Associate Professor of Fine Arts at Connecticut College. Listed: Who's Who in American Art page 557 E. Benezit Volume 9, Page 914 Dictionary of American Artists of the 19th and 20th Century Page 295 Pennsylvania Academy of Fine Arts Annual Exhibition Records Page 432 1886 - 1934 Henry Bill Selden Selden Henry Bill 1915 Praised by the Editor of The Artist as 'one of England's greatest living woman painters', he commented upon the particular attraction of Dorothea Sharp's art, no other woman artist gives us such joyful paintings as she. Full of sunshine and luscious colour, her work is always lively, harmonious and tremendously exhilarating . . . the chief attractions of Miss Sharp's delightful pictures are her happy choice of subjects, and her beautiful colour schemes. Rollicking children bathed in strong sunlight, playing in delightful surroundings, her subjects appeal because they are based on the joy of life. In addition, she presents them equally happily, with a powerful technique which enables her to make the most of her wonderful sense of colour' (Harold Sawkins, The Artist, April 1935, pp.55 - 8). Born at Dartford in Kent, it was not until the age of twenty-one that Sharp seriously took up painting. The death of an uncle who left her one hundred pounds enabled her to study at the art school run by C E. Johnson, RI, in Richmond, Surrey, and she then attended the Regent Street Polytechnic where she was greatly encouraged by Sir George Clausen and Sir David Murray, visiting critics to the Polytechnic Sketch Club. It was in Paris that Sharp achieved her complete artistic development. There she studied under Castaluchio, _from whom she states she leamt all she knows'. It was the works of Monet, however, that were to have a profound and lasting effect on her art, resulting in the highly impressionistic and spontaneous style that she was to adopt for the rest of her life. Sharp exhibited regularly throughout her career at many institutions including the Royal Academy, the Royal Society of British Artists, the Royal Institute of Oil Painters and the Society of Women Artists of which she acted as President for four years. She held her first _one-woman' show at the Council Gallery in 1933, which proved a great success and was constantly attended by admiring visitors. Although primarily a painter of pictures, Sharp also designed posters and covers for magazines, and wrote a series of articles on Oil/ Painting, which first appeared in The Artist, and were later published by James Council and Sons. 1874 - 1955 Dorothea Sharp 1 Sharp Dorothea 1720 Joseph Henry Sharp a painter, illustrator and teacher, particularly noted for his depictions of the life in New Mexico in the early 20th century. Born in Bridgeport, Ohio 1n 1859, Sharp made his way to Cincinnati to study at the McMicken School of Design and then at the Cincinnati Art Academy. In 1881, he went to Europe, studying with Charles Verlat in Antwerp, and on successive trips with Carl Marr in Munich and Benjamin Constant and Jean Paul Laurens in Paris. From 1892 to 1902, he taught the life class at the Cincinnati Art Academy during the winter, leaving his summers free for sketching trips which covered the entire West. In 1902, Sharp began spending several months each year in Taos, New Mexico, painting the Pueblo Indians. in 1909, he acquired a permanent studio there, and became a charter member of the Taos Society of Artists in 1912. Sharp's visits to Hawaii produced brilliant landscapes, seascapes and florals, known for their pastel shades and feathery touch. Sharp finally settled in California, painting beautiful desertscapes and traveling up and down the coast doing landscapes and seascapes that inspired him. He died in Pasadena in 1953. Memberships: American Federation of Artists California Print Makers Society Cincinnati Art Club Salmagundi Club Taos Society of Artist Public Collections: Academy of Natural Sciences, Philadelphia Amon Carter Museum of Western Art, Fort Worth, Texas Butler Art Museum, Youngstown, Ohio Cincinnati Art Museum Herron Art Institute, Indianapolis Houston Museum of Fine Art Museum of Santa Fe, New Mexico Smithsonian Institution, Washington, D.C. 1859 - 1953 Joseph Henry Sharp 1 Sharp Joseph Henry 1783 Aaron Draper Shattuck, a landscape, portrait and animal painter, was closely associated with the White Mountain School. Though he was quite popular with his contemporary public, today his works are relatively unknown; they remain privately held in collections of his descendants. Shattuck also was a successful inventor. Born in Francestown, New Hamphire in 1832, Shattuck first studied portrait and landscape painting with Alexander Ransome in Boston. By 1852, Shattuck had moved to New York City with his teacher. There he enrolled in classes at the National Academy of Design, financing his studies with portrait commissions. Beginning in 1854, Shattuck, like other second-generation members of the Hudson River School, made summer etching trips in New York State and New England. He then painted romantic mountain scenes of trees, rocks and water during the winter in his New York city studio. He was popular with fellow artists John E Kensett, James D. Smillie, Samuel Coleman, Asher B. Durand and William Sidney Mount. He collaborated with Asher B. Durand and Mount on several paintings. Shattuck spent a summer Coleman's New Hampshire camp 1856, and later married Coleman's sister. Shattuck work is not flashy, but quietly romantic. He preferred to paint on small canvases, giving a feel of intimacy to the work. His paintings have a photographic quality, in part because of the scientific precision with which he rendered foreground detail. Shattuck was equally adept at suggestion in his treatment of backgrounds. By 1861, Shattuck was a member of the National Academy of Design. He moved from New York City to Ganby, Connecticut in 1870. During this period, he achieved recognition as a cattle and sheep painter. Shattuck was stricken with a serious illness in 1888, after which he painted virtually nothing. At the time of his death in 1928, he was the oldest living member of the National Academy of Design. At that time, more than 600 of his paintings remained in his studio, representing 37 years of painting. 1832 - 1928 Aaron Draper Shattuck Shattuck Aaron Draper 1719 Mary Clare Sherwood was born in Lyons, New York and Died in Vicksburg, Mississippi. She was a painter that mostly worked in the medium of oil or watercolor. She mainly painted landscapes of the regions were she was living. Ms. Sherwood studied in New York at the Art Students League with Julian Alden Weir, William Merritt Chase and at Woodstock, New York with Kenyon Cox. Her studies took her to Europe to study with Conrad Fehr and Curt Hermann in Berlin and F. Edwin Scott in Paris. Exhibited: Louvre, Paris Southern States Art League Mississippi Art Association Women's Federation of Clubs, Mississippi, 1933 National Association of Painters and Sculptors Listed: American Art Annuals, v. 5-10 and 30 Who Was Who in American Art, v. 1- 3 Dictionary of Women Artists, by Chris Petteys 1868 - 1943 Mary Clare Sherwood Sherwood Mary Clare 1782 New York, at the turn of the century, was poignantly recorded by a group of pioneering artists commonly referred to as the Ashcan School. The Ashcan School, composed of Robert Henri, William Glackens, George Bellows, George Luks and Everett Shinn, portrayed New York with a fresh and uncompromising manner that was unparalleled at the time. Contrary to prevalent aesthetic theories that touted style and execution, the Ashcan school believed that subject and meaning represented the elements most important to a work; these artists responded reverently to the everyday experiences of urban living. Similar to his colleagues, Everett Shinn investigated the drama of city life whether it was out in the gritty streets or in crowded playhouse. Of the Ashcan school, Shinn is best known as a pastelist, a position of prominence he achieved early in his career. Through his deft handling of the medium, Shinn translated powerful images of city life that had never been fully explored in pastel. Shinn's interest in theater dates back to his childhood in Woodstown, New Jersey, where he faithfully attended local parades, carnivals and shows. Early in his career as a magazine illustrator in Philadelphia, Shinn put on plays at Robert Henri's Walnut Street studio. In New York, Shinn built a small theater in his home on Waverly Place which could seat as many as fiftyfive people. The artist wrote, directed and produced numerous plays as well as organized a group of actors known as "The Waverly Street Players." In his travels to London and Paris in 1900 the artist attended numerous operas, plays and concerts which fostered an even greater fascination with theater. As a result of Shinn's experiences with European entertainment the artist after 1900 began focusing more intently on images of the theater rather than diverse activities of the streets in New York. Shinn was particularly drawn to vaudeville, a form of entertainment comprised of variety shows. Vaudeville since the late nineteenth century, was extremely popular attracting both working and middle class men and woman. By 1912, New York was the national center of vaudeville with prominent theater houses located throughout all the boroughs. Working with pastel, Shinn developed an innovative technique that rendered the medium more dense and painterly, contrary to its conventionally delicate and fragile nature. With a preconceived color composition, Shinn would apply quickly areas of color to a large dampened sheet of paper. As the pigments deed, the delicate, soft quality of the pastel transformed into a hard, opaque medium of intense color. Shinn's superior control of the pastel medium was recognized early on by many critics. A.E. Gallatin commented in 1906: "Shinn is a master of pastel; he knows thoroughly both the possibilities and the limitations of his medium. The material is never strained in endeavoring to get too much out of it; and if technically his pastels are great achievements, pictorially they are also... Shinn has a great contempt for everything academic and does not believe in art schools. This disregard for precedent and academic law has resulted in a decided freshness of vision." (As quoted in E. DeShazo, Everett Shinn: A Figure of His Time, New York, 1974, p. 58-59) 1876 - 1953 1 Everett Shinn 1 Shinn Everett 1933 Claire Shuttleworth was born in Buffalo, New York in 1868. She studied art at the Buffalo Art Students League under George Bridgman, in Paris with LucOliver Merson, Raphael Collin and Paul Leroy and in France and Italy with Frank DuMond. She was a member of the Buffalo Society of Artists, American Federation of Arts and she joined the Rockport Art Association in 1923. Her paintings were exhibited extensively, including at the St. Louis Exposition in 1904, the PanAmerican Exposition in Buffalo and at the PanamaPacific Exposition, of 1915, in San Francisco. She also exhibited with the Buffalo Society of Artists, at the New York Water Color Club and with the American and Pennsylvania Societies of Miniature Painters. Her works were shown at the Pennsylvania Academy of Fine Arts, in numerous shows in London, Paris, and Rome and at the Arnot Art Gallery in Elmira, New York. She exhibited with the Society of Independent Artists between 1917 and 1925, with most of the works shown having a title referring to the Niagara Falls and River. A series of her paintings, drawings and sketches, of scenes along the Niagara River, was organized, in 1920, by the Albright Art Gallery in Buffalo, New York. 1868 - 1930 Claire Shuttleworth Shuttleworth Claire 2078 Oswald Adalbert Sickert was born in Altona, Germany, which is a small town just outside Hamburg, Germany. Although born in Germany, Sickert is considered a painter of dramatic genre, landscapes and an engraver from the English school. Sickert was the son Johann Jurgen Sickert (1803-1864), who was also a painter end engraver. He and his wife Eleanor Louisa Henry- Sickert had two sons, British impressionist Walter Richard Sickert (1860-1942) and Bernhard who was a painter and architectural engraver. Oswald A. Sickert received his formal training from his father and at the Copenhagen Académie in Denmark from 1844 to 1846. In 1852, he traveled to Munich to complete his studies. Upon completion of his studies, Sickert would move to Paris and work for six months in the house of a local Couture before leaving permanently Europe for London. Sickert would open a studio in London and eventually become a British citizen. His successful career as an artist included exhibitions at the British Institute, Grosvenor Gallery and several additional galleries in London. Museum: Musée Budapest, Retour de la moisson Listed: E. Bénézit, vol. IX, pg. 583 Dictionary of Artists, Graves. Pg. 254 1828 - 1885 Oswald Adalbert Sickert Sickert Oswald Adalbert 2097 Louis Bassi Siegriest was born Feburary24, 1889 in Oakland California to a very wealthy family. He was the son of Louis Napoleon Siegriest and Emilia Bassi. His father had gone from driving the first horse-drawn streetcars in Oakland to making a fortune in the heating oil business and then went into making acetylene gas machines for home gaslights. He married Emilia Bassi in 1888. They built a large Victorian house where Louis was born and lived for the rest of his life. At the age of 15, Siegriest was showing a strong interest in art which his parents encouraged. He enrolled at night in the California School of Arts and Crafts while attending high school during the day. Siegriest’s interests at first were as a cartoonist and won a "San Francisco Chronicle" comic strip contest. In 1917, Bernard von Eichman (1899-1970), a good friend and classmate at the Arts and Crafts School, encouraged Louis to transfer with him to the California School of Fine Arts on Nob Hill in San Francisco, where they studied with Frank Van Sloun (1879-1938). Both boys later studied with Van Sloun at his school. Having studied with Robert Henri at the Chase School in New York, Van Sloun was the first teacher to introduce Henri’s social-realist philosophy that artists had to listen to their own instincts and paint what seemed relevant to their lives, not what was fashionable in Europe. Around 1917, Siegriest and Von Eichman became the youngest members of the Society of Six led by Selden Gile (1877-1947), who had also studied with Von Sloun. The group included William Clapp (1879-1954), Maurice Logan (1886-1977), and August Gay (1890-1948). They were based in Oakland and focused on California scenes as their subject using an aggressive Fauvist palette with a loose style rooted in Impressionism. The Group of six was rebelling against William Keith’s somber Tonalism and traditional realism of the last century. Von Sloun’s ideas may have helped the Group of Six appreciate their Americanness: while in Philadelphia and New York, Ashcan artists used the city as their subject, in California the “real world” was still nature. The Six actively exhibited in Oakland through the 1920’s before disbanding. During the 30’s and the Depression, Siegriest traveled east finding occasional work as a commercial artist on assignments in Seattle, Dallas, Chicago, and Milwaukee as well as for the "San Francisco Chronicle." Returning to California, he worked in advertising for Maurice Logan and did poster work for the WPA. In 1945, he became a full-time painter and from 1948 to 1951 taught at the Art Students League of San Francisco. Poor eyesight caused him to stop painting in the 1970s and after a long successful career as a commercial artist and respected painter with styles ranging from impressionism to abstracts in mixed-media, Louis Bassi Siegriest died in Oakland in 1989. Museums: Oakland Museum, Oakland, CA Crocker Art Museum, San Francisco, CA San Francisco Modern Art Museum The Fred Jones, Jr. Museum of Art, Norman, OK 1889 - 1989 Louis Bassi Siegriest 1 Siegriest Louis Bassi 2055 Francis A. Silva was born on October 4, 1835 in New York City and died March 31, 1886. He was one of two children born to Francis John Silva (little is know about his mother except that she was born in New York). As a schoolboy, Silva exhibited pen drawings at the American Institute. However, Silva’s parents did not want him to pursue art as a career. So, he apprenticed to several trades before ending up with a sign painter. He worked in that trade until the out break of the Civil War in 1861. Silva wouldn’t begin his art career until after service in the Seventh Regiment of the New York State Militia during the Civil War. Advancing from lieutenant to captain, Silva was soon stricken with "miasmatic disease." He was dishonorably discharged for desertion when he left his regiment, but was soon reinstated. In 1868, Silva would marry Margaret A. Watts in Keyport, New Jersey. His debut as a painter was at the National Academy of Design’s annual exhibition of 1868-1869. Silva’s earliest known painting, however, is Cape Ann (1870, Coe Kerr Gallery). Silva developed a reputation as a marine painter. He became known for exaggerating and intensifying natural effects of light and air for poetic purposes. His subtle manipulation of light and atmosphere was an aesthetic device that transcended naturalism and became an almost abstract means of expressing sentiment. Silva became known as one of the leaders in the American Luminist movement. By 1870, Silva had evolved, for a self-taught artist, a remarkably skillful technique and a repertoire of marine subject and atmospheric effects that varied little for the rest of his life. He evolved from the somewhat tentative handling of such early canvases as Sunrise: Marine View (1870, Hirschl and Adler Galleries) to the crisper forms of such later works as View Near New London, Connecticut (1877, Brooklyn Museum). "We have few artists who are so accurate in drawing or so conscientious in the rendering of detail," an Art Journal critic wrote in 1880, "but it is to be regretted that he does not modify the occasional crudeness of the coloring of compositions which have so many excellent qualities." Although his luminous technique led to his election to the American Water Color Society in 1872, he was primarily known for his late paintings, which were nearly impressionist in feeling. Just before he died in 1886, Silva painted A Summer Afternoon at Long Branch (1885, National Gallery of Art), considered his masterpiece. MEMBERSHIPS: American water Color Society PUBLIC COLLECTIONS: Broad Street Trust, Boston Brooklyn Museum National Gallery of Art, Washington, D.C. Peabody Museum of Salem, Massachusetts 1835 - 1886 Francis A. Silva 1 Silva Francis A. 3295 Nicola Simbari (1927- In Calabria, there are records going back hundreds of years of “Simbari” as a family name, yet Nicola Simbari is the first of that long line to be an artist. His father was an architect and builder; in his mother’s family, the legal profession is a tradition, and most of its members are lawyers. Simbari has two brothers and two sisters, none of whom are artists. One cannot explain the emergence of a highly gifted illustrator, stage designer, muralist, painter and sculptor from such ancestry except by conceding that genius is a mystery for which there is no explanation. At a very early age, Simbari was exposed to artistic influences. He was born in San Lucido, a fishing village in Calabria, but when he was three years old his father moved the family to Rome, where he was employed as an architect and builder in the Vatican museums, and by the time, he was seven he knew and loved the Michelangelo frescoes in the Sistine Chapel. The Sistine frescoes are a monumental blend of architecture and painting, and during the fours years Simbari spent at the Accademia delle Belle Arti in Rome, he studied both painting and architecture, excelling in the latter to such degree that he was made a member of the Accademia’s faculty in architecture. However, painting was his real interest and soon he relinquished the post in order to concentrate on painting. Simbari’s first one-man show of paintings was in Rome in 1953, and in that same year he won an award for best stage design for a musical, “Tarantella Napoletana” produced in Rome. In 1954, the Italian State awarded him a gold medal for a poster entered in a national competition. Three years later, he had his first one-man show in London and in 1958; he won the coveted honor of being commissioned to paint the murals for the Italian Pavilion at the World’s Fair in Brussels. Since his first one-man show in Rome in 1953, many important private collectors in both Europe and America have acquired Simbari’s paintings. They form part of the collection of the Virginia Museum of Fine Arts, the Liberty Company in London, and the Christian Dior Collection in France. In the United States, his work has become widely known through the frequent exhibitions presented by Wally Findlay Galleries. As a painter, Simbari initially was interested in mainly the avant-garde movement. Braque was his first god, followed by Miró, but gradually he became involved in an effort to tell a story with his paintings, so he changed to a more introverted approach, meanwhile developing an admiration for Gauguin, Van Gogh and de Staël. To those who know his work today, it may come as a surprise to learn that his early work, resulting from the more introverted approach, consisted mainly of very small paintings done in egg tempera and entirely with brushes, somewhat in the manner of Vermeer, whom he still greatly admires. In these small paintings, the colors were somber and much ochre and gray were employed. Simbari gradually found himself freed from influences, developed the style now recognized as Simbaresco. He defines himself as a figurative artist who went through Abstract Expressionism, Geometric Abstraction and a number of other styles of painting, but who has always been and still is a figurative painter because his greatest interest is in people. Nicola Simbari Simbari Nicola 2922 Alfred Sisley was born Oct. 30, 1839 in Paris, France and died Jan. 29, 1899 in Moret-sur-Loing. He was one of the leaders of the French Impressionism movement. Sisley was born in Paris of English parents. After his schooldays, his father, a merchant trading with the southern states of America, sent him to London for a business career, but finding this unpalatable, Sisley returned to Paris in 1862 with the aim of becoming an artist. His family gave him every support, sending him to Gleyre's studio, where he met Renoir, Monet and Bazille. He spent some time painting in Fontainebleau, at Chailly with Monet, Bazille and Renoir, and later at Marlotte with Renoir. His style at this time was deeply influenced by Courbet and Daubigny, and when he first exhibited at the Salon in 1867 it was as the pupil of Corot. By this time, however, he had started to frequent the Café Guerbois, and was becoming more deeply influenced by the notions which were creating Impressionism. During the Franco-Prussian war and the period of the Commune, he spent some time in London and was introduced to Durand-Ruel by Pissarro, becoming part of that dealer's stable. In the mean time, his father had lost all his money as a result of the war, and Sisley, with a family to support, was reduced to a state of penury, in which he was to stay until virtually the end of his life. He now saw himself as a full-time professional painter and part of the Impressionist group, exhibiting with them in 1874, 1876, 1877 and 1882. His work had by this time achieved complete independence from the early influences that had affected him. In the 1870s he produced a remarkable series of landscapes of Argenteuil, where he was living, one of which, The Bridge at Argenteuil (1872; Brooks Memorial Gallery, Memphis, USA) was bought by Manet. Towards the end of the decade Monet was beginning to have a considerable influence on him, and a series of landscape paintings of the area around Paris, including Marly, Bougival and Louveciennes (1876; Floods at Port-Marly, Musée d'Orsay), shows the way in which his dominant and evident lyricism still respects the demands of the subject-matter. From his early admiration for Corot he retained a passionate interest in the sky, which nearly always dominates his paintings, and also in the effects of snow, the two interests often combining to create a strangely dramatic effect (1880; Snow at Véneux; Musée d'Orsay). Naturally different, he did not promote himself in the way that some of his fellow Impressionists did, and it was only towards the end of his life, when he was dying of cancer of the throat, that he received something approaching the recognition he deserved. 1839 - 1899 Alfred Sisley Sisley Alfred 1781 William A. Slaughter was born in San Antonio, Texas June 9, 1923, and he died on December 22nd 2003. His first call was to the ministry and after serving in the Air Force during WW2, he was ordained as a Lutheran pastor. This calling took him first to Lubbock, Texas, Mexico, and finally Dallas. It was during this ministry in Mexico that Mr. Slaughter began seriously to hear another call.Slaughter began painting and exhibiting at local art and craft shows after moving to Dallas. His church members began buying his paintings and before long he knew that he was going to have to make a life changing decision between theMinistry and art. Bill first belonged to and exhibited with the Artists and Craftsmen's Association of Dallas. In 1968, he was awarded first in landscape painting. In 1973, he was awarded first in still life painting.Bill was mostly self taught. He had the innate ability to capture anything on canvas and the patients to work at it until he had perfected each subject. Bill has worked hard at trying to please everyone and their individual requests. Everyone's favorite subject, Texas landscape, has been so popular that it has kept his many other talents secret. William A. Slaughter has mastered every subject in realism figure paintings, still life, wild life and ethnic women and children. Unfortunately an artist's career is governed by the public which leaves the talents of many artists undiscovered. 1923 - 2003 3 William A. Slaughter 1 Slaughter William A. 1718 George Sloane was born in Salem, Mass. He was educated at the Boston Museum School, where he met and later married fellow artist, Marion Parkhurst (1875-1955). Although few records are available, Sloane exhibited twice at the Pennsylvania Academy of Fine Art. In 1896, he exhibited a painting called "Miniature", # 32. In 1898, he exhibited "The Connoisseur", # 407. Sloane also exhibited at the Chicago Art Institute from 1896 to 1898. Like many other American artist of the 19th Century, Sloane traveled to Europe to seek better education. He lived in and studied in Paris from 1899 to 1902. It was during this time that he started signing his paintings with Paris as part of his signature. Sloane was a member of the Providence Art Club where he exhibited his paintings. LISTED: The Annual Exhibition Record of the Pennsylvania Academy of Fine Art, 1876-1913 Index of Artists, Mallett, p. 408 American Art Annual, A. 12 Who was Who in American Art, p. 574 The Annual Exhibition Records of the Art Institute of Chicago, 1888-1950 Unknown George Sloane Sloane George 1734 George Henry Smillie was a significant figure among American Landscapists of the last century. His career began before the Civil War and ended after the First World War. Trained in the manner of the Hudson River School, Smillie eventually loosened his brushstroke and heightened his palette to produce works which paralleled the interests of the American Impressionists. But he never abandoned the firm compositional structure of his formative years. He made trips to many parts of the country, including one to the Rocky Mountains which provided him with material for many paintings. It is for his scenes of the farms and shoreline of Long Island and New England, however, that he is best known. Mr. Smillie was born in New York City in 1840. His father, James Smillie, was a well known engraver, and as a boy George studied under him. He also studied painting with James McDougal Hart, an important landscape painter of the period. Two older brothers, James, Jr. and William, also became artists and engravers. In 1871, Smillie made a trip to the Rocky Mountains and the Yosemite Valley of California, to sketch and paint. He used the material he gathered for years afterward for oils and watercolors. Most of his paintings were mountain landscapes, but some also included the Indians then native to the two regions. Smillie also traveled to Florida to paint, but for most of his life he lived and worked in the New York City area. In 1881, He married Nellie Jacobs, a genre painter who had been a student of his brother James, and for many years the three shared a studio in suburban Bronxville. He died in Bronxville in 1921. Exhibited: New York Etching Club, 1884 Salmagundi Club, 1883 American Art Association, New York City, 1885, Prize Saint Louis Expo, 1904, Medal American Art Society, Philadelphia, 1907, Medal Public Collections: Corcoran Gallery of Art, Washington, D.C. Metropolitan Museum of Art, New York City Oakland Museum, California Rhode Island School of Design, Providence Memberships: American Watercolor Society National Academy of Design 1840 - 1921 George Henry Smillie Smillie George Henry 1735 Active in New York for her entire career, Nellie Jacobs Smillie studied at the National Academy of Design and the Cooper Union, and privately with J.O. Eaton and James D. Smillie. In 1881, she married the painter George Henry Smillie, younger brother of James. MEMBER: American Watercolor Society LISTED: American Art Annual, v.3-10 Mantle Fielding's Who Was Who In America 1854 - 1926 Helen Sheldon Jacobs Smillie Smillie Helen Sheldon Jacobs 1780 James David Smillie was the eldest son in a family of engravers and painters. His etchings, dry points, aquatints and lithographs were probably his most significant contribution to the art of his period, but later in his career he achieved status as a landscape painter. Like that of his younger brother, George, also a landscapist, his work was influenced by the earlier Hudson River School of painters. He landscapes, however, had a certain dryness, probably a carry-over from his years as an engraver. Smillie was born in New York City in 1833. His father was a well -known engraver and, working with him, James made his first engraving plate when he was eight. He collaborated with his father until he was 31, working largely on bank note vignettes. In1857, the pair also made the engravings for Emory's Mexican Boundary Survey. Even after taking up painting, Smillie continued his interest in engraving. For Volume 1 of Picturesque America, published in 1872, he wrote the section on the Yosemite Valley and illustrated it with some 20 engravings. After a trip to Europe in 1864,he turned to landscape painting. His favorite scenes were mountains, and he painted many noted American ranges from the East and West. In color an 1833 - 1909 James David Smillie Smillie James David 3107 Smith was born on May 2, 1880, in Grand Rapids, Michigan, and died on November 7, 1961, in Boiling Springs, Pennsylvania. He was in Old Lyme, 1910-61. Gregory Smith (he always called himself that, though he signed somc paintings with his full name) moved to Old Lyme from his hometown of Grand Rapids, Michigan, in 1910, at the encouragement of his friend Will Howe Foote. Smith, who was thirty at the time, had studied a couple of years at the Chicago Art Institute and was anxious to meet the many well-known artists staying in Old Lyme. Gregory Smith admired a number of the artists associated with the colony, particularly Childe Hassam. and Willard Metcalf. He respected Metcalf's ability to record the essence of the New England countryside — from panoramic views to intimate woodland scenes. Metcalf's interest in painting both moonlight scenes and winter landscapes influenced Smith to make these his specialty. Hassam's imprint on Smith is illustrated in Smith's painting of the Bow Bridge (cat. 206, illus. p. 148). Both painters utilized strong apostrophe-like brushwork and high-key colors to record a sense of veiled luminosity. When Smith and his wife Annie first came to Old Lyme, they rented the Brick Store, a local landmark that was near the present site of the Lyme Art Association. They frequently had meals at Miss Florence Griswold's house and Gregory Smith sometimes boarded there with other colony members for several months at a time when Mrs. Smith took the children to Florida. Admired for his sharp wit, Smith was often in on the antics and practical jokes the artists played on one another. In 1916 the Smiths built a house and studio on Sill Lane in Old Lyme, where they lived for the rest of their lives. A beautiful arbor connected the studio to the house. Tragically, a fire in 1925 totally destroyed the studio and most of the work the artist had accumulated to that time. Although Smith was not so commercially successful as some of the Old Lyme group, the artists held him in high regard as a painter. Several of the most prestigious exhibition prizes of the Lyme Art Association were awarded him, including the W. S. Eaton Purchase Prize in 1922, the Woodhull Adams Memorial Prize in 1927, and the Goodman Prize in 1931 and 1936. In 1977 a small retrospective of Smith's work was shown at the Lyme Historical Society. Smith served as president of the Lyme Art Association for more than twenty years, from 1934-58. Later he managed the association's gallery and enjoyed a bit of local fame with his "Janitor" series of newspaper articles about the activities of the association. Smith also had an absorbing interest in politics and was involved for years in Republican activities in Old Lyme. He was a charter member of the Old Lyme Volunteer Fire Department, organized in 1923. Further reading: Notes on the Florence Griswold House by Gregory Smith. Lyme Art Association Papers. Lyme Historical Society Archives. Paintings by Gregory Smith. Exh. cat., Lyme Historical Society, 1978. 1880 - 1961 Edward Gregory Smith 1 Smith Edward Gregory 2025 The artist and writer, Francis Hopkinson Smith began his career as a mechanical engineer. Among his important projects is the pedestal of the Statue of Liberty. Smith, who was born in Baltimore, began his career as an artist in the early 1870s. He was essentially self-taught. Watercolor, the first medium he explored, became the mainstay of his art throughout his life. By the late 1870s he had moved to New York and become a member of the Tile Club, where he fraternized with the prominent young artists of his day including William Merritt Chase, Winslow Homer, J. Alden Weir, John H. Twachtman, and Augustus Saint-Gaudens. In the course of his career, Smith traveled extensively, visiting Europe, Turkey, and Mexico. Venice, Holland, and Spain were among his favorite painting grounds, and he wrote and illustrated articles and books about these localities. Indeed, Smith was also a prominent and highly successful author. He wrote twelve novels and numerous books and magazine articles. After the turn of the century, he began to work in an Impressionist style. His works were collected by important patrons including John Jacob Astor, Charles E Havermeyer, Isabella Stewart Gardner, and William Thompson Walters. 1838 - 1915 Francis Hopkinson Smith Smith Francis Hopkinson 1733 Frank Vining Smith combined his love of the sea with his skills as a magazine and newspaper illustrator to produce compelling maritime oils and watercolors. Born in Massachusetts in 1879, Smith studied at the Boston Museum of Fine Arts School with Frank Benson and Edmund Tarbell. He began his career as an illustrator with the Boston Globe newspaper, and he contributed to leading leisure magazines, including Yachting, Field and Stream and Outdoors. Smith held his first one-man exhibition in 1922, and was subsequently exhibited regularly in New England and in New York City galleries. He was a consummate sportsman, enjoying hunting, fishing and sailing. A member of the Blue Water Cruising Club, Smith gained his maritime experiences first-hand-taking to the sea for pleasure and for study. Though he painted schooners, clipper ships and whalers, the clipper ships held the most appeal for him. The artist painted the ships in oceanic calm as well as the turbulence of stormy seas. Perceptually authentic, Smith's paintings are largely representational, and yet each is infused with the artist's own experience and imagination. Drawing on the differences of the ships and the varying moods of the sea, each of Smith's paintings is distinctly individualistic. Smith died in 1967. Public Collections: Mariners Museum, Newport News, Virginia 1879 - 1967 Frank Vining Smith Smith Frank Vining 1732 A specialist in marine and landscape views, Henry Pember Smith was born in Waterford, Connecticut in 1854. Little is known about his early training or his career before 1877, when he set up a studio in New York City. It is generally assumed that he was self- taught. From 1877 on, Smith exhibited regularly at the National Academy of Design, although he never became a member. Smith also exhibited at the American Watercolor Society and the Artists' Fund. His landscapes are his best known works, particularly those of New England, Spain, Italy, England, New York State, and France. These also indicate his love of travel and some of his best known works are Venetian scenes. Working primarily in oils and watercolors, and using a tighter technique than the emerging impressionists of his time, Smith was a true realist. Around 1901, Smith moved to Asbury Park, New Jersey to seek relief from ill health and rheumatism. He died there in October, 1907. Public Collections: Butler Institute of American Art, Youngstown, OH Chrysler Museum of Art, Norfolk, VA Francine Clark Art Institute, Williamstown, MA George Walter Vincent Smith Museum, Springfield, MA Museum of Art at Brigham Young University, Provo, UT Museum of Fine Arts-Springfield, Springfield, MA Norton Museum of Art, West Palm Beach, FL Robert Hull Fleming Museum University of Vermont, Burlington, VT The Brooklyn Museum of Art, Brooklyn, NY The Hudson River Museum, Yonkers, NY The Mattatuck Museum of the Mattatuck Historical Society, Waterbury, CT The Newark Museum, Newark, NJ Wadsworth Athenaeum Museum of Art, Hartford, CT Yale University Art Gallery, New Haven, CT Publications: Who Was Who in American Art, Falk American Paintings before 1945 in the Wadsworth Athenaeum (2 Vols.), Elizabeth Mankin Kornhauser Connecticut Masters: Fine Arts and Antiques Collections of Hartford Steam, Ed: Hartford Boiler Coll. Venice/The Artist's Vision Guide to British and American Painters, Julian Halsby American Paintings and Sculpture Sterling & Francine Clark Institute, Martha C. Conrads The Annual Exhibition Record of the Art Institute of Chicago, Peter Hastings Falk (Editor) Annual Exhibition Record, 1876-1913, Pennsylvania Academy of the Fine Arts, 1988, Peter Hastings Falk (Editor) 300 Years of American Art (two volumes), 1986, Michael David Zellman Exhibition Record 1861-1900, National Academy of Design (Two Volumes), Maria Naylor 1854 - 1907 Henry Pember Smith Smith Henry Pember 3186 John Brandon Smith was a London landscape painter who exhibited from 1859 to 1884 at the Royal Academy. From 1860 to 1874 he exhibited at The British Institute and also at the Royal Society of Artists, Suffolk Street. Titles at the Royal Academy included “View in Surrey 1860”, “On the Lledr, 1867” and “Caldron Linn, Perthshire, 1874”. He is most commonly known for his pictures of rivers and waterfalls, which have been confused in the past with the work of James Burrell Smith. Died fl 1848-1891 John Brandon Smith Smith John Brandon 3209 Thomas Lochlan Smith was born in Glasgow, Scotland and came to America as a young boy destined to be a landscape painter. He resided in Albany, New York by 1859 where he studied with George H. Boughton and moved to New York City three years later (1862 until his death) an astute landscape and figure painter. He was an Associate of the National Academy (1869) and exhibited with the Boston Art Club (1873-1882), the National Academy of Design in NYC (1863-1884) and the Brooklyn Art Association (1864-1883), the PAFA and the Philadelphia Centennial Exhibition (1876). Who Was Who in American Art states (vol. 3, p. 3092) Smith “specialized in winter scenes.” He was influence by the Hudson River and Barbizon Schools and usually painted charming, luminous genres in nature that give glimpses into the rural life of the mid-1870s. P.J. Pierce 1835 - 1884 Thomas Lochlan Smith Smith Thomas Lochlan 1731 Marine, landscape, portrait, and historical painter. Xanthus, son of Russell and Mary Prisicila (Wilson) Smith, was born at Philadelphia on February 26, 1839. He studied medicine at the University of Pennsylvania from 1856 to 1858, during which period he also began exhibiting landscapes at the Pennsylvania Academy of the Fine Arts. He studied painting at the Academy in Philadelphia, and at the Royal Academy in London. During the Civil War he saw active service in the South and painted many naval and land battles. After the war he devoted himself chiefly to marines and landscapes until his later years when he turned to portraits. For many years he had a summer home at Casco Bay (Maine); his winters were spent at Edgehill, near Philadelphia. He died at Edgehill on December 2, 1929. Literature: Washington Art Association, Cat., 1859 Antiques, Nov. 1951, v 39 American Collector, Oct. 1945, v 11 Listed: Dictionary of Artists in America, 1564-1860, p. 591 Index of Artists, Mallett, p. 411 Three Hundred Years of American Art, Zellman, p. 303 Who Was Who in American Art, Falk, p. 580 Public Collection: Pennsylvania Academy of the Fine Arts Mariner's Museum Boston Museum of Fine Arts Delaware Historical Society Colby College, PA Exhibited: Pennsylvania Academy of the Fine Arts, 1876-1887 1839 - 1929 Xanthus Russell Smith 1 Smith Xanthus Russell 3155 Born in Richmond, England, on September 29, 1858, Henry Bayley Snell was the son of Edward and Elizabeth Snell. At the age of seventeen Henry immigrated to the United States and studied painting at the Art Students League in New York in 1882-1883, 1888, and 1889¬1890. In 1888 he married the artist Florence Francis, who was also a native of England. In the early 1880s Snell worked for a printing and etching house called the Photoengraving Company, where he met another aspiring young artist, William L. Lathrop. The two quickly became friends, and in the mid-1880s spent several weeks sailing and painting on Lake Erie near Lathrop's ancestral home in Painesville, Ohio. They also traveled to England together in 1888. The Snells' first visit to Bucks County may have been as early as 1898, when Lathrop made his first visit to the area. Henry and Florence spent many Sunday afternoons at the Lathrop home at Phillips Mill. Around 1925 the Snells settled permanently in New Hope, where they rented the top floor of the Solebury Bank building at the corner of Bridge and Main. The Philadelphia School of Design for Women (now the Moore College of Art and Design) in Philadelphia offered Snell a teaching position in 1899, which he accepted, remaining on the faculty until his death in 1943. Considered the most influential teacher on the staff, Snell taught many of the women who would eventually form the group called the Philadelphia Ten. Frequently returning to his native England to paint, especially to the artist colony at St. Ives on the coast of Cornwall, Snell often took along students from his classes. He was well known for marine scenes as well as landscapes painted around New Hope, particularly from his apartment. He taught in the summers at Gloucester, Massachusetts (1916-1920), and at Boothbay Harbor, Maine (1921-1927). Snell was named assistant director of fine arts for the U.S. Commission to the Paris Exposition of 1900, and was elected to the National Academy of Design in 1906. He also served as president of the New York Water Color Club. Snell continued to participate and win prizes in many of the major exhibition events of the early 1900s, including the Panama-Pacific International Exposition of 1915 in San Francisco, where he was awarded both gold and silver medals. Snell exhibited frequently at the Pennsylvania Academy of the Fine Arts, Philadelphia, from 1890 to 1938, and received a fellowship from the academy in 1916. He also exhibited at the Philadelphia Art Club, the Nashville Exposition in Tennessee, the 1900 Paris Exposition, the 1901 Pan-American Exposition in Buffalo, the St. Louis Exposition in 1904, and the Salmagundi Club in New York. Awards received include a gold medal in 1896 from the Philadelphia Art Club and a prize at the 1900 Paris Exposition, among others. His works are in the collections of the Metropolitan Museum of Art, the Pennsylvania Academy, the Allentown Art Museum, the John Herron Art Institute (now the Indianapolis Museum of Art), and the Worcester Art Museum (Massachusetts). Snell's career suffered a decline in the 1930s, and he sometimes bartered paintings for services, a common practice among the New Hope artists. In one moving story, a local doctor attending Snell at his death was given one of the artist's canvases by his widow as an act of gratitude. This painting, The Barber's Shop, is now in the collection of the James A. Michener Art Museum. Snell died on January 17, 1943, in New Hope. 1858 - 1943 Henry B. Snell 1 Snell Henry B. 3156 Ben Solowey was born in Warsaw, Poland, on August 29, 1900, the youngest of seven children of Abraham and Celia Solowey. In 1907 the family moved to St. Petersburg, Russia, where the father, a superior leather craftsman, was a bootmaker to the Court of St. Petersburg. By 1914 the Russian political and social climate had worsened, and the family moved once again, this time to Philadelphia. Even as a child in Poland and Russia, Solowey had a compulsion to draw. Years later his family delighted in recalling their mother's shock at the discovery of her young son in the act of sketching the Venus de Milo. Despite family ambivalence toward his early interest in art, at the age of fifteen he enrolled in Philadelphia's Spring Garden Institute, and also studied at the Graphic Sketch Club. In 1919 Solowey was awarded first prize, a three-year scholarship to the Pennsylvania Academy of the Fine Arts, Philadelphia, for a work in an exhibition at the Graphic Sketch Club. At the academy he studied under Hugh Breckenridge and Henry McCarter, among others, and won many awards, including the prestigious Ramborger Prize in 1921. The judges were Edward Redfield and Alice Kent Stoddard. When Solowey was asked in 1939 about influences in his work, he pointed to the French: "Through Delacroix, Courbet, the Impressionists and the Moderns, the French injected fresh air into painting." By 1924, with his artistic temperament already fully formed by his years of study, he took a job as a ship's steward and crossed the ocean to visit London, Paris, and Switzerland, and to see the work of the great French impressionist and modernist painters. He also visited the house and garden of Auguste Rodin (who had died several years earlier), walking, literally, in the steps of the great sculptor. Solowey recalled this moving experience later, when he turned his own hand to sculpture. After eight months in Europe, he returned to Philadelphia for a short period before moving to New York in 1928. While he lived in New York his work was accepted for exhibitions at the Metropolitan Museum of Art and the National Academy of Design, as well as the Art Institute of Chicago. In New York lie met Rae Landis, daughter of Moses and Gertrude Landis of Harrisburg, Pennsylvania, and married her in 1930. She became his primary model and muse. During the years from 1929 to 1942 Solowey made a name for himself through his striking charcoal portraits of performing arts luminaries, some of which were commissioned by the New York Times and the Herald-Tribune. In 1936 the Soloweys found a farm in the country, thirty-four acres in Bedminster, Bucks County. In 1942, at the height of substantial acclaim for both his paintings and his theater work, Solowey left the comforts of Fifth Avenue permanently for the countryside of Bucks County and set about restoring the farmhouse, which, for the first seven years, was without electricity and running water. He handled everything from cabinetmaking to plumbing, from electrical work to masonry, tile setting, wood finishing, carpentry, roofing, and gardening, and he furnished it with his own re-creations of classic furniture he had admired in museums. He also transformed the barn into a spacious studio, and in the quiet of his newly created sanctuary produced portraits, nudes, rural landscapes, and still lifes, and made the frames in which some of his oils were mounted. The barn, filled with his artwork, stands to this day. In 1966 Solowey suffered a massive heart attack. While he had to restrict some activities, his twelve remaining years were among his most productive as an artist. He recommitted himself to his work and made full use of each day. After he died in May 1978, while trimming a hedge on his farm, his wife, Rae, insisted that his studio remain intact for the public to enjoy. 1900 - 1978 Ben Solowey 1 Solowey Ben 1730 William Louis Sonntag was born in East Liberty, Pennsylvania (near Pittsburgh), in 1822 and died in New York City in 1900. He is considered an 19th century landscape painter associated with the Hudson River School. In 1840, Sonntag moved to Cincinnati to study with Godfrey Frankelstein at the Cincinnati Academy of Fine Art. He maintained his studio there from the mid 1840's to the 1850's. He made regular painting trips to the Ohio River Valley and into the mountains of Virginia and Kentucky. Landscape painter Thomas Cole influences the paintings of this period. Sonntag made his first trip to Europe in 1853 and returned in 1855 to study in Florence. Upon his return to the United States, he established his studio in New York City. He became an associate member to the National Academy of Design in 1861. Sonntag exhibited at the Academy on a regular basis for over forty years. Memberships: American Watercolor Society National Academy of Design Museums: Metropolitan Museum of Art, New York City Corcoran Gallery, Washington, D.C. Peabody Institute 1822 - 1900 1 William Louis Sonntag 1 Sonntag William Louis 3157 Landscape Painter and stained-glass artist George William Sotter was born in Pittsburgh on September 25, 1879, the son of Nicholas and Katherine Sotter. During his youth he painted a number of river and industrial scenes documenting the Pittsburgh landscape, two of which allegedly were later purchased by Andrew Carnegie and Sotter's former teacher, William Merritt Chase. Sotter apprenticed with several stained-glass studios in Pittsburgh prior to becoming a partner in the studio of Horace Rudy in Pittsburgh about 1901. Rudy served as a mentor for Sotter. As Sotter explained in 1940, it was Rudy who arranged for him to meet a number of artists with whom he had studied at the Pennsylvania Academy of the Fine Arts in Philadelphia. He also gave Sotter a leave of absence in 1902 to attend the Pennsylvania Academy and then study plein air painting with Edward Redfield at his home in Center Bridge, Bucks County, Pennsylvania. Sotter's painting Clouds and Sunshine was exhibited in the Pennsylvania Academy's annual exhibition in 1903. From 1905 to 1907 lie studied at the academy with Thomas Anshutz and William Merritt Chase. In 1907 he married Alice E. Bennett, a fellow artist he had met in the Rudy studio in 1904. From 1910 to 1919 he taught painting and design at the Carnegie Institute of Technology's School of Fine Arts. He received a silver medal at the Panama-Pacific International Exposition in 1915, followed by a first prize at the exhibition of the Associate Artists of Pittsburgh in 1917. During the 1910s Sotter exhibited at the Pennsylvania Academy; the Corcoran Gallery of Art, Washington, D.C.; and the National Academy of Design, New York. In 1919 the artist and his wife took up residence in Holicong, Pennsylvania, where Sotter established the stained-glass studio that became his primary source of income for the rest of his life. At one time Sotter had as many as fifteen assistants, including Valentine D'Ogries and Forest Crooks, who became noted for their work in stained glass. His studio helped establish Bucks County as a center of stained-glass art, which produced works for churches in Pittsburgh, New York, Wheeling, St. Louis, St. Paul, Cleveland, Akron, and Cincinnati, as well as for the New Jersey State Museum in Trenton. He also designed a window for Buckingham's Trinity Church in Bucks County. Sotter painted his landscapes and designed stained-glass windows in his studio in Holicong through the 1940s. He had a solo exhibition of paintings and cartoons for his stained-glass Windows at the Woodmere Museum in Philadelphia in October and November 1950. Although Sotter painted marine pictures and dramatic landscape vistas with cloud-filled skies, he is most remembered for his magical moonlit snow scenes. These paintings capture the expansive evening skies and old fieldstone houses of rural Bucks County in the stillness of winter, reflecting a sensibility for the old, the concealed, and the introspective. While Sotter's early snow scenes resemble the work of his teacher Edward Redfield in their bold palette and direct style, his mature snow scenes reveal a fascination with the light of the evening sky as it falls on the snowy landscape. The overall impression conveyed in these minimally patterned views is one of unearthly tranquility as small lights flicker from solitary windows in the cold stone houses. The artist died at his home in Holicong in 1953. 1879 - 1953 George Sotter 1 Sotter George 1779 Charles Joseph Soulacroix was born on July 6, 1825 in Montpellier, France and died in 1879. Soulacroix is considered a sculptor and genre painter from the French school. Soulacroix began his formal art education at the Beaux Arts Academie in 1845. He began his education as a sculptor under Etienne Jules Ramey (1796-1852). These studies helped Soulacroix develop a superior understanding of the human figure, which he would later incorporated into his painting. He furthered his studies as a sculptor with Augustin-Alexander Dumont (1801-1884). During his final years at the Academie, Soulacroix developed an interest in figure painting. He decided to leave Paris. Soulacroix traveled to Dusseldorf where he began studies at the Academie under Peter Von Cornelias (1783-1867), one of Germany’s premier genre painters. Cornelius’s influence and rigorous curriculum helped Soulacroix develop into a mature genre painter. He was able to combine his talent as a sculptor with his understanding of anatomy into an unsurpassed method of painting genre. Soulacroix made his debut at the Paris Salon of 1849. He rarely exhibited at the Salons. The commissions he received left little time to exhibit. Museums: National Gallery, Washington Philadelphia Museum Listed: E.Benezit, vol. IX, pg.718 Unknown Charles Joseph Soulacroix Soulacroix Charles Joseph 3255 Frederic Soulacroix lived in Rome until spring of 1863 with his parents Charles (well-known fresco painter and sculptor) and Giacinta Di Soulacroix.The family later moved to Boulogne-sur-Mer where Charles was painting the frescos in the local cathedral, then to Paris, and finally to Firenze.In 1873, at 15, Frederic entered the “Accademia di Belle Arti” of Firenze and in October 1876, he was admitted to the “Scuola di Pittura”. On June 6, 1890, Frederic married Julie Fernande Blanc in Florence.They lived in Piazza Donatello, 21, in a charming house with a rear garden.Soulacroix had three children: Olivier, George, and Amelie Florence. In 1924, Frederic Soulacroix was nominated “Officier d’Academie” by the French Authorities.In 1933, he died in Cesena. In recent sales and in pictures of his work appearing on the internet, Frederic is often confused with his father Charles Joseph Soulacroix.Frederic’s signature is however, unmistakable:his works are always signed F. Soulacroix – generally in red – while Charles always signed C. or Ch. or Charles Soulacroix. While Frederic had a vast production of paintings, his father Charles had a very limited one having started as a sculptor who soon passed to fresco painting after having suffered a painful eye illness provoked by marble dust. Photographs of Frederic’s works taken before shipment, as well as watercolours and some portraits of members of his family painted by his father Charles are now the property of the Chiaramonti family, together with many objects (clocks, sofas, chairs, etc.), which often appear in Frederic’s paintings. 1858 - 1933 Frederic Soulacroix Soulacroix Frederic 1729 Armando Spadini started his short and tragic art career at the school of d'A. de Karolis in Florence. He traveled for a time, taking a break from painting to learn the fine art of ceramics. By 1910 he was ready to take his proper place amongst the impressionist. Spadini chose Rome to establish his studio. He immediately affiliated himself with the group of artist that we on the cutting edge of the natural, plein-aire (outside) painting, rebels of the time. Much of his work were figures, portraits and landscapes painted in nature. Spadini became a very important representative of the impressionistic movement in Italy. Museums: Galerie D' Moderne, Florence: "Dame au Jardin", "Portrait d'une Dame", "Poules" Musee Du Jeu De Paume, Paris: "Portrait du comte Trimoli" Galerie D' Art Moderne, Plaisance: "La famille du peintre A. de Karolis", "Enfant au berceau" Galerie D' Art Moderne, Rome: "Juene fille a l'eventail 1883 - 1925 Armando Spadini Spadini Armando 1728 By 1858 Lilly Martin Spencer was not only the best - known artist in New Jersey in the nineteenth century but also the foremost woman painter of her day in America. Born in Ohio, she had enjoyed the patronage of Cincinnati's Nicholas Longworth before moving to New York City in 1849. By then she had developed the pictorial formula for her cheerful, homey scenes - based on her own domestic life with her husband, Benjamin Spencer, and their numerous progeny - for which she became famous. Memberships: National Academy of Design Public Collections: National Museum of American Art, Washington D.C. Newark Museum, New Jersey 1822 - 1902 Lilly Martin Spencer Spencer Lilly Martin 2024 A Precisionist painter who was influenced by European Cubism, Niles Spencer is best known for his unembellished arrangements of architectural forms. Although he used crisply defined zones of color to depict his motifs, as did other Precisionist artists, his work is warmer in feeling and less impersonal than that of other figures in this movement, such as Charles Sheeler or Charles Demuth. Spencer was born in Pawtucket, Rhode Island, and studied at the Rhode Island School of Design in Providence and at the National Academy of Design in New York. His sources included the art of Paul Cezanne as well as American folk art and Shaker furniture. From 1913 until 1922 he was associated with the summer artists' colony in Ogunquit, Maine. He later spent summers in Provincetown, Massachusetts, and Sag Harbor, Long Island. During the 1930s Spencer concentrated on images of New York streets, architectural structures, and industry. During the next decade Spencer adopted a more abstract style than in the past; the hard-edged planes of his work at this time anticipated geometric abstract painting of the 1960s. 1893 - 1952 Niles Spencer Spencer Niles 3158 Robert Spencer was born in 1879 in Nebraska, the son of a Swedenborgian minister. After studying medicine briefly, he decided to become an artist and moved to New York City, where he enrolled at the National Academy of Design. Later he studied with William Merritt Chase and Robert Henri at the New York School of Art. He moved to New Hope, Bucks County in 1906, and studied privately with the well-known Bucks County painter Daniel Garber. It was at the home of painter William L. Lathrop that Spencer met his future wife, Margaret Fulton, herself an accomplished architect. For the next 25 years Spencer lived and worked in Bucks County, becoming one of the most prominent members of the Pennsylvania Impressionist art colony. He suffered several nervous breakdowns in the 1920s, and in 1931 took his own life. Spencer became one of the most visible artists in the New York art world in the teens. His first success came in 1914, when the Metropolitan Museum of Art purchased one of his major early canvases, "Repairing the Bridge". The celebrated collector Duncan Phillips then took an interest in Spencer's work, eventually purchasing eight of Spencer's canvases, currently housed in the Phillips Collection in Washington, DC. The two men became friends, and Phillips appointed Spencer to the Committee on Scope and Plan of the new gallery then being created by Phillips. After Spencer's death, Phillips praised Spencer as "a rebel always against the standardized and stereotyped in art." Phillips believed that "there [was] no other painter, not John Sloan or Edward Hopper, more pungently American in expression." Spencer also has work in the collections of the Brooklyn Museum, the Carnegie Institute, the Corcoran Gallery of Art, and the Detroit Institute of the Arts. In 1915, he won a gold medal at the prestigious Panama-Pacific International Exposition in San Francisco. Stylistically, Spencer differed radically from most of his Pennsylvania Impressionist colleagues. Probably influenced by Henri and the Ashcan School, Spencer made his reputation with skillful, evocative renderings of the everyday life of his community, often depicting the mills, tenements, and factories of New Hope and surrounding areas. "A landscape without a building or a figure, " he said, " is a very lonely picture to me." Later Spencer painted more fanciful European scenes, many of which he did from his imagination, since he did not actually travel to Europe until 1925. Spencer's painting "Mountebanks and Thieves" won a prize at the 1926 Carnegie International Exhibition in Pittsburgh, and juror Pierre Bonnard said, "Mr. Spencer . . . is in the full vigor of his talent which is great. His art does not resemble European art, a rare fact in America." 1879 - 1931 Robert Spencer 1 Spencer Robert 1778 Cornelis Springer was perhaps the most distinguished painter of town scenes of the nineteenth century. Following in the great Dutch tradition of the seventeenth century, artists like Jan van der Heyden (1637-1712), Springer was renowned for his topographical accuracy and detail, combined with his interest in light and the play of light on architectural surfaces. It is no coincidence that his two brothers, Hendrik and Willem, Jr. were accomplished architects. Springer studied at the Amsterdam Academy, the town of his birth from 1827 until 1835 under Jacobus van der Stok (1795-1864) and Hendrik ten Cate (1803-1856) and then with Kaspar Karsen (1810-1896) between 1835 and 1837. As a painter of town scenes, Springer traveled extensively in Holland and also in Belgium and Germany. In 1847 he was awarded a gold medal of merit and in 1865 was made Chevalier of the Order of Leopold in Belgium. He was instrumental in planning the foundation of the Rijksmuseum in Amsterdam. Springer exhibited frequently during his career and, as a teacher, featured Adrianus Eversen (1818-1897) and Johan Adolphe Rust (1828-1895) among his pupils. His works can be found in museums in Amsterdam, Rijksmuseum; Leiden and Rotterdam, Haarlem. 1817 - 1891 Cornelis Springer 1 Springer Cornelis 1777 Emily Stannard was born in Coppin in 1803 and died in Norwich in 1885. Emily married Joseph Stannard in 1826. Emily and Joseph Stannard and their children form a very important family of English painters: Alfred Stannard (brother and pupil); Miss A. Stannard; Emily (daughter), Henry John Sylvester; Henry: Miss Eloise Harriet; John and Ivy. After Joseph's death in 1836, she continued to paint to be known as Mrs. Joseph Stannard. Mrs. Stannard only exhibited her work at the Royal Academy during the years of 1832-33; otherwise she exhibited in he native town of Norwich. Her very meticulous fruit and flower pieces, in the traditional Dutch Style, became her trademark. 1803 - 1885 Mrs. J. Stannard Stannard Mrs. J. 2023 Born in Edinburgh, Scotland, William Starkweather and his family immigrated to the United States in 1883, settling in New Haven, Connecticut. He attended the Art Students League in New York and the Academie Colarossi in Paris before going to Seville in 1903, where he spent three years studying under the Spanish Impressionist Joaquin Sorolla y Bastida, whose work he deeply admired. He returned to New York about 1906, painting landscapes and urban scenes in which he conjoined Sorolla's bright colorism and fluid technique with his own powerful draftsmanship. An inveterate traveler, Starkweather painted in the northeast United States and eastern Canada, especially Eastport, Maine, and Grand Manan Island, New Brunswick, as well as in Europe and the Caribbean. He exhibited his oils and watercolors at the various national annuals with great success. He taught at several institutions, including the Cooper Union School, Pratt Institute, and the Traphagen School before joining the faculty at Hunter College as an instructor of watercolor painting in 1936. Having served as an assistant curator at the Hispanic Society in New York from 1910 to 1916, Starkweather wrote frequently about Spanish art. He also authored essays and articles on various painters including John Singer Sargent, Winslow Homer, and Anthony van Dyck. 1879 - 1969 William Starkweather Starkweather William 3268 Born in Milwaukee, Wisconsin, Ross Stefan became a painter of western scenes in traditional style. His subjects are Southwestern desert and mountain landscapes and stereotypical figures of that part of the country. He had his first one-man show at age 13 and then living in Wisconsin, was much influenced by a studio visit to Dan Muller, an illustrator. In 1953, when he was a teenager, he moved to Tucson, Arizona with his family, and his father worked in advertising, which furthered Stefan's interest in illustration art. He studied art and philosophy at the University of Arizona and did part-time sketching for the Tucson newspaper. Norman Rockwell was one of his early heroes. Encouraged by Ivan Rosequist, pioneer Arizona art dealer in Tucson, Stefan quit his unproductive activities in the University of Arizona art department and set out on his own as a fine artist. Source: Peggy and Harold Samuels, "The Illustrated Biographical Encyclopedia of Artists of the American West" 1934 - 1999 Ross Stefan Stefan Ross 2056 Georges Stein is considered a Paris Boulevard painter and water colorist from the French school. She was born circa. 1870. However, there is confusion as to whether she was born in London or Paris. Since most of her paintings depict the wonderfully colorful streets of Paris, I would place her birth in France, as do the French. Georges Stein’s paintings are filled with movement, color, the smells and the sounds found only on an atmospheric wet street in the heart of Paris. She uses her genius to render each works in pastel, watercolor, and gouache, which very few artists can master. She masterfully creates scene that enables the viewer to feel like they are participating in the every day hustle and bustle of the streets. Listed: E. Benezit, vol. IX, pg. 803 1820-1920, Les Petits Maitres de la Peinture Valeur de Demain by Gérald Schurr, vol. IV, pg. 94, image b.c. - 1870 Georges Stein Stein Georges 2022 One of America's foremost modernist painters, Joseph Stella was born in Muro Lucano, near Naples, Italy. In 1896 he immigrated to New York City, where he studied at the Art Students League and at the New York School of Art under William Merritt Chase. In 1896 he traveled to Europe, where for the next three years he immersed himself in the avant-garde art of Italy and France, notably Futurism, Cubism, and the work of Paul Cezanne. Returning to the United States, he began to paint colorful, semiabstract figural and still-life studies. He also took part in the Armory Show of 1913, which served to strengthen his commitment to advanced European tendencies. Soon after this, his iconography became strongly influenced by industrial-age America, as reflected in large, high-keyed, Futurist-inspired canvases that conveyed the speed, dynamism, and noise of the urban American environment. In the mid-1920s Stella painted in a more representational yet distinctly simplified style, often imbuing his works with religious or sexual symbolism. 1877 - 1946 Joseph Stella Stella Joseph 2021 Albert Sterner achieved international renown as an illustrator, lithographer, and painter. Born in London to an American father and an English mother, he demonstrated an aptitude for drawing as a boy, later winning a scholarship to study at the Birmingham Art Institute. He lived in Germany during 1878-79 and then settled in Chicago, where he worked in various jobs in the field of illustration. He went to Paris in 1886, refining his skills in depicting the figure at the Academic Julian and the Ecole des Beaux-Arts. In the ensuing years, he became a first-rate illustrator in New York, contributing his drawings to Century, Scribner's, Harper's and other leading periodicals and illustrating a number of books. Sterner made an extended trip to Europe during 1895-98, during which time he was active in Germany, France, and elsewhere. He settled in Nutley, New Jersey, in 1898, devoting his time to portrait drawings and book illustration. He also worked in oil and watercolor and produced a number of monotypes. Sterner moved to Newport, Rhode Island, in 1907, remaining there until about 1915, when he settled permanently in New York City. Praised for his sensitive and versatile draftsmanship, he enjoyed a tremendously successful career, exhibiting his graphic work and paintings in major exhibitions throughout the United States, Canada, and Europe. 1863 - 1946 Albert Sterner Sterner Albert 2020 Among the foremost members of the American art community in fin-de-siecle Paris, Julius Stewart excelled at painting portraits and figures, especially of celebrities and fashionable society types. Born in Philadelphia, he was the son of William Hood Stewart, an affluent plantation owner who moved his family to Paris in 1865. Stewart's father was also a prominent art patron whose collection was especially strong in contemporary Spanish art, featuring examples of work by the painters Eduardo Zamacois, Mario Fortuny, and Raimundo de Madrozo, among others. Stewart eventually studied under Zamacois and de Madrozo, as well as with the French history and genre painter Jean-Leon Gerome. Inspired by their example, he developed a colorful academic realist style which he applied to sparkling, large-scale depictions of the French upper classes. His work also includes outdoor nudes, genre scenes, and views of Venice. He exhibited at the Paris Salon and at major international expositions, where he won many awards and prizes. Stewart received the French Legion of Honor in 1895 and was appointed an Officer in 1901. 1855 - 1919 Julius LeBlanc Stewart Stewart Julius LeBlanc 2137 Constantin Stoitzner was born July 20, 1863 in Busau, Austria and died in 1934 in Vienna. He is a landscape and figure painter from the Austrian school. Stoitzner received his formal art education at the l’Academie de Vienna with portraitist and historical painter Christian Griepenkerl (1839-1916) and portrait painter August Eisenmenger (1830-1907). He is also the father of painter and engraver Josef Stoitzner (1884- unknown). Stoitzner began his successful career traveling the Alps. He became well known for his very precise mountain landscapes and the architecture of the surrounding villages. He would later use his talents as a figure painter to capture some of the village residents in detailed miniature portraits. These wonderful detailed portraits were incredibly successful. The local characters that he painted were more than portraits. He is able to capture minute detail in each painting microscopically down to a single hair. Stoitzner’s portraits come to life because they are filled with the individual nuances that are unique to the subject’s personality and rarely ever captured in such a miniature format. Museum Musée Vienna: They have a large comprehensive collection. Listed E. Benezit, vol.ix.843 1863 - 1934 Constantin Stoitzner Stoitzner Constantin 1914 Marianne Stokes, nee Preindlesberger met Adrian Stokes in Pont Aven, Brittany in 1883 and married the following year. Born in Austria, Marianne had studied in Munich and Paris. She visited Pont Aven, a poor isolated, rural community, to find, with many of her contemporaries, sources for a 'plein air' social realism, subject matter popularized by Jules Bastien Lepage and Jean Francois Millet. Marianne and Adrian Stokes visited Cornwall in 1886 at the behest of Stanhope Forbes, founder of the Newlyn School. They remained in Cornwall moving to the artist community in St. Ives where they lived through the 1890's. By the early years of the twentieth century they were living in Chelsea and in 1921 moved to Grantham Place off Park Lane. Marianne, on her return to London where she had lived in 1883, turned to more varied subject matter; portraiture, religious and historical subjects and children dominated her output. She was elected A.R.W.S. in 1923. Her works can be seen in museums in: Liverpool; Nottingham and Pittsburgh. 1855 - 1927 Marianne Stokes Stokes Marianne 1727 Hampstead painter of genre and portraits of adolescent beautiful children. Hariette Sutcliff was caught up in the late 19th century movement of artist painting "Beauties" or young wonderful female portraits. For the first time, large numbers of pictures were painted for the sole intent of depicting beauty. Not so much in the form of specific portraiture, but more as a homage to feminine beauty in its own right. Miss Sutcliff did a number of paintings showing children in everyday life, her picture "Gathering Plums", ill., Popular 19th Century Painting, A Dictionary of European Genre Painters is an excellent example. Hariette Sutcliff was a frequent exhibitor at the Royal Academy (1881-1899) and elsewhere thru 1907. Some of the Titles of her pictures exhibited at the Royal Academy include: "After the Bath", 1891, "As Rosy as A Pippin", 1895 and "Beauty and the Beast", 1899. Listed: The Dictionary of Victorian Painters, 2nd Edition, by Christopher Wood Popular 19th Century Painting, A Dictionary of European Genre Painters, by Phillip Hook and Mark Poltimore, illustrated, p. 197 Thieme / Becker, vol. 31/32, p.317 E. Benezit, vol. 10, p. 19 Unknown Hariette F.A. Sutcliffe Sutcliffe Hariette F.A. 1726 Mr. Svendsen was born in Christiania, Norway on March 19, 1864. He made his way to Chicago to study at the Art Institute of Chicago. He exhibited in Chicago two years after the Columbian Expo, 1895, and won a prize. He also exhibited in the Nashville Expo, 1897. He is known for his landscapes, especially evening snow scenes. b. 1 - 1864 Svend Svendsen Svendsen Svend 3279 Gerald C. Swineford earned a BFA from the Univ. of Oklahoma in 1931. Appointed as an instructor in art in 1940 at the Univ. of Wichita (Kansas). Source: SOURCES: Susan Craig, "Biographical Dictionary of Kansas Artists (active before 1945)" Wichita State University Libraries, Special Collections and University Archives. This and over 1,750 other biographies can be found in Biographical Dictionary of Kansas Artists (active before 1945) compiled by Susan V. Craig, Art & Architecture Librarian at University of Kansas. Unknown Gerald C Swineford Swineford Gerald C 2019 One of several prominent women associated with the artistic life of turn-of-the-century Cincinnati, Annie G. Sykes was lauded for her colorful, Impressionist-inspired watercolors. Born Annie Sullings Gooding in Brookline, Massachusetts, she studied at the Lowell Institute in Boston and at the School of the Museum of Fine Arts during the late 1870s. After her marriage to Gerritt Sykes in 1882, she moved to the "Queen City," continuing her training at the Cincinnati Art Academy from 1884 to 1894. Despite the birth of two children, she continued to balance the demands of home life with her professional aspirations, exhibiting her watercolors locally and in Boston, Chicago, NewYork, and Philadelphia. On the occasion of her first one-person show, held at the Traxel & Maas Gallery in Cincinnati in 1895, critics praised her fresh, vibrant colors and spontaneous technique, and a reviewer for the Cincinnati Enquirer identified her as representing "the new school of impressionism." Sykes's standing among her peers was such that she was often invited to serve on juries of selection with such eminent painters as Frank Duveneck, Maurice Prendergast, and Edward Redfield. She painted in and around Cincinnati, Nonquitt, Massachusetts (where her family had a summer home), Bermuda, Quebec, Virginia, and Europe. Her oeuvre includes landscapes and street scenes, but she was most fond of depicting the floral environment. 1855 - 1931 Annie Goading Sykes Sykes Annie Goading 3180 Frederick Oakes Sylvester was born in Brockton, Massachusetts, to Charles Frederick and Mary Kilburn Sylvester, on October 8, 1869. His father is a descendant of Miles Standish, a Pilgrim who came to America on the Mayflower. Sylvester's mother would die a few weeks after his birth, on October 22. I n 1883, the family would move to Fall River, Massachusetts where Sylvester attended Durfee High School. He would begin his formal art training at the Massachusetts Normal Art School in Boston; and graduate with honors. After graduation in 1891, Sylvester would accept a one year appointment as assistant professor of drawing and painting at Sophie Newcomb Memorial College, Tulane University in New Orleans. In 1925, Sylvester would marry Florence I. Corry of Fall Rive and they would move to St. Louis to become art director of Central High School. Sylvester's exhibition was at the St. Louis Exposition in 1894 and had his first major exhibition in 1900. He also began exhibiting at the Society of Western Artists where he was elected associate member in1898; served as secretary from 1902 to 1905; vice-president in 1906 and awarded the Fine Arts Building Prize in 1906. 		 Sylvester has his second major exhibition in 1903 at the St. Louis Artists' Guild. He would later be elected secretary; serve as vice-president (1904); and president of the Guild from 1906 and 1909. During this period, Sylvester would publish his first book of poetry. 	 Sylvester was awarded the bronze medal at the St. Louis Louisiana Purchase Exposition of 1904;	a silver medal at the Portland Exposition of 1905. He is the founding member and president of the St. Louis Two-by-Four Club. In 1911, he publishes a poetry book on the Mississippi titled 'The .Great River" and has his third major exhibition at the City Art Museum, St. Louis two years later in 1913. 	 After being granted a leave of absence due to ill-health from Central High School, Frederick Oaks Sylvester would die March 2, 1915 in St Louis. Reference: "Frederick Oakes Sylvester, The Principia Collection" Jeanne Colette Collester, 1988 with forward by William Gerdts 1869 - 1915 Frederick Oaks Sylvester 1 Sylvester Frederick Oaks 3216 A landscape and marine artist, George Symons was one of America's more noted plein-air painters who combined styles of impressionism and realism. His works are cited for their energy and simplicity, and he often did panoramic views. He was born in Chicago, Illinois in 1861, with the name of George Gardner Simon, but he changed his last name to Symons when he returned from study in England because of concern about anti-semitism. Not much is known about his early life. He first studied at the Chicago Art Institute where he became a close, life-long friend of William Wendt. They painted together in California and then in Cornwall, England in 1898. He also studied in Paris, and Munich and London, and joining a colony of artists at St. Ives, adopted the plein-air techniques of Julius Olsson, Adrian Stokes, and Rudolph Hellwag. He worked in Chicago as a commercial artist, and about 1903 returned to California with Wendt and built a studio in Laguna Beach and became active in western art societies including the California Art Club. He returned often, but maintained his primary studio in Brooklyn, New York, and also did a lot of painting in Colerain, Massachusetts. Among the collections where his work can be found are the Brooklyn Institute of Arts and Sciences; the Art Institute of Chicago, and the Fleischer Museum in Scottsdale, Arizona. Associations he was a member of include the National Academy of Design, the National Arts Club, the Institute of Arts and Letters, the Lotus, Century, and Salmagundi Clubs. He was also a member of the Royal Society of British Artists and the Union Internationale des Beaux Arts et des Lettres. He painted entirely out-of-doors, frequently working in Arizona, doing desert landscape and the Grand Canyon views, but he is best known for his New England snow scenes, especially of the Berkshire Mountains. He died in Hillside, New Jersey in 1930. Museums: Arizona State University Art Museum The Chicago Art Institute Metropolitan Museum of Art, NY Mulvane Art Museum, Topeka, KS National Academy of Design, NY Norton Simon Museum of Art, W. Palm Beach, FL The Phillips Collection, Washington, DC Source: Edan Hughes, Artists in California, 1786-1940 Peter Falk, Who Was Who in American Art Anonymous Author, "The Outlook for Etching", The American Magazine of Art, March 1930 1863 - 1930 George Gardner Symons Symons George Gardner 2138 Raffaele Tafuri (1857-1929) Raffaele Tafuri was born in Salerno, Italy on January 27, 1857 and died in Venice in 1929. Tafuri is considered a genre, marine and landscape painter from the Italian school. Tafuri traveled in Florence in 1872-75, where he came into contact members of the Barbizon school, the Macchiaioli (a group of artists opposed to the strict teachings of the Academia. worked to emphasize painterly immediacy and freshness -- (Other artists of that school included Silvestro Lega, Giovanni Fattori, Vito d'Ancona, and Giovanni (Nino) Costa). Principle among these early associations was Tafuri's friendship with the influential thinker and art critic Diego Martelli who, himself, would helped mold and champion the ideas of French Impressionism in Italy. Tafuri would continue his formal art training at the Beaux-Arts Academia in Venice. Tafuri would develop a career around his remarkable ability to capture life around and on the canals of Venice. Using clean crisp colors combined with his fluid impressionistic style. His figurative paintings can easily be compared with the works of Italian master Giovanni Boldini (1842-1931), who he also met while in Florence. Like Boldini, Tafuri has the ability to create fluid movement and atmosphere is his paintings of women and children. Although rare, Tafuri's paintings of children are the most sought after and collectable. Listed: E. Benezit, vol. X, pg. 53 Public Collection: Muse de Salerno, Salerno Italy 1857 - 1929 Raffaele Tafuri Tafuri Raffaele 1746 Arthur Fitzwilliam Tait, A British born landscape artist, was one of the nineteenth century's most popular painters. A good story-teller on canvas, Tait was able to instill in his genre paintings a strong sense of drama and conflict. Although he never traveled further West than Chicago, he acquired a reputation as a frontier artist, painting scenes of hunters and wildlife, mainly from his experiences in upstate New York. The Quail and Young (date unknown, Corcoran Gallery of Arts), is a typical example. Tait was born in 1819 in Liverpool, and schooled in Lancaster. By his mid-teens, he was working at Agents, an art dealer in Manchester. In his spare time, he taught himself how to paint by copying works at the Royal Institute. During these years, he was able to assist George Catlin with his traveling Indian gallery in England and Paris. Tait was impressed with Catlin's interpretation of the American West; it provided the impetus for his own immigration to the United States in 1850. Tait worked out of New York City, but spent considerable time in the Adirondack Mountains, becoming a proficient marksman and woodsman. Using this rugged setting as a background, Tait focused much of his art on capturing the drama of a man against nature. His style, which combined misty, atmospheric landscape settings with detailed renderings of human figures, reminds one of that of George Caleb Bingham. The period 1850 to 1860 was a prolific time for Tait. His paintings were accepted by Easterners as definitive views of life on the frontier. Currier and Ives reproduced much of his work, making him one of the most popular artists of the period. These genre paintings were not his only source of success. Tait mastered still lifes of dead game, influencing a whole generation of artists, beginning with William Michael Harnett 25 years later. He also did barnyard landscapes, a pastoral departure from his frontier scenes. Tait's style did not change from 1860 until death in 1905; he continued to work in the style which he had found successful. Memberships: National Academy of Design Public Collections: Addison Gallery of American Art, Andover, Massachusetts Adirondack Museum, Blue Mountain Lake, New York Amon Carter Museum of Western Art, Fort Worth, Texas Corcoran Gallery of Art, Washington, D.C. Denver Art Museum Metropolitan Museum of Art, New York City Museum of the City of New York R.W./ Norton Art Gallery, Shreveport, Louisiana Philadelphia Museum of Art Yale University Art Gallery, New Haven, Connecticut 1819 - 1905 Arthur Fitzwilliam Tait Tait Arthur Fitzwilliam 2934 Arnaldo Tamburini (1843-1901) Arnaldo Tamburini, a genre and portrait painter from the Italian school was born in Florence in 1843 and died in 1901. He received his formal training as an artist at the Academies in Florence, Milan and Munich. Tamburini exhibited his academic portraits and genre scenes throughout Venice and Florence. Museum: Le Musée Municipal de Pise, "Victor Emmanuel, II" (portrait) and "Humbert" Listed: E. Benezit, Vol. X, page 64 1843 - 1901 Arnaldo Tamburini Tamburini Arnaldo 3169 America's first internationally renowned African-American artist, Henry Ossawa Tanner was born in Pittsburgh to a well-educated and devoutly religious family. When Henry was age 13, his father, the Reverend Benjamin Tucker Tanner, moved the family to Philadelphia. With the support of his parents and inspiration from the art of the 1876 Philadelphia Exposition, he enrolled in the Pennsylvania Academy to study with Thomas Eakins who became a close friend. Tanner briefly painted animals and was determined to become the "American Landseer" in response to the demand for animal portraits. Between 1886 and 1887 Tanner was an illustrator for Harper Brothers, a publishing firm willing to advance black artists and writers. He then moved to Atlanta, Georgia, where he briefly and unsuccessfully ran a photography studio, but by 1891 he turned back to painting and sailed for France. In Paris he studied at the Julian Academy with Benjamin Constant and J.P. Laurens. He received many honors and was considered a 'strong man' at Julian's before his first Salon picture. He traveled to celebrated locations as Pont-Aven, but remained relatively unswayed by contemporary art movements. Tanner discovered the Salons and their power to advance a painter's career, both abroad and in America. The acceptance of his painting, The Banjo Lesson by the 1894 Salon marked both a "turning point in his career and a shift in emphasis in his choice of subject, for it was his first major exploration of the pathos of the black in society." He returned briefly to Philadelphia but decided Paris was his natural home. At first, he was highly successful with genre painting but switched to religious subjects in the mid-1890's and traveled extensively in the Near East to absorb Biblical references. In 1899, Tanner married Jessie Macauley Olssen, a white Californian, and decided to make France his home for the remainder of his life. He feared that Americans would not be accepting of an interracial marriage. In 1908, he wrote of France, "There is a breadth, a generosity, an obsolete cosmopolitanism about her recognition of the fine arts, which bars no nationality, no race, no school, or variation of artistic method." Sources: Antiques Magazine Peter Falk, Who Was Who in American Art 1859 - 1937 Henry Ossawa Tanner 1 Tanner Henry Ossawa 1776 Adrien Henri Tanoux is considered a genre and portrait painter from the French School. He was born in Marseille (Bouches de Rhone) on October 10, 1865 and died in Paris in 1923. Tanoux studied with Bonnat atthe Beaux- Arts Academy. His debut exhibition was as a member of the Societaire des Atiste Francias in1905. He continued the exhibit this group at the Paris Salon. In 1888 Salon Exhibition, he was awarded honorable mention. Tanoux also received an honorable mention at the 1889 at the Universal Exposition in Paris and he was awarded a third class metal in 1894 and second class in 1895. Museums: Musee de Marseille."Cuisiniers" Petit-Palais de Paris Musee de Chambery, "L’Oiseau bleu" Listed: E. Benezit, Grund,vol.10,pg.72 1820-1920, Les Petits Maitres De LA Peinture Valeur De Demain, by Gerald Schurr, vol., 111, pg.122 1865 - 1923 Adrien Henri Tanoux Tanoux Adrien Henri 1775 The following paragraphs have been excerpted from "Art Sometimes is Money," the artists statement: Trompe l’oeil is a French phrase meaning "fool the eye" Sometimes art provides the trick by which the eye is fooled...changing the reality of pigments applied to a canvas to something else... a different reality. In the paintings of the artist Gale Tate, often a dollar is not a dollar at all, but rather a pile of pigments manipulated to trick the eye into perceiving a dollar. All of art is about perception. The Victorians had a hazy, romanticized view of life. The early moderns of Europe embodied a revolution against their heritage. The Americans, despite roots from diverse backgrounds, have unanimously drawn together a view of art that is characterized by the same pioneering spirit it took to tame a rugged and uncharted land. The American character is raw to the bone. From early in history America had no time for frivolity. She demanded truth up front, she demanded integrity; and in the face of constant challenge, anything less was a withering vine. No unrealistic vision could last in such a land; tradition gave way to character. American painters depicted in real terms, real places and real things. They have always worked with a vigorous energythat matches the splendor of the land. Mr. Tate, as should any artist with such roots, is dedicated to developing a view of this character. As a landscape painter as well as a trompe l’oeil painter, he is striving to grow out from, as well as grafted in, his uniquely American roots. Living in the magnificent mountains of Western North Carolina is sufficient in itself to inspire awe of this great land. While no statement can sum up the whole of the vision, a lifetime of work can begin to offer a few hints.And from the grand, in the magnificent view paintings of the Blue Ridge, to the sublime, in the humble truth of the trompe l’oeil images, Mr. Tate is nurturing this vision which is wonderfully and uniquely American. The monogram, which is a part of every Gayle B. Tate signature, is a simple dove. This symbol of the Holy Spirit is Tate’s continuing acknowledgment of source of inspiration, strength and skill. It is permanent witness to the fact that the Lord can use any person of modest talent, who makes him available, and transforms him into a skilled, productive individual. To God is the Glory. Born in Abilene, Texas, in 1944, Gayle B. Tate attended the University of Wyoming engineering school and received a Bachelor of Science degree at Florida State University. Tate studied at the Loch Haven Arts Center in Orlando and, later with Grady Kimsey in Winter Park, Florida, A captain in the United States Air Force, Tate was the director of Tate Galleries in Tallahassee and Tampa, Florida, from 1967-1983; the president of Interarts, Inc., in Tampa from 1973-1983; and president of the Southeast Professional Art Dealers Association from 1878-1982. The artist is listed in Who’s Who in American Art, Internationale Bibliographs, American Artists; Illustrated Survey, New York Art Review and Men of Achievement. b. 1 - 1944 Gayle B. Tate Tate Gayle B. 3267 Taylor, originally from Galveston, Texas, started painting at the age of 14. Before arriving in San Antonio, Texas in 1889, the Taylor family spent several years in Houston and then traveled to Cuero, Texas by covered wagon. Taylor graduated from the Cuero Institute and later studied in San Antonio with Robert Jenkins Onderdonk, Jose Arpa and Theodore Gentilz. Later he studied in France for 3 months, and with Arthur W. Best in San Francisco, and Frederick Fursman in Michigan. Taylor was a personal friend of the artist Julian Onderdonk. Taylor exhibited frequently for 60 years, including local, state and numerous national exhibitions throughout America. His first exhibit was in San Antonio in 1894, at which he won first prize of $500 and later sold the painting for another $500. He painted in the impressionist style, lively with color and flooded with sunlight, which represents Jose Arpa’s influence. His subjects were mostly old buildings, shacks, landscapes, San Antonio River scenes, missions of San Antonio, blooming cactus, and scenes of old Mexico. During his earliest years, his subjects would be a pair of shoes, a cat, some books, Mexican jugs or anything in the home. Many of his local paintings are now of historic interest that recorded buildings that no longer exist. His memberships include: American Federation of Arts; Chicago Society of Artists; Independent Society of Artists of New York; San Antonio Art League; Southern States Art League; River Art Group; Coppini Academy; Leon Springs Art Colony. 1872 - 1970 1 Rolla Sims Taylor Taylor Rolla Sims 3159 William Francis Taylor was born in Hamilton, Ontario, on March 26, 1883. There he attended Church of England schools as a boy and, later, the Collegiate Institute. The extent of Taylor's early art training is unclear. In 1898, at the age of fifteen, he began working as a lithographer with a Hamilton, Ontario, newspaper and continued there as an artist and cartoonist until 1905. Taylor began taking classes at the Art Students League in 1905 shortly after arriving in New York, and continued his studies there until 1907. Between 1908 and 1912 he was the advertising art director for the New York Journal. From 1912 until his retirement in 1948, he worked as a freelance artist, graphic engineer, and illustrator for several large manufacturing companies, including A. G. Spalding and Brothers, the sporting goods giant. It is likely that he met William L. Lathrop while studying at the Art Students League. According to family lore Taylor was invited by Lathrop to visit New Hope and stay for a few days at Lathrop's Phillips Mill home. The two men became good friends, and by 1910 Taylor had moved to the New Hope area, where he soon took an active part in the local artists community. Taylor became a naturalized U.S. citizen in 1913, the year he married Mary Smyth Perkins of Philadelphia. Perkins, a gifted painter and art instructor, met Taylor at Phillips Mill, where she had been studying with Lathrop since 1906. The couple moved to Hill House on Taylor's Cuttalossa Road property, near River Road in Lumberville. During the early years of the Great Depression, they ran the Hard Times Tavern, located opposite the Cuttalossa Inn. His daughter recollected stories about visitors such as author Dorothy Parker and athlete Johnny Weismuller, the original "Tarzan," who were frequent guests at the inn. Perkins died of cancer in December 1931. Two years later Taylor married Minette Emelia Gunderson from Trenton, New Jersey. The couple had a son, William Francis Jr., and a daughter, Phyllis Anne. Taylor was adept in many media. In addition to the oil portraits and landscapes for which lie is most noted, he was also an accomplished lithographer, illustrator, and cartoonist. The Delaware River, which Taylor could see from his house, served as a frequent theme and inspiration for his paintings. Taylor had a deep commitment to the land that he painted. An ardent conservationist, he was the founding president of the Delaware Valley Protective Association, a citizen organization formed in the early I930s when the state considered draining and paving over the canal. He remained active in the organization as publicist and member for most of his life. He was also president of the Phillips Mill Community Association and a member of the New Hope Artists and Writers Association. Other memberships included the Salmagundi Club, the Philadelphia Art Alliance, and the Asbury Park Society of Fine Arts. He received the medal for lithography from the Province of Ontario in 1902; three Salmagundi Club prizes, in 1924, 1927, and 1932; and a Philadelphia Art Club award in 1924. His work is in the permanent collections of museums in the United States and Canada, including the Corcoran Gallery of Art, Washington, D.C., and the Metropolitan Museum of Art, as well as in private collections throughout the United States. He died on October 14, 1970. 1883 - 1970 William Francis Taylor 1 Taylor William Francis 3325 Lewis Teel (1883-1960) Born in Clarksville, Texas Lewis Woods Teel was a commercial artist who became a self-taught landscape and pastel portrait painter. The specialty for which he is known is realistic, atmospheric desert landscapes. He was the son of a pioneer Texas family and was raised in El Paso and then lived for two years in Detroit, Michigan where he worked in an auto plant. After this job, he spent several years traveling and studying paintings in museums. He returned to El Paso where he made a living from 1916 drawing pastel portraits and designing magazine covers, but on the advice of Joseph Henry Sharp, painter from Taos, New Mexico, he took up desert landscapes as his main subject in 1927. He also operated the "Desert Shop," a gallery for local artists. He painted in southern Arizona in the late 1920s and 1930s including one lengthy trip in 1927. In 1928, he participated in the famous Texas Wildflower Exhibit in San Antonio, and his work can be found in the McKee Foundation in El Paso, Texas. Public Collections: Panhandle-Plains Historical Museum Source: John and Deborah Powers, Texas Painters, Sculptors & Graphic Artists 1883 - 1960 Lewis Teel Teel Lewis 3181 Raymond Thibesart was born May 2, 1874 in Bar-sur-Aube, France. Soon after, the Thibesart's moved to the small town of Enghien outside of Paris. It was here that Raymond first began to study art with Venezuelan Impressionist master Emile Boggio at the age of eleven. He later began his formal art education at the Lycée Rollin in Paris. Thibesart entered the l'Ecole des Beaux-Arts in 1894, followed by the Acadèmie Julian in Paris where his teachers Jules Lefebvre and Tony Robert Fleury introduced him to the Symbolist Movement, which heavily influenced the early part of his career. At the turn of the century, Thibesart spent much time in Southern France and Italy painting with Boggio and Henri Martin. From this time on, Thibesart worked in the Post-Impressionist style. He often traveled to Italy, Switzerland, Belgium and Corsica to record the landscape. With great enthusiasm and energy, he used pastels to sketch the light, the passage of the wind, the flowering trees, the mornings of white frost or snow, the agricultural work, and the aura of these lands. In the tranquility of his workshop, these colored chalk drawings allowed him to execute oil paintings that retained the spontaneity and beauty of his subjects. Thibesart exhibited at the Salon des Artistes Français in Paris where he was a Silver Medalist in 1922; at the Salon des Indépendants; and at the Salon d'Automne. He was a member of the Societé des Artistes Francais from 1897, Member Salon des Indépendents since 1905, and a member of the Salon d'Automne, Paris. His work is found in the following public and private collections: the Salon des Artistes Français, the Contemporary Art Gallery, Paris, Gallery Georges Petit, Paris, the Galerie des Champs-Elysees, Paris, the National Museum of Caracus, France, and the Museum of Fine Arts, Troyes, France. Education: Student at the School of Fine Art Student of Mr. Jules Lefebvre, Julian Academie, Paris Student of Mr. Emile Boggio Student of Henri Martin Membership & Honors: Societé des Artistes Francais from 1897 Silver Medalist from Societé des Artists Français in 1992 Member Salon d'Automne, Paris Member Salon des Indépendents since 1905 Exhibits & Collections (Selected): In Salon des Artistes Français Contemporary Art Gallery, Paris Gallery Knoedler, Paris Gallery Georges Petit, Paris Gallery Ecalle, Paris Gallery Romanet, Paris, Algiers Galeria Arte Moderno, Caracus Gallery Denis and Harrington, Caracus Palais Bénédictine-Fécamp Galerie des Champs-Elysees, Paris Galerie F. Clair, Paris Exhibitions: New York, Houston, Atlanta, Tokyo Museums: National Museum of Caracus; France Museum of Fine Arts, Troyes, France 1874 - 1968 Raymond Thibesart Thibesart Raymond 2018 Anthony Thieme was born in Rotterdam, Holland. He studied at the Academy of Fine Arts in Rotterdam (1902-04), at the Royal Academy at The Hague (1905), as an apprentice artist in Dusseldorf, Germany, under George Hoecker, Germany's foremost stage designer (1906-08), and at the School of Fine Arts, Turin (1909-1910). After completing his studies he traveled in Europe, England, and South America, and he worked as a stage designer in these places both before and after coming to the United States in 1917. In 1919 he settled in Boston where for nine years he worked as a designer and painter of stage settings for the Copley Theatre, while also doing book illustrations for Boston publishers. By 1927, he had established a studio at Cape Ann in Rockport, Massachusetts, where he taught summer painting classes and became well-known for his seascapes and shore scenes. While he worked in an Impressionist manner, he was also profoundly influenced by the Dutch seascape tradition, and was particularly interested in the effects of light on water. His work was exhibited in New York, Washington, Paris, and London, and was acquired by many museums. In 1946, Thieme's Cape Ann studio burned down, together with much of his work of the previous thirty years. Rather than rebuild his life in Massachusetts, Thieme struck out for territory which he had not previously explored. His first stop was Charleston, South Carolina, where he spent two months in prolific activity, inspired by the revelation of light and color far more intense than that to which he had become accustomed. The paintings that he produced in Charleston were a far cry from his "picturesque New England harbor scenes," as the reviewer of Thieme's exhibition in 1947 at the Grand Central Art Galleries acknowledged. The serenity and tonal discipline of his seascapes was abandoned for the elaborations of wrought iron and profusion of blossoms that Charleston imposed on his senses. The heady aroma of the Southern landscape induced him to continue his travels - to St. Augustine and Nassau in 1948, to Guatemala in 1949, to the Riviera in 1951, and to Spain in the year of his death, in 1954. Source: ART AND ARTISTS OF THE SOUTH: The Robert P. Coggins Collection, Bruce W. Chambers, Ph.D., University of South Carolina Press, 1984, pp. 80-81. 1888 - 1954 Anthony Thieme Thieme Anthony 1774 Charles Victor Thirion was born in Langres (Haute-Saone) France, May 30, 1833 and died in Paris, April 27, 1878. Thirion was considered an academic portrait painter from the French school. He also was a very accomplished engraver. Thirion received his first art education at the Ecole des Beaux-Arts under William Adolphe Bouguereau (1825-1905) and Charles Gleyre (1806-1874). Being accepted into the academy, which was done through testing. Most artists failed to meet the standards established by the governing body. His work was judged by both Bougereau and Gleyre, who would also became his teachers. In 1850, Thirion moved to Paris aided by a stipend from the city of Lille. Thirion had his first exhibition in the 1861 Salon. The competition was tremendous; Jules Breton, Jean Antoine Ball, Meissonnier and other very important painters of the day. It was during this exhibition that French-American art dealer Michel Knoedler saw Thirion's work and began to handle it at the Goupil and Cie in Paris. In many ways Thirion was caught as others were in the middle of a political and artistic battle for control. By 1870 the Franco Prussian War had begun. Many of the French artists had either joined the military or left for England. Thirion joined the French Army in 1870 and was wounded during a skirmish in 1871 just before the end of the war. Wounded and ill, Thirion returned to his painting but found that his academic style was in little demand. Charles Victor Thirion died at the age of 45 April 27, 1878. His last sale was to the Museum of Langres in the town of his birth. " Sons dans Shell de mer " is a good example of his very accomplished style. The small city of Lille also owns a painting " Portrait de 'enfant". 1833 - 1878 Charles Victor Thirion Thirion Charles Victor 3108 Die Gerbermuhle bei Frankfurt dates from I Thoma's most active and creative period. The so-called Frankfurt period of 1877-99 saw the emergence of Thoma, the son of a miller and woodcutter who endured years of poverty and deprivation, as the successful and acclaimed prime exponent of German Heimatkunst. The extent to which Thoma's work was admired becomes evident in Hike's comments on a poem by I Thomas Falke: L. es ist wie ein Thomasches Bild, schlicht und schOn, reich im Kleinen und Grossen, still im Licht und klar im Schatten' (Rilke, Insel Werkausgabe, Frankfurt, 1955-66, vol. X, p. 461). 1839 - 1924 Hans Thoma 1 Thoma Hans 1745 Jerome Thompson's genre paintings on rustic themes, which were immensely popular in the late nineteenth century, have received new attention recently. This revived interest focuses on the unusual distinction of Thompson's landscape settings, which often dominate the pictures' simple foreground scenes of rural work, play or dalliance. Thompson's natural elements-meadows, mountains, sky-have great luminosity and tonal subtlety. They show a high level of technical sophistication. He was born in 1814 to the Middleboro, Massachusetts portraitist, Cephas Thompson, who instructed only Jerome's older brother in art. His father wanted Jerome to farm, and destroyed Jerome's art work. In his teens, Thompson moved with his sister to Barnstable, Massachusetts, where he painted signs, ornaments and portraits. Daniel Webster is said to have been one of Thompson's subjects, and in 1834 he painted the aging Abraham Quary, last of the Nantucket Indian tribe. In 1835, Thompson opened a New York City portrait studio. His departure from portraiture came in 1850, when he exhibited a A Pic Nick, Camden, Maine (date unknown, Museum of Fine Art, Boston) at the National Academy of Design, earning membership and creating a demand for his work. In 1852, Thompson went to England for several years of independent study. He continued to paint the integrated genre-landscapes that made him famous, but by 1865 he ceased exhibiting the originals. Lithographic reproductions ensured his continuing prosperity. Works like The Haymakers (1859, private collection) and Apple Gathering (1856, Brooklyn Museum) earn modern praise as outstanding nineteenth-century landscapes. On his return from England, Thompson lived at Mineola, Long Island, and Glen Gardner, New Jersey. He sketched in the Massachusetts Berkshires and in Vermont. He also painted some romantic Western subjects, including "Hiawatha's Homeward Journey with Minnehaha" (date and location unknown) and "Indian Prayer" (1884, location unknown). Thompson died in 1886. Memberships: National Academy of Design Museums: Brooklyn Museum Museum of Fine Arts, Boston Metropolitan Museum, New York City 1814 - 1886 1 Jerome B. Thompson Thompson Jerome B. 1773 Henry Grinnell Thomson was a private student of the pre-eminent artists of the day, William Merritt Chase and he also exhibited at the National Academy of Design while he was not a full time artist. At the age of 35 Thomson moved to Wilton, Connecticut where he became active in the Silvermine Guild of Artists and became a professional artist. Thomson was a regular exhibitor at the National Academy of Design from 1881 until 1897 and later at the Society of Independent Artists from 1917 until his death in 1937. In "Early Twilight-Firelight" the influence of fellow Connecticut artists J. Alden Weir and Willard Metcalf is evident, especially in the use of the broken brush stroke and color. It is a rare figural work by the artist and convincingly captures the contemplative mood of the women and her faithful terrier. 1850 - 1937 Henry Grinnell Thomson Thomson Henry Grinnell 3160 A painter dedicated to a Canadian nationalist art tradition, Tom Thomson worked in a painterly style that combined impressionism and abstract expressionism. He earned his living as a designer and illustrator, but his reputation continues for his boldly executed paintings, often forest scenes. By nature, he was a loner who did not begin to paint seriously until he was in his mid-thirties. He died young, which some attribute to him being lionized or romanticized a bit more than his talents deserve. About 1908, he began working for the Toronto graphics firms of Grip Ltd., and there he met James Hervey MacDonald who encouraged him to paint and to cultivate subject matter that was uniquely Canadian. In the summer of 1912, Thomson spent much time in Algonquin Park and the Mississauga Forest Reserve, and from that time he went each year to make sketches from which he painted the remainder of the year in his studio in Toronto. Although he was not an official part, he was closely aligned with the Group of Seven, artists led by Lawren Harris and James MacDonald, to promote Canadian art. 1877 - 1917 Tom Thomson 1 Thomson Tom 3361 William Robert (W.R.) Thrasher (1908-1997) The state of Texas, with its vastness and various landscapes, has been the inspiration to many artists. To W. R. Thrasher it has been home to a man whose artistic abilities are widely known. Hot Texas afternoons, with the sun filtering through moss draped live oak trees and with soft mint green prickly pears growing by a dusty road, awaken one to expect at any moment to see a covey of quails or perhaps a roadrunner scurrying from under a mesquite bush. Whether in the soft greens of spring with its beautiful bluebonnets or summer's paintbrushes, buttercups and thistle, or ablaze with autumn majesty, this is the world of W. R. Thrasher. Born in Lamar County, Texas, in 1908, William Robert Thrasher was a farm boy. Because of his desire to paint he spent all his earnings for brushes and canvas. He observed and painted the life he knew wildlife, farm scenes and the unspoiled countryside of the early twentieth century. The death of his father during the Depression forced the sale of the farm and family possessions. The first items sold, and the most in demand, were Thrasher's paintings. This gave him the encouragement for a lifetime art career. Young Thrasher found an expanding market for his early works, which were rendered on beaver board, masonite and other materials available to the budding artist. These early creations soon found homes in Lamar and surrounding counties. Noted art critics have commented on his work as being well executed and having good composition and perspective. Although he is best known for landscapes, he is an artist of diversified talent. His works are included in private collections throughout the country, in state offices in Austin, Texas, in various universities and in congressional offices in Washington, D.C. Source Researcher at the Ashworth Collection of Native American and Western Art. Material for this biography is from the Gold Leaf Gallery web site www.goldleafgallery.comin Tyler, TX, dealers in Mr. Thrasher's works. 1908 - 1997 1 William Robert (W.R.) Thrasher Thrasher William Robert (W.R.) 1772 Friedrick Paul Thumann was born in Gross Tzchackdsorf (Germany) October 5, 1834 and died in Berlin February 20, 1879. He is considered a historical, portrait and genre painter from the German School. Thumann was also a print maker and illustrator. Thumann began his formal education in 1853 at the Berlin Art Academy under Professor D'Hubner in Dresde. In 1863, he was invited to study with Professor Ferdiand Pauwels (1830-1904) at the Ecole dArt in Weimar. Paul Thumann became a full professor at the Ecole dArt in 1866. In 1879, Thumann was honored by being awarded the Berlin Medallion. Then in 1880, he was elected to become a member of the Berlin Academy. Listed: E. Benezit, vol. X, pg. 171 Thieme Becker Champlin & Perkins Cyclopedia Museums: Bamberg Museum Cologne Museum 1834 - 1908 Friedrick Paul Thumann Thumann Friedrick Paul 1744 Johann Till (1827-1894) was a painter of history and genre subjects. He was born in Vienna on July 19, 1827 and died in the same town on November 21,1894. He was a student of his father Jean Till at the Academy of Vienna after Ruben. He continued his studies in Italy and in France and he finally established his studio in Vienna. He began to exhibit in Vienna in 1877. He was known for a variety of subjects children, peasants, and monks. The Goose Girl is a combination of his wonderful skills portraying a young peasant girl picking flowers while at play with an array of ducks, turkeys and gooses. Museums Chemnitz Petit Bandit Gratz Moines pres d'un Tombeau Sunderland Preparatifs pour le marche Vienne Godefroy de Bouillon en Terre Sainte and Croise's demandant un asile dansun Monastere. York Pan Listed E. Benezit, page, 184. Popular 19th Century Painting, A Dictionary of European Genre Painters, Philip Hook and Mark Poltimore, Pgs. 175, 444, 452 (illustrated), 543 and 556 (illustrated). 1827 - 1894 Johann (The Younger) Till Till Johann (The Younger) 1771 Myra Tinsley was born in Corpus Christi, Texas. Her youth was spent in various cities across Texas, Arizona and New Mexico. Myra studied commercial art formally and worked as a fashion illustrator for many years in Dallas and Fort Worth. Myra's greatest desire was to paint even during her years as a fashion illustrator. After many years she realized her desire for painting was too great to go on with commercial art. In 1980, Myra decided to pursue her first love intensely. At a very early age Myra's sensitivity for design and color was apparent. From early youth the splendor of nature and the beauty of the human form inspired her to sketch and paint. Today, she continues to be fascinated with nature's perfection. Myra takes great pleasure in the study of women and children, often used as subjects in her paintings. Through these subjects she conveys innocence, grace and purity. Myra's keen awareness and sensitivity allow her to paint with great passion and devotion. Myra lives and she maintains a studio in Fort Worth, Texas. She works five to six days a week, approximately eight hours a day, depending on the light. Myra is totally dedicated to impressionism in theory and technique. She produces works that are sought after by corporate and individual collectors. Unknown Myra Tinsley Tinsley Myra 2140 Piedro Torrini is considered an academic genre painter from the Italian school. He was born in Florence, Italy January 1, 1852 and died in 1920. He received his formal art training at the Beaux-Arts Academie in Florence. Torrini built a successful career and his reputation painting rural Tuscan family life and it many characters. Very few artists had the ability to capture the richness of character and depth of an individual subject’s personality better than Pietro Torrini. Like his peasant portraits, Torrini’s genre interiors are filled with the magic of the local color that can only be found in the simple lives of an Italian peasant family and filled the warmth of a Tuscan sun. Pietro Torrini maintained a studio in Florence and he also had regular exhibitions in Rome, Venice, Paris and Great Britain. His paintings can be found in important collections public and private collections in Europe, Great Britain and the United States. Listed E. Benezit, Vol. X, page 229 1852 - 1920 Pietro Torrini Torrini Pietro 1770 He was a painter depicting beautiful women within interior scenes (Directoire / Costume paintings). Toulmouche was born in Nantes on September 21, 1829 and died in Paris on October 16, 1890. He was a pupil of Marc Charles Gabriel Gleyre (1806-1874). Auguste first exhibited in the Salon of 1848, in 1852 he won a third class medal, a second class medal in 1861 and a third class medal in 1878 (Exposition Universelle). In 1870, Toulmouche received the honor of Chevalier de la Legion dhonneur in 1870. At the height of his career the phenomenon called Costume painting came into the forefront of 19th century painting. These contemporary tastes belonged to a growing number of people who reveled in depictions of sentimental, romantic daily life. The subject matter of a picture was the primary consideration, and its success depended on the expressiveness of the characters, a quality directly derived from history painting. Toulmouche was amongst a select group including Jules Emile Saintin (1829-1894), Joaquin Pallares y Allustante (late 19th century), and Charles Joseph Frederick Soulacroix (1825-?). Museums: Beaufort Beziers Nantes New York (Metropolitan Museum) Saint Louis 1829 - 1890 Auguste Toulmouche Toulmouche Auguste 3339 Josephine Oliver, a Paris, Texas native, became a student of Frank Reaugh, one of Texas' most respected artists and art teachers. Starting at age 12 under his tutelage, Ms. Oliver rapidly developed her talents and soon became the art instructor's teaching assistant. In 1923, she accompanied Reaugh and a group of his students on a month-long trip to sketch with pastels the beautiful landforms and sky of West Texas. These trips continued over another 10 years, as Ms. Oliver's skills developed by sketching many of the region's most scenic landmarks. Modern critics believe that with time some of the students work even surpassed those of her teacher, with her vivid pastel landscapes capturing the essence of "earth and sky." Ms. Oliver was somewhat of a young Renaissance-woman of the 1920s and 1930s, winning a talent competition, traveling across the country performing in a music and dance revue in 1927, and pursuing both her art and music studies in Paris, France in 1928. By 1929 she was a member of the second violin section of the Dallas Symphony Orchestra. This was an exceptional accomplishment since statistics from the time show in the concert field the ratio of men violinists to women violinists was 591. Again and again, however, the young artist would return to Reaugh's Oak Cliff studio to teach, sketch and help organize exhibitions of her teacher's work and that of his many protgs. Following her marriage to noted Dallas artist Olin Travis in 1935, the multi-talented Josephine focused on her musical abilities, becoming a violinist with both the San Antonio and Dallas Symphony Orchestras. She remained active in professional music circles for many years, retiring from the Dallas Symphony Orchestra in 1977. She died in Dallas in 1991. Exhibitions Annual Exhibition of Texas Artists, Dallas Woman's Forum (1927) Frank Reaugh Art Club, Dallas (1930s) Women Artists of Texas 1850-1950, Panhandle- Plains Historical Museum, Canyon (1993). Murals Dallas Morning News Building. 1908 - 1991 3 Josephine Oliver Travis 1 Travis Josephine Oliver 3288 A painter and teacher, Kathryne Hail Travis was born in Ozark, AR on Feb. 6, 1894. Hail studied at the Art Institute of Chicago, Chicago Academy of Fine Arts, Cincinnati Art Academy, and with George Bellows and Robert Henri. After her marriage to artist Olin Travis in 1916, the couple founded the Dallas Art Institute in 1925 and Summer School in the Ozarks. A divorcée, in 1936 she moved to Hollywood, California where she lived for ten years. She then maintained a studio in Seattle and, while there, worked in the Cascades, Olympic Mountains, and Alaska. Returning to Dallas in 1952, she opened a studio and operated a summer school in Ruidoso, NM. She died there on Jan. 10, 1972. Primarily a portraitist, she also painted still lifes and landscapes. Member: AFA; Dallas AA. Exh: Webb Gallery (LA), 1941 (solo); Sartor Galleries (Dallas), 1933, 1968. WWAA 1940; KOV; Art & Artists of Texas; WW of American Women; Independent Spirits. 1894 - 1972 Kathryne Hail Travis Travis Kathryne Hail 3188 Artists have always struggled with the delicate balance between the technical and the emotional. Painters who have studied and mastered the uses of color, space and shape for their tenure as artists have always grappled between emotional content and composition. What is technically perfect may not be artistic and what is artistic may be technically vacant. In his work – especially his oil on glass -- Remo Trentini not only found the balance, he mastered both intellectually confounding ingredients, blending them into a final style that was fresh, exciting and new, but traditional at the same time. Remo Mario Trentini grew up with an adaptive nature. Born in Innsbruck, Austria on February 10, 1915 during the First World War, he moved to Rovereto, Italy after the war. His surroundings in the Dolomites were the source of much of his early work. Somehow, as he was to do in many aspects of life, he was able to draw from different cultures, adopting the technical Alpine-type pragmatism and mixing it with the Italian emotionalism that was his natural heritage. Remo Trentini was an artist who had already been discovered when he re-introduced the art world to oil on glass. He attended the Academia Albertini di belle arti di Torino from 1939 through 1944 and was tutored by the Italian maestro Caffaro. His first one-man exhibition of oils on canvas came in Fossano in 1946, where a highly regarded art critic said, "… His use of colors is particularly advanced and proves this young man is destined to become one of the great artists of our time …" He moved to Paris, where he began to dabble with oil on glass, and then, discontented with Italian politics, he came to North America; first to Canada, and then in 1980 to the United States. Bouncing in style from surrealism to contemporary impressionism, Remo Trentini had solo exhibits throughout Europe, Canada and the United States. By the end of his life he had done works for the Canadian National Parliament and the British Royal Family, who had attained one of his paintings on glass for permanent exhibit at Buckingham Palace in 1978. His work, although constantly evolving, had one common theme: it was both technically and emotionally superior, mixing the forms of thought and emotion effortlessly. His art, like his life, still defies conventional definition. Italian, but not Italian. American at the end, but not American either. Like his paintings, a contrast between the best of all worlds. Through it all, Trentini was able to fuse the intellectual with the spiritual, much the same as he wound from place to place and culture to culture effortlessly. In Dallas, his permanent home for the last two decades of his life, he was at his most prolific. It was there, also, that he died, November 12, 1999. As was the case for most of his homes, Dallas was simply where he resided. He was no more a Texan when he died than an Austrian when he was born. Much like his art, his heart was never encumbered by boundaries. And he was never tied to one location, one emotion – or one specific style. Exhibitions – Europe: 1946 Galleria Narciso, Fossano; 1947 Galleria del Naviglio, Milano; 1948 Galleria del Naviglio, Milano; 1949 Premio Gianni, Milano, Galleria Cavalino, Venice; 1950 Premio Gianni, Milano; 1951 Galerie Parisienne, Paris; 1952 Galerie Parisienne, Paris; 1954 Galerie Parisienne, Paris; 1955 Galerie Parisienne, Paris; 1956 Galleria La Bussola, Torino, Galleria La Mesa dell’artista, Torino, Galleria del Sole, Milano; 1957 Galleria La Bussola, Torino, Galleria Lombardi di Nuovo, Milano; 1958 Galleria La Bussola, Torino, Galleria Lombardi di Nuovo, Milano; 1959 Galleria La Bussola, Torino; Galleria Lombardi di Nuovo, Milano; 1960 Galleria Lombardi di Nuovo, Milano; 1961Galleria Bruni, Roma, Galleria Penelope, Roma;1962 Galleria Bruni, Roma, Galleria Penelope, Roma, Galleria Piemonte Artistico Culturale, Torino; 1964 Galleria Arte Antica, Torino; 1965Galleria Obelisco, Roma; 1966 Galleria del Navigho, Milano; 1967 Galleria Notizie, Torino; 1968 Galleria Lancillotto, Roma; 1969 Galleria Arte Antica, Torino, Galleria Lancillotto, Roma;1970 Galleria La Rocca, Torino, Galleria Torre, Torino; 1971 Galleria Floriana, Fossano, Galleria Zanini, Roma; 1972 Galleria Gian Ferrari, Milano, Galleria II Milione, Milano;1973 Galleria Nuovo Carpine, Roma; 1974 Galleria Nuovo Carpine, Roma, Castello di San Mezzano, Florence; 1975 Galleria Nuovo Carpine, Roma, Galleria La Tavolozza, Torino; 1976 Castello di San Mezzano, Florence Exhibitions – Canada: 1976 Ottawa City Hall, Ottawa, Ontario; 1977 Ottawa City Hall, Ottawa, Ontario, Studio Colleen, Ottawa, Ontario; 1978 Studio Colleen, Ottawa, Ontario, Embassy West Hotel, Ottawa, Ontario, World of Antiques & Fine Art, Toronto, Ontario; 1979 Studio Colleen, Ottawa, Ontario, Van Gogh’s Ear Gallery, Ottawa, Ontario Exhibitions - U.S.A.: 1980 Roughton Galleries, Dallas, TX: 1981 English Gallery, Hollwood, CA, Capital Bank, Dallas, TX; 1982 English Gallery, Hollwood, CA, Marilyn Goss Galleries, Dallas, TX, Collective Jewels, Dallas, TX; 1983 English Gallery, Hollwood, CA, Marilyn Goss Galleries, Dallas, TX; 1984 English Gallery, Hollwood, CA, Marilyn Goss Galleries, Dallas, TX; 1985 Marilyn Goss Galleries, Dallas, TX; 1986 Marilyn Goss Galleries, Dallas, TX; 1988 Art Traders International, Chicago, IL; 1989 Art Traders International, Chicago, IL; 1990 Art Traders International, Chicago, IL; 1992 "Carta Mondiale I" Westin at the Galleria, Dallas, TX, Ursuline Academy, Dallas, TX; 1993 Grand Kempinski Hotel, Addison, TX, G.T.E. Corporation, Las Colinas, TX, River Café, Houston, TX; 1994 "Carta Mondiale II" at Ursuline Academy; 1995 University of Texas Health Science Center, Houston, TX; 1996, Grand Kempinski Hotel, Addison, TX; 1997 Ursuline Academy, Dallas, TX; 1998 Ursuline Academy, Dallas, TX; 1999 Ursuline Academy, Dallas, TX Corporate Collections: American Healthcare Systems, La Jolla, CA; American Institute for Plastic Surgery, Plano, TX; Coeur D’Alene Mines Corporation, Fiat Corporation, Torino; Fuji Corporation, Tokyo; General Electric Company, Fairfield, CT; The Hoover Foundation; Kuhler & Associates, Newport Beach, CA; Lomas & Nettleton, Dallas, TX John C. Mallios & Associates, Dallas, TX; Merrill Lynch & Company, New York, NY Olivetti Corporation, Milano; Republic Financial Services, Dallas, TX Museums: Revoltella Museum, Trieste; The War Museum of Rovereto Printed Media: Houston Chronicle, Houston, TX - 11/16/95; Fort Worth Star-Telegram, Fort Worth, TX - 11/21/94; Chicago Tribune, Chicago, IL - 5/13/90; West Suburban Post, Chicago, IL - 4/06/90; Park Cities People, Dallas, TX - 2/25/82; The Park Cities News, Dallas, TX - 1/01/82; Ottawa Journal, Ottawa, Ontario - 6/20/78; Il Giornale di Toronto, Toronto, Ontario - 7/07/77 1915 - 1999 Remo Mario Trentini 1 Trentini Remo Mario 1769 William Trood is considered an animal painter and sculptor from the English School. He was born in London in 1848. According to records, he was very active from 1860 until his death in 1899. Trood was a regular exhibitor at the Royal Academy, Sulfolk Street, National Watercolor Society and Grovsner Gallery. William Trood exhibited both his sculpture and paintings. "The Umpire"(1879-80), " Waiting for the Bolt"(1881) and "Where is your Tail" 1883 are examples of his terra- cotta sculpture. He exhibited these with his paintings. "Waiting for the Clouds to Roll by" is one of his more important paintings. It is illustrated in the Royal Academy Exhibition Catalogue of 1893 and again in The Years Art 1900, Royal Academy Pictures 1893, Illustrated. Listed: E. Benezit, Vol. X, pg. 280 The Dictionary of Victorian Painters, 2nd edition, Christopher Wood, pg.479 Royal Society of British Artists, (1824-1893), pg.465 1848 - 1899 William Trood Trood William 1768 Paul Desire Trouillebert was born in Paris in 1829 and died in 1900. He studied with Hebert and Jallabert. His debut at the 1865 Paris Salon. In addition to being a landscapist, he also painted portraits and nudes. The great influence of Camille Corot is very much evident in his works. In fact, Trouillebert first came into the limelight when one of his paintings was sold to Alexandre Dumas's son as a work by Corot. The younger Dumas was mislead by the similarities in the compositions and styles of the two painters. Trouillebert made his Salon debut in 1865 and continued to enter paintings for many years after. MUSEUMS: Muse Le Puy Muse de Mulhouse Muse de Nice Muse de Reims Muse de Reichenberg Muse de Saumur 1829 - 1900 Paul Desire Trouillebert 1 Trouillebert Paul Desire 1767 Constant Troyon began his career as a porcelain painter. By the late 1830s he turned his attention to landscape painting, and his first Salon entries were views of Saint Cloud and Sevres, near the state porcelain works. These early paintings were characterized by bright colors based on his experience working with porcelain glazes. In 1843, Troyon became friends with Theodore Rousseau and Jules Dupre, and began to frequent Fontainebleau, which would provide him with a new subject for his painting. In 1846, he was awarded a firstclass medal at the Salon. The turning point in Troyon's career was in 1847 when he visited the Lowlands. Here he fell under the influence of the two great 17th century Dutch animal painters' Albert Cuyp and Paulus Potter. When he returned to France he concentrated on animal painting and the Salon of 1849 saw his first entry devoted to an animal subject. From this point on he was a great success, both critically and financially, and his influence was felt in France, the Lowlands and Germany. Troyon became the first Barbizon artist to win overall acceptance. Exhibitions of his works were held in London, Manchester, Brussels, Vienna, Antwerp and The Hague. His paintings of animals, rooted in their natural surroundings, are characterized by a perfect balance of color, line and composition. Whether painting a cow in a pasture or a pointer in a field, animal and nature coexist in total harmony when they are recorded by Troyon's brush. When Troyon died in 1865, his reputation as one of the greatest animal painters of the 19th century was firmly established. 1810 - 1865 Constant Troyon 1 Troyon Constant 3111 Tyron was born on August 13, 1849, in Hartford, and died on July 1, 1925, in South Dartmouth, Massachusetts. He was in Hartford and East Hartford, 1849-73; and periodically, 1873-c. 1920. The landscapes that Dwight W. Tryon painted cannot be labeled Impressionist but arc subtle and lyrical and reveal a deep love of nature, especially in its delicate, elusive phases. They relate closely to those of the American Impressionists, who followed him in time. "The personality of this painter of poetic landscapes might have disconcerted you," said artist Henry C. White of his teacher and friend in the biography The Art and Life of Dwight William Tryon, because "he was short, rather thick-set and muscular . . . . His hands, wide, with short, thick lingers, blunt at the ends, callused and gnarled as those of any sailor or farmer, gave no evidence whatever of his mastery of minute and delicate craftsmanship." Tryon had had to develop that remarkable mastery mostly on his own. He wanted to be an artist but worked as a bookkeeper and clerk in a Hartford bookstore. He once confided his ambition to Mark Twain, a customer of the store, who found the idea lamentable. Tryon persisted and by 1873 was able to open a studio in Hartford, marry, and work full-time at art. He exhibited and sold pictures both in Hartford and New York and began to teach private students such as Henry C. White. In 1876 he went to Paris, where he studied with Jacquesson de la Chevreuse, a favorite pupil of Ingres, and at the Ecole des Beaux-Arts. He also worked briefly with Daubigny, Harpignics, and Guillemet. In 1881 he returned to New York and set up a studio in the Rembrandt Building on W. 57th St., where Thomas Dewing was a neighbor. Two years later he made South Dartmouth, Massachusetts, his summer home, and two years after that he joined the faculty of Smith College in Northampton, where he was for many years head of the Art Department, until his retirement in 1923. He began to spend many summers exploring Buzzards Bay on his own cruising sloop. Tryon was elected a full member of the National Academy of Design in 1891. His prize list is long and impressive, and he is represented in the collections of major museums. His New York dealer was Montross, and his work was collected by Charles L. Freer, who intended to devote a room to it in the Freer Gallery in Washington, D.C., because he believed Tryon's art, along with that of Whistler, Dewing, and Abbott Thayer, was most in sympathy with the Oriental work that made up most of his famous collection. (The plan was not carried out after Freer's death.) When Tryon died, he presented an entire art museum to Smith College. Tryon Gallery was completed a year after the artist's death but was demolished a few years ago to make way for the modern building that now houses the Smith College Museum of Art. It is clear that from the mid-1870s on, Tryon never again had a home of his own in Connecticut. That he learned to love nature as he was growing up in this state is obvious. That he continued to visit is a conjecture based on the fact that he had family in Hartford (his family's clothing business, Stackpolc, Moore, Tryon, is still operating). That lie did visit and even painted in Connecticut after 1873 is demonstrated by Glastonbury Meadows, 1881 (cat. 57). Further reading: Dwight W Tyron: A Retrospective Exhibition. Exh. cat., The William Benton Museum of Art, The University of Connecticut, 1971. White, Henry C. The Life and Art of Dwight William Tryon. Boston: Houghton Mifflin Co., 193(1. 1849 - 1925 Dwight W. Tryon 1 Tryon Dwight W. 2067 Allen Tucker, architect, painter, impressionist, symbolist and writer. His widely exhibited paintings are reminiscent, in their brushwork and use of light, of the work of Vincent Van Gogh (1853-1900). Tucker was born July 28th, 1866, in Brooklyn, New York and died January 26th in New York City. In 1888, he would begin his architectural studies at the School of Mines, Columbia University. Tucker would then study painting at the Art Students’ League under John H. Twachtman (1853-1902) from 1921 to 1922. Upon completing his studies, Tucker joined the architectural firm of McIvaine and Tucker, (his fathers business). Unhappy working as an architect, he left the firm in 1904 to pursue a career as an artist. Although Allen Tucker’s vision became increasingly symbolist in the latter years of his career the outward aspect of his art remained direct. He painted in an impressionist fashion applying his paint with energetic, crisp brush strokes revealing subjects with startling clarity. It hardly mattered what he painted, a mountain in the Rockies, a view through a window in Manhattan, a dusky interior or a figure presented head-on. John Henry Twachtman’s basic impressionist teachings at the League and the influence from Pont Aven, from Émile Bernard (1868-1941), Paul Gauguin (1848-1903), and Van Gogh would help Tucker developed his own original style. He developed a striking rhythm in his works and they appear to create their own movement from within the execution of his strokes of shimmering light and contrasting shadows. The influence of Robert Henri (1865-1929) and Maurice Prendergast (1859-1934) can be seen in his brushwork and his compositions. Whether he was influenced or not, there seems to be a connection between Tucker and Prendergast. He was known as an individualist who did not "fit well into acceptable art history." He was a better fit with the likes of Ernest Lawson (1873-1934), of Maurice Prendergast (1859-1934), of the Torontan Albert Henry Robinson (1881-1935), of Homer Boss (1882-1934), of Abraham Walkowitz (1880-1934). As a group of near impressionist artists, Allen Tucker, with his mystical and pantheist view of nature, stood out as the Symbolist. Tucker helped organize the landmark Armory Show of 1913 and was one of the founders of the Society of Independent Artists, 1917. He was an advisor to Mrs. Juliana Force, who directed the Whitney Studio and the Whitney Studio Club. Tucker was an Honorary Member of the Art Students’ League, and taught at the League from 1921 to 1928. He also wrote, Here and There which was a book of verse (1919), Design and Idea (1930) and John Henry Twachtman (1931). Museums: Yale University Art Gallery, New Haven, CT National Gallery of Art, Washington, D.C. Smithsonian American Art Museum, Washington, D.C. The Phillips Collection, Washington, D.C. High Museum, Atlanta, GA. Michael C. Carlos Museum, Atlanta, GA Addison Gallery of American Art, Andover, Mass. Smith College Museum of Art, North Hampton, Mass Farnsworth Art Museum, Rockland, Maine The University of Michigan Museum of Art, Ann Arbor, Mich. The Brooklyn Museum, Brooklyn, NY The Metropolitan Museum of Art, NY, NY The Parrish Art Museum, Southampton, NY Everson Art Museum, Syracuse, NY Museum of Art, Rhode Island School of Design, Providence, RI Memphis Brooks Museum, Memphis, TN Maier Museum of Art, Lynchburg, VA Robert Hull Fleming Museum, Burlington VT. Listed: E. Benezit Who was Who in American Art 1866 - 1939 Allen Tucker Tucker Allen 2050 Charles H. Turner was born in Newburyport, Massachusetts on August 7, 1848. He studied under Otto Grundmann in Boston and was a member of the Unity Art Club and the Boston Art Club. He exhibited at the Boston Art Club at various times from 1881 until 1907. In 1887 he exhibited at the Pennsylvania Academy of Fine Arts and gave his address as 12 West Street, Boston, MA. His last known address was 68 Mt. Vernon Street, Boston, Massachusetts 1848 - 1908 Charles Henry Turner 1 Turner Charles Henry 2017 Revered by the artists of his era as a "painter's painter," Cincinnati-born John Henry Twachtman was at the forefront of American avant-garde art movements of his time. Much of his early career was spent abroad. He studied in Munich from 1875 to 1878. In 1880, after a period of painting in New York, he went to Florence, Italy, to teach at the school his friend Frank Duveneck had established there. He lived in France from 1883 through 1885, study-ing in Paris at the Academie Julian and painting in Normandy and Holland in the summers. After settling in Greenwich, Connecticut, in about 1889, he developed a distinctive Impressionist style, which was transmitted to him in part by his friend Theodore Robinson, who had spent many summers close to Claude Monet, and in part by his exposure to French art in New York galleries. Yet Twachtman's Impressionist style may also be seen as evolving naturally from the artistic explorations of his earlier career, and his mature aesthetic was tempered by his personal response to nature and his versatile and individual technique. In Greenwich, Twachtman focused on painting the familiar motifs found on his own property, modifying his handling to the particular qualities that a subject evoked. From 1900 through 1902 Twachtman spent summers in Gloucester, Massachusetts, where he worked alla prima, returning to the bold, painterly style of his Munich years but retaining the vivacity of his Greenwich art. In 1897 Twachtman was a founding member of the Ten American Painters. 1853 - 1902 John Henry Twachtman 1 Twachtman John Henry 1743 James G. Tyler was one of the most notable maritime painters and illustrators of his day. His popularity can be gauged by the fact that his works were often forged. It is estimated that in New York City in 1918, more than 100 works falsely carried the artist's name. Tyler was born in 1855 in Oswego, New York. At age 15, Tyler, already fascinated by the sea and its vessels, moved to New York, where he studied under marine artist A. Cary Smith. This brief tutelage was the only formal art training Tyler ever received. No aspect of maritime life escaped Tyler's attention. In addition to painting all types of boats-from old sloops to clipper ships-he painted a variety of seamen, coastal scenes and seascapes. From 1900 to 1930, Tyler traveled each year to Newport, Rhode Island, where he painted the annual America's Cup Race. Some of these paintings were commissioned; the remainder were widely exhibited and critically acclaimed. In fact, Tyler received a number of important commissions in his lifetime. He also capitalized on the money to be made through magazines, and was a regular contributing writer and illustrator for some of the major publications of the time, including Harper's, Century and Literary Digest. Tyler's artistic style is vivid and poetic, infused with his unique and specific enthusiasm. As seen in his Freshening Breeze (date unknown, Kennedy Galleries), his emphasis is more on mood and impression than on the exacting details conveyed by more realistic painters. His works have been critically compared with those of Albert Ryder. When, at the height of his career, Tyler became aware of the number of paintings falsely circulated under his name in New York, he complained to the district attorney and was able to successfully pursue several civil action suits. Having lived for most of his life in Greenwich, Connecticut, Tyler moved to Pelham, New York in 1931, before he died. Memberships: Artists Fund Society Salmagundi Club Public Collections: New-York Historical Society, New York City 1855 - 1931 James Gale Tyler Tyler James Gale 1766 Walter Ufer was born into a German immigrant family in Louisville, Kentucky. In 1893 he sailed to Germany to study art at the Royal Academy in Dresden returning to America three years later, and eventually settling in Chicago in 1900 where he worked as a designer for an engraving firm. By 1911, Ufer had saved enough money to travel to Europe. He and his wife spent two years painting and studying in France, Italy, Germany, North Africa, Sweden and Denmark. The exhibition of Ufer's European works in Chicago on his return was a success, attracting the attention of Mayor Carter H. Harrison, Jr. who, with several of his business associates had for several years sponsored visits for young Chicago artists to Taos. Harrison sponsored Ufer's first trip to New Mexico in 1914. Ufer traveled via Denver as a guest of the Santa Fe Railroad, whose management was eager for artists to paint the American West in order to encourage public travel. On his arrival in Taos, Ufer was so impressed with the landscape and people that he remarked: "God's country! I expect to live and die here" (Patricia Janis Broder, Taos: A Painter's Dream, Boston, Massachusetts, 1980, p. 212); and it was in Taos that he found the creative and aesthetic inspiration that he needed to develop the originality of his mature painting style. Ufer was invited to become a member of the Taos Society of Artists in 1917, and he exhibited with the other members from then until the group was disbanded in 1927. Although Taos was an ideal venue for Ufer artistically, his active social conscience was affected by the plight of the local Indian population. By the time Ufer first visited New Mexico in 1914, the Taos Indians were undergoing huge social change. The old way of life, revolving around the cultivation of corn was becoming outdated in an era of industrialization. Many of the Pueblo Indians were forced to seek employment in the village, but they were uneducated and unskilled, and had to take menial jobs or work as servants. Patricia Janis Broder writes of Ufer: ". . . he focused his efforts upon painting the pains of cultural transition. He painted them as passive, dejected people, second class citizens in the white man's world" (Broder, I. 215). Ufer always worked outdoors which enabled him to concentrate on capturing the New Mexico landscape in all its dramatic variations of light and color. Dr. Rick Stewart writes: Ufer, in his best work, went beyond the surface of things to expose the undercurrents of human feeling. Unlike so many of his Toas counterparts, he seems to have been struck by the irony of the Indian's lot in his artistic paradise, and he used the language of paint to argue more eloquently than he could have done with words. 1876 - 1936 Walter Ufer 1 Ufer Walter 2156 Although Eugene Ullman was influenced by the French impressionist movement and experimented with impressionism, he is considered a representational portrait, figure and landscape painter from the American school. Ullman was born March 27, 1877 in New York City to German immigrants, Sigmund and Pauline Ullman, who also had a daughter and three other sons’. As a child, Paul Ullman exhibited an early interest and talent with his drawings of horses, ships, and horse-drawn carriages. It was local artist and regional painter, Walter Griffin, who recognized and fostered his early talent, as did his own mother. Ullman attended Columbia University Grammar School, where he excelled in Latin and German. He then spent a year at the Packard Business School to please his father. However, it became apparent that his heart was into art and not business. With encouragement from his mother, Ullman’s father consented and enrolled him at the William Merritt Chase School of Art; where he became a teacher, and later he was offered the directorship, which he declined upon Chase’s resignation. Anticipating a promising career, Ullman’s parents provided him a generous allowance which enabled him to continue his studies with Chase at his Shinnecock Summer School on Long Island and to accompany him to study and paint in Europe. Shortly after the Spanish-American war and prior to their trip to Europe, Chase gave him an introduction to John Singer Sargent, and he also briefly attended James Whistler's atelier but left after a week because he found Whistler's method "too dark." Chase and Ullman traveled the continent. In Spain, he copied works by Velázquez and would be introduced to the works of El Greco for the first time. They traveled to Munich and Holland to study the old masters. It was in Holland that Ullman discovered that its citizens had less respect for living artist than the Masters of their glorious past. During their stay in Paris, Ullman completed a full-length portrait of Chase that was purchased by the French government for the Musée de Luxembourg. It shows the artist with a cane, wearing pince-nez, spats, gloves and a top hat. Although Chase would return to the United States, Ullman would spend most of his career in France as an expatriate much longer than most of his artist peers, only returning to the United States during World War II. During World War I, he worked to aid French artists caught in occupied territories, often sending them money. He also returned briefly to the United States and took preliminary training so he could become an ambulance driver. In France, Ullman associated with prominent literary figures including Gertrude Stein, whose introduction was made by Alfred Maurer, Booth Tarkington, and Arnold Bennett. He also exhibited widely in American including the National Academy of Design, the Art Institute of Chicago and the Pennsylvania Academy of the Fine Arts. Ullman’s reputation grew steadily before World War I, and a critic for "The World Magazine" wrote: 'Eugene Paul Ullman has a field practically to himself among the Americans. . . they do not fail to attract attention for they show the painter to be a master of technique and an exquisite colorist." He married twice, the first wife being novelist Alice Wood, one of his students, and they had two sons, Allen and Paul. Allen became a sculptor and painter, and Paul a painter-illustrator. The couple divorced in 1923, and Ullman married Suzanne Lioni in 1927. They had a son, Pierre in 1929. During the 1940s, Ullman and his family lived in Westport, Connecticut, but they returned to France in 1949. Suzanne died in 1950, and the artist remained there until his death on April 20, 1953 at the age of 76. Pierre Ullman, son of the artist, has written an article about Eugene Ullman. The title is "Eugene Paul Ullman and the Paris Expatriates," and it was published in "Papers on Language and Literature" (Winter 1984, pp. 99). HONORS Bronze Medal, St. Louis Exposition, 1904. Second Prize, Worcester Art Museum, 1905. First Class Medal, Orlans (1905). Temple Gold Medal, 1906. Silver Medal, Panama Canal Exposition, San Francisco (1915). E. P. Ullman also received the honor of associate membership in the Société des Beaux-Arts, unusual for a foreigner. Nevertheless, he later resigned in protest of their policy toward the avant-garde artists of the younger generation. Who Was Who in American Art (1999) states that EPU won a medal at the St. Louis World's Fair in 1924. 1877 - 1953 Eugene Paul Ullman Ullman Eugene Paul 3175 A painter of California history and western landscapes, Manuel Valencia was born in Marin County, California in 1856 on the Rancho San Jose, the Valencia hacienda. The family received many land grants in the San Francisco area because of their ties to settlement history. He was a descendant of General Gabriel Valencia, the first governor of the state of Sonora, Mexico under Spanish rule. He was named for his grandfather, who arrived in California in 1774 and became administrator of the Presidio in San Francisco. Valencia studied with artists including Jules Tavernier in the San Francisco area, where he lived his entire life, and attended what is now Santa Clara University. He also spent some time in Mexico where he was a member of the Esquela de Bellas Artes de Mexico. Early in his career, he was a commercial artist who designed calling cards. After the 1906 earthquake and fire, Valencia and his family moved to San Jose, but he commuted to his studio in San Francisco. There he was art editor of the "San Francisco Chronicle" newspaper under art patron M. H.. de Young, for whom the museum in San Francisco is named. War Cry, the Salvation Army newspaper, also hired Valencia as its first illustrator. During the time he did illustration work in San Francisco, he kept studios in Monterey and Santa Cruz, did landscapes in Tonalist styles including moonlit scenes that were similar to those of Charles Rollo Peters and indicated he had an awareness of the poetic aesthetic of James McNeill Whistler. Around 1912, he began exhibiting in San Francisco galleries such as S & J Gumps and in New York at Macbeth Gallery and exclusive restaurants such as Delmonico's. President William McKinley, who purchased one of his Yosemite paintings, was amongst his growing list of collectors. He also did desert scenes of Arizona and New Mexico landscapes. He remained in San Francisco until the early 1930s and then moved to Sacramento where he died on July 6, 1935. His family scattered his ashes on Mount Tamalpais in Marin County. In addition to the California capitol, Valencia's work can be seen in the Huntington Art Gallery, San Marino, California; the San Jose Historical Museum; and the Orange County Museum. Sources: Carol Lowrey, The Poetic Vision: American Tonalism, (Spanierman Galleries) Michael David Zellman, Three Hundred Years of American Art Edan Hughes, Artists in California, 1786-1940 1856 - 1935 Manuel Alten Valencia 1 Valencia Manuel Alten 3176 Born in Warren, Ohio, Luther Van Gorder along with Edmund H. Osthaus (1858-1928) and Wilder Darling (1856-1933), were among the most distinguished painters of the Toledo area during the late nineteenth and early twentieth century. He is best known for his views of Parisian flower markets. While young, Luther Van Gorder worked for a Toledo newspaper, and then went on to study art in New York City, and then Paris from 1894 to 1896. He continued to live abroad for five years, and then returned to Toledo where he painted street scenes, landscapes, and illustrations. His Parisian flower markets were a theme popular among Impressionist painters, but Van Gorder worked in a more conservative way, emphasizing a muted, somewhat Tonalist palette, and demonstrating care with perspective. 1861 - 1931 Luther Van Gorder Van Gorder Luther 1765 Van Prooyen was born in Groningen in 1834 and died in Amsterdam in 1898. He is considered a landscape painter from the Dutch school. Museums: Rijksmuseum, " Landscape with Cattle Drover", Cat. 1976, A1824, Illustrated. Ruksmuseum (Zuiderzeemusem), " Spritsail Parge", Inv. 7427 Groninger Museum, Landscape with Shepherd and Animals", Inv. 1919/248 Listed: E. Benezit, Vol. Vlll, pg.503 1834 - 1898 Albert Jurardus Van Prooyen Van Prooyen Albert Jurardus 1916 Born in Belgium, van Schendel's family was of Dutch origin. He studied at the Antwerp Academy and worked in Antwerp until 1828 when he left for Holland, living in Amsterdam, Rotterdam and The Hague before settling permanently in Brussels in 1845. It was from this date that he began his market scenes. This same year he won a gold medal at the Brussels exhibition, "Market by Moonlight", and again at the landmark 1857 Art Treasures Exhibition in Manchester with a painting entitled "A Fish Market", he exhibited at the Royal Academy, London in 1855 1856. He was also a successful portrait painter of some note. One of van Schendel's most prominent followers was Johannes Rosierse (q.v.) His works can be found in museums in: Amsterdam, Rijksmuseum; Rotterdam, Museum Boymans van Beuringen; Melbourne; Montreal; Munich; Nice and Stuttgart. 1806 - 1870 Petrus van Schendel van Schendel Petrus 3278 Born at Martin's Ferry, Ohio, on 17 April 1908, to Ross and Mayme Buskirk Vandruff, Olive Freda Vandruff spent much of her childhood traveling in the Southwestern United States with her mining engineer father and her mother. Largely self-taught, Vandruff felt she received her artistic leanings from her father and grandfather. "Daddy and his father were artistically talented. They painted, but not professionally," she remembered in a 1963 interview for the "Amarillo Globe-Times". Vandruff moved to San Antonio in the 1931 where she became an assistant to sculptor Pompeo Coppini and worked as a commercial artist. She considered Texas her home. About 1937 she married the engraver Charles F. Anderson, and with him ran an engraving business in San Antonio until the mid-1940s. Vandruff then studied with the painter Edmund Giesbert at the University of Chicago from 1946 to 1948. She also studied with Chicago sculptors Elisabeth H. Hibbard and Frederick C. Hibbard in the mid 1940s, eventually becoming an assistant to them. She returned to Texas around 1950 where she operated a sheep ranch near Kerrville and began to paint easel paintings. While in the Hill Country she became a renowned painter of animals and birds, "find[ing] it fascinating to capture … the aspects of nature whether it is feathers or fur." Vandruff was often commissioned to paint "portraits of cutting horses, quarter horses, registered cattle and the headquarters of famous ranches," as well as pets: As she recalled, "I painted pooch portraits, cats and brats." By 1953, she had already had six solo exhibitions at San Antonio, Houston, and Bandera, Texas, and in Miami Beach, Florida, and Chicago. Vandruff also exhibited at the Witte Museum's "Local Artists Show" in San Antonio and the "Houston Vicinity" exhibition, as well as with the Coppini Academy of Fine Arts. She met Western artist H. D. Bugbee of Clarendon, Texas, in 1960, during the preparations for a Coppini Academy exhibition. Vandruff and Bugbee married the following year and she relocated to Clarendon. She and Bugbee had a two-person exhibition at the Panhandle Plains Historical Museum in 1961. Upon Bugbee's death in 1963, Vandruff succeeded him as curator of art at the Panhandle-Plains Historical Museum until her retirement in 1982. She also taught art at West Texas State University (now West Texas A & M University). After retiring, Vandruff still volunteered at the Museum, driving the 150-mile round trip from Clarendon nearly every day until November 2002. As a volunteer, Vandruff worked in nearly all Museum departments, most recently in the Museum's Research Center, cataloguing photographs. Vandruff also acted as custodian of the Bugbee Ranch, founded northwest of Clarendon in 1913 and part of which is now covered by Lake Greenbelt. With its two-story Prairie-style home Bugbee Ranch may be unique in the state of Texas. Vandruff worked in several media, including pastel, watercolor, casein, and oil. The Baker Gallery in Lubbock and the Canyon Art Gallery handled her work in the Panhandle. Vandruff's paintings are found in public and private collections across the United States. Among her patrons were former President Lyndon B. Johnson and Texas governor Dolph Briscoe, and Amarillo oilman L. R. Hagy. Her public commissions consist of murals in Texas and Oklahoma, including a mural of Palo Duro Canyon for the First National Bank of Amarillo (now Banc of America). In 1976, she was included in the landmark exhibition, "The Woman Artist in the American West, 1860-1960," in Fullerton, California. Recently, she was included in the "Dictionary of Texas Artists, 1800-1945", published by Texas A & M University Press and "Women Artists of the American West" by Phil Kovinick and Marian Yoshiki-Kovinick. Vandruff felt that art "is employed in almost every object" and it "might be the individuality expressed in almost any work, whether it be a painting or a house." Olive Vandruff died 4 January 2003. 1908 - 2003 Olive F Vandruff Vandruff Olive F 3162 	Frederick Horsman Varley, was persuaded by Arthur Lisman to come to Canada in 1912. Varley had made a promising start as an artist after two years at art school in Antwerp, and then faced a lack of opportunity to advance quickly in England. Toronto, as a hub of activity for commercial design and printing, could easily absorb men with a talent for drawing and illustrating. Varley was, in some ways, always the odd man out among the Group members. His one emblematic landscape painting, Squally Weather, Georgian Bay (p. 4), was, in truth, not typical of Varley's own spiritual quest, which took him along a path, traveled by none of his Group associates, to paint mostly people and landscapes in a different key altogether. By the time the Group was formed, Varley was a leading portrait painter whose War Memorial work had also been much admired. 1881 - 1969 Frederick Horsman Varley 1 Varley Frederick Horsman 1949 Sarah Vedder received her training in art at the Colorado College, whose art department operates in conjunction with the Colorado Springs Art Center. From 1981 to 1995 she studied life drawing with Jorgen Hansen, the noted California artist and teacher. For the last eleven years she has painted and exhibited with the Santa Barbara Oak Group. Her paintings have been collected locally and nationally and have been featured in Art and Antiques, Art in America and Southwest Art. Artist Statement: "I have been influenced by the tonalist movement in American art, with its emphasis on the essential and emotional aspects of a landscape, rather than the specific or incidental. I am particularly interested in the resonance of natural forms in the landscape. My goal is to awaken an emotional response in the viewer." Her paintings are done on site in the tradition of en plein air painting, and in the studio she maintains on the ranch where she lives with her husband and two daughters. 1998 Treasures of the Sierra Neveda National History Museum of Los Angeles County 1998 Ranches and Rolling Hills Marin Agricultural Land Trust 1997 American Tonalist Paintings: Reflections of Reverie California Heritage Gallery, San Francisco 1997 National Arts for the Parks Show Jackson Hole, Wyoming 1997 "Island Light" Nature Conservancy, Santa Cruz lsland 88th Annual California Art Club Gold Medal Exhibition "Nature Preserved: Paintings by Oak Group" Califomia Heritege Gallery, San Francisco b.19 - 1946 Sarah Vedder Vedder Sarah 1742 Eugéne Joseph Verboeckhoven is considered a portrait, landscape, and animal painter from the Belgium school. He was also a lithographer and engraver. Verboeckhoven was born in Warneton in 1788/9 and died in Bruxelles on January 19, 1881. Verboeckhoven, along with his brother Charles Louis (1802-1889), received his initial education as a sculptor under his father, Barthélemy Verboeckhoven (1854-1840). It was the strict and exacting training in the anatomy of animals and figures while studying sculpture Verboeckhoven become a great painter. Eugéne continued this regimen of study that enabled him to produce incredibly realistic paintings in a very original style. Verboeckhoven continued the tradition of Dutch school. He used the works of animal painters Paul (Paulus) Potter and Paul (Balthasar) Ommeganck (1755-1826) to continue developing his style by paying attention to detail and anatomy. In fact, his works are now considered even better by comparison. He also followed another Dutch tradition of collaborating with other painters on a painting. His main collaborators were Belgium painters Henry Campotosto, Louis Pierre Vervée (1807-1877) and Dawalle. Each of these painters was successful. It was an honor to be invited to work with Verboeckhoven and the paintings that they executed were wonderful. Verboeckhoven took extreme care with each painting. He was able to recreate a unique true to life atmosphere by filling them a velvety golden light that washed over the subject. He had a magical ability to incorporate the energy of life into each canvas. Verboeckhoven wanted to develop an international reputation. His popularity flourished in the United States, England and Germany where that a great number of works were in both private and public collections. He was a member of the Academies of Belgium, d'Anvers and St. Petersburg. Each, of his many, exhibitions in Paris, Bruxelles and London were met with great success. Eugéne Joseph Verboeckhoven was awarded La Croix de la Légion d'honneur, l'ordre de Léopold de Belgique, du Christ de Portugal and la Croix de Fer d'Allemagu. These medals represent the highest awards offered. Rarely does any artist receive such an honor from a country other than his own. However, Eugéne Joseph Verboeckhoven was respected on an international level rarely seen. Museums: Musée Aix Musée Amsterdam Musée Municipal, Amsterdam Musée Anvers Berlin Museum Musée Bruxelles Musée Bêrme Frankfort Museum Musée Gratz Musée Liége Leeds Museum Leeds Museum Liverpool Museum Musée Montréal Nantes Nottingham Oslo Stockholm Wallace Museum, London 1798 - 1881 Eugene Joseph Verboeckhoven 1 Verboeckhoven Eugene Joseph 1764 Jan Francois Verhas was born on January 9, 1834 in Termonde and died in Brussels on October 31, 1886. He was considered a genre painter from the Belgium school. After finishing his studies at the Academy in Anvers, Verhas was commissioned by the government to travel to Venice and paint a painting titled, "Velleda et la Bataille de Callao". Jan Verhas developed into a very popular genre painter because of his many successful Salon Expositions. In the Paris Salon Exposition of 1881, Verhas was awarded a second class medal and in the 1889 Exposition Universelle, he was awarded a gold medal. Jan Verhas was elected Chevalier in the Legion of Honor in 1881. MUSEUMS: Anvers Brussels Gand Leige 1834 - 1886 Jan Francois Verhas Verhas Jan Francois 1763 Frederick Marie Vermorcken was born October 13,1862 in Brussels, Belgium. He studied at the Beaux Arts Academy in d Anvers. Vermorcken exhibited with the Cerclle Artistique de Bruxelles and at the Federation of Belgium Artists. In 1885, he traveled to the United States to open a studio in New York. In 1890, he exhibited a portrait at the Philadelphia Arts Club. He also exhibited in Chicago. In 1895, Vermorcken moved to San Francisco. He and his brother opened a studio and began exhibiting. He was later elected Chevalier de La Couronne. His works hang at the University of San Francisco and at the State Capitol in New Jersey. Listed: E. Benezit, Vol. 10 pg.463 Exhibition Records from the Pennsylvania Academy of Fine Art Artists of California, 1876-1940 b. 1 - 1862 Frederick Marie Vermorcken Vermorcken Frederick Marie 1762 Emile Lecomte-Vernet was born in Paris in 1821 and died in the same city in 1900. He was considered a historical and figure painter from the French Orientalist school. As a member of one of Paris’s most elite artist families; great grandfather Claude Joseph Vernet (1714-1789), grandfather Carle Antoine Charles Horace (1758-1836), son of d’Hippolyte Lecomte (1781-1857) and the nephew of Emile Jean Horace Vernet (1789-1863), Lecomte-Vernet was greatly influenced. However, the largest influence came from French masters (uncle) Horace Vernet and Leon Cogniet (1894-1880) at the l’Ecole de Beau-Arts. They recognized the genius in Emile Lecomte-Vernet. His great grandfather was considered a prodigy and they felt that Emile was as well. Under their guidance, they watched him bloom. Rarely had they witnessed such a young artist being able to grasp painting so easily and with such energy. Like a composer, Emile was able to develop an original approach to figure painting. His canvases were filled with color and each figure came to life because of his lavish attention to detail. Lecomte-Vernet debuted at the Paris Salon of 1846 and was awarded a bronze medal. He was a regular exhibitor at the salons from 1883-1892. Two of his more important murals exist today at the líeglise de Saint-Louis-en líIle and at the Plais de Justice de Paris. Museums: Musee d. Avignon Musee de Toulon Listed: E. Benezit 1820-1920 Les Petits Maitres de la Peinture Valeur de Demain, vol. VI, Gerald Schurr Popular 19th Century Painting, A Dictionary of European Genre Painters, Philip Hook and Mark Poltimore 1821 - 1900 Charles-Emile-Hippolyte Lecomte Vernet Vernet Charles-Emile-Hippolyte Lecomte 3208 Wouterus Verschuur Snr was born in Amsterdam on June 11th, 1812 and died in Vorden (Gelderland, Netherlands) in 1874. Verschuur specialized in painting landscapes and stable interiors; he was particularly adept at depicting horses. He was also known for his striking beach scenes. Verschuur's equestrian work was influenced by the seventeenth century Dutch master Philips Wouwermans. He also studied with Pieter Gerardus van Os, (1776-1839) and with Cornelis Steffelaar (1795-1861). Verschuur’s paintings display a high degree of perfection, boasting inventive compositions and masterful technique. This was recognized in his time, as Verschuur won a number of prizes including winning gold medals at the Felix Meritis Society painting competition two years in succession, and then gaining membership in the Akademie voor Bildene Kunsten and the Kononklijk Nederlands Institut in Amsterdam. He worked in Amsterdam from 1846 to 1857 and 1869 to 1874, residing also in The Hague, Doorn (1842), Brussels (1867) and Haarlem (1858-68). Of Verschuur’s students, it was The Hague School painter Anton Mauve (Dutch, 1838-1888) who was the most important. Mauve adopted his teacher’s motif of horses and oxen in paintings such as "Homeward Bound (private collection)". Verschuur also taught his son Wouterus Verschuur Junior, who also specialized in painting horses. Wouterus Verschuur’s painting Stable Interior with Horses is at the Historical Museum in Amsterdam, Horse Fair is at the Frans Halsmus in Haarlem, and Incident from the Ten-day Campaign against the Rebellious Belgians, August 1931 at the Rijkmuseum in Amsterdam. Sources and Contributors: Getty Research Library Photo Archive database Thieme-Becker, Allgemeines Lexikon der Kunstler (1980-1986) Grove Dictionary of Art online (1999-2002) accessed 11 Nov 2002 Witt Checklist of Painters c. 1200-1976 (1978) Getty Provenance Index Databases [online] (1999) Getty Provenance Index Databases [online] (1999) is considered a master painter of landscapes, battle scenes and equestrian subjects in particular 1812 - 1874 Wouterus Verschuur, Sr. Verschuur, Sr. Wouterus 2923 Cesare Vianello (1803-1894) Cesare Vianello is considered a genre painter from the Italian school. Vianello was born in Venice 1864 and died in Rome in 1914. He studied at the Beaux-Arts Academy in Venice and in Florence. Although little is known about academic Italian painter Cesare Vianello, he was a successful artist who depicted rural Italian live in the 19th century. 1803 - 1894 Cesare Vianello Vianello Cesare 2141 Francesco Vinea was born in Forli, Italy on August 10, 1845 and died in Florence on October 22, 1902. He is considered a genre painter from the Italian School. Vinea received his formal training at l’Academie de Florence under French historical painter Jean Louis Ernest Meissonier (1815-1891) and with Italian professor Pallastrini. After completing his studies, Vinea open his studio in Florence. He became a regular exhibitor at the Salons in Paris, the galleries in Italy and London. Museums: Brooklyn Museum - New York, NY “The Flirt” The Gallery of Modern Art - Florence, Italy “Visit at the Atelier” Milan Museum - Milan Italy “After the Duel” Listed: E. Benezit, vol.X, pg.528 1845 - 1902 Francesco Vinea Vinea Francesco 2936 Leon Joseph Voirin and his twin brother, Jules Antoine (also an artist) where born in 1833 in Nancy (Meurthe-et-Moselle), France. Leon died in 1887 in Paris. Voirin is considered a genre and military painter from the French academic school. Voirin received his formal training at the Beaux-Arts Academe under M. Guerard and debuted at the Paris Salon of 1874. Listed: E. Benezit, vol. X, p.559 Museums: Beziers: L'esconte d'honneur and Dans les coulisses Nancy: Coin de la place Thiers á les coulisses, Courses á jardin 1833 - 1887 Leon Joseph Voirin Voirin Leon Joseph 1761 Auguste Von Siegen was born in Germany December 25, 1796 and diedSeptember 12, 1869. Siegen is considered a historical and a landscape painter. He received his training in Paris under Professor F. A. Vincent and David. He also taught drawing at the University of Breslau from 1816 to 1818. Listed: E. Benezit, Vol. 9, pg.587 1796 - 1869 Auguste Von Siegen Von Siegen Auguste 3112 Vonnoh was born on September 17, 1858, in Hartford, and died December 28, 1933, in Nice, France. He was in Old Lyme summers, c. 1905-c.1925. Robert Vonnoh, one of the first Americans to adopt Impressionism, was born in Hartford in 1858 to German parents. The family soon moved to Boston, where Vonnoh studied at the Massachusetts Normal Art School. In 1881 he enrolled at the Academie Julian in Paris, where he worked under Boulanger and Lefebvre, but when his money ran out in 1883, he returned to Boston and taught at several local art schools. He began to establish himself as a portrait painter. By 1887 he was able to go to Paris for four more years. He participated in various European exhibitions, won honorable mention in the Salon of 1889, and bronze medals for two consecutive years in Paris expositions. He encountered French Impressionism during this second Paris stay, but he must have been aware of it already because Hamlin Garland (who met Vonnoh in Boston in about 1885 through the landscape painter John Enneking) wrote of these younger artists' violent criticism of "the 'Old Hat' schools of Munich" and their keen interest in the "new technique in the use of color" that was "the latest word from Paris." Enneking's friend, Lilla Cabot Perry, staged an informal impressionist exhibition in her home with a group of paintings by John Breck, which "widened the influence of the new school," according to Garland. By 1891 Vonnoh was back in America, exhibiting landscapes at a Boston gallery in November; they were "a record of impressions gathered out of doors during summer holidays ill France in '89 and '90 and in this country the present year" (Vonnoh wrote in the preface to the checklist) "painted earnestly and sincerely with a desire to secure interesting effects of light and color as presented in certain phases of Nature." That same year Vonnoh became principal instructor in portrait and figure painting at the Pennsylvania Academy of Fine Arts, where he remained until at least the end of 1894, when he persuaded Theodore Robinson to take his place two days a week. In Philadelphia his pupils included Robert Henri, E. W. Schofield, W. L. Redfield, John Sloan, William Glackens, and Maxfield Parrish. Vonnoh was married to Bessie O. Potter in 1899. She was a noted sculptor with whom he would often exhibit in future. They would become the first husband-wife members of the National Academy. There is evidence that the Vonnohs were in Old Lyme in 1906, but the couple probably first went there the summer of 1905. Statements that credit Vonnoh with being one of the founders of the colony in 1900 cannot be substantiated. Bessie Potter Vonnoh herself wrote that the colony was "famous" and "old" when she and her husband first visited there and that they met the Woodrow Wilson family at the Florence Griswold House — that could not have happened before 1905. Although the Vonnohs did not participate in the annual Old Lyme art exhibitions until 1917, they returned to town regularly for at least twenty years and had a summer home in the area. 'I-hey also had a place in Grez-sur-Loing, a French village beloved by the earlier generation of Barbizon painters, but Bessie Vonnoh wrote that she and her husband did not get to their French house from World War I until 192.3. Instead, they went to Lyme to be among many of their friends. Once the Vonnohs began to exhibit in Lyme Art Association exhibitions, they did so regularly for about a dozen years, and Robert Vonnoh occasionally exhibited with the Connecticut Academy of Fine Arts as well. In 1920 he won its top prize. His retrospective exhibitions of 1923 and 1926 traveled from New York to Kansas to California. These were one-man exhibitions, the first since his marriage not to include Bessie Potter Vonnoh's sculptures. That gives some credence to rumors that the Vonnoh marriage failed at some point, although there was never a divorce. Sometime after 1925 Robert Vonnoh seems to have moved permanently to Grez — alone and with failing eyesight. He died in Nice in 1933. His career had included both portraiture and landscapes that were sometimes so heavy with impasto they were described as reliefs in oil. Further reading: Vonnoh, Bessie Potter. -Tears and Laughter Caught in Bronze." The Delineator, October, 1925, pp. 8 ff. -The Vonnohs.- International Studio, 54 (Dec. 1914), 48-52. "Vonnoh's Half-Century.- International Studio, 77 (June, 1923), 231-133. 1858 - 1933 Robert Vonnoh 1 Vonnoh Robert 3113 Voorhees was born on May 29, 1871, in New York City, and died on July 17, 1933, in Old Lyme. He was in Old Lyme, summers, 1896, 1901-03; and permanently, 1904-33. Clark Voorhees was the first artist to discover Old Lyme —in the spring of 1896, while exploring the Connecticut shoreline by bicycle. He liked what he saw so much he arranged to stay at the Griswold House, which Miss Florence had recently opened to boarders, and spent all that summer and part of the fall painting in the neighborhood. Unlike most of the group that would conic. to Old Lyme, Clark Voorhees had not at first wanted a career in art. He had studied at the Sheffield Scientific School of Yale University, then gone on for a master's degree at Columbia University, where he had done some teaching in chemistry as well. Not until 1894, the year before he received his advanced degree, did Voorhees study art (with Irving Wiles of New York City). By 1896, however, he had turned from the possibility of a career in science and enrolled at the Academie Julian in Paris, under Benjamin Constant and Jean-Paul Laurens. He had determined to be an artist. Voorhees was in Old Lyme again for at least part of each summer between 1901-03, staying at the Griswold House. He had met Will Howe Foote earlier in Europe and perhaps knew sonic of the other artists from New York who were working in Old Lyme. At any rate, Voorhees knew the area from his earlier stay. He was married to Maud Christine Folson in August, 1904, and the couple moved to Lyme. They restored a 1740 gambrel-roof cottage situated at the edge of the Connecticut River, and the house and garden eventually became subjects for several of the artist's paintings, such as My Garden (cat. 209, illus. p. 149). Although Voorhees stayed in Connecticut year-round at first, he maintained club memberships in New York City and had an active exhibition schedule outside Old Lyme. Beginning in 1901 he exhibited regularly at the National Academy of Design, and he was also represented in exhibitions at the Carnegie Institute and the Art Institute of Chicago. He was awarded a bronze medal at the St. Louis World's Fair in 1904, the Hallgarten Prize at the National Academy in 1905, and the Eaton Purchase Prize of the Lyme Art Association in 1929. His memberships included the Salmagundi Club, the Century Club, the Stockbridge (Massachusetts) Art Association, and the artists' cooperative, Grand Central Art Galleries, of which he was a founder in 1923. Beginning in 1919, Voorhees and his family spent winters in Somerset, Bermuda, where Voorhees established another studio and apparently gained an excellent reputation. In the art section of the British Commonwealth Exposition in 1925, Bermuda chose to be represented solely by the work of Clark Voorhees. Both in Bermuda and in Old Lyme, Voorhees did painting that ranged from moonlit tonalist landscapes to high impressionistic studies. Though he was best known for his oils, he began to etch as well in his later years and produced many prints. Despite his travels to New York City, Newport, Rhode Island, Bermuda, and other places, Voorhees was devoted to the art colony and to Old Lyme and played an active role in both. He exhibited with the Lyme group from the outset and served as the Art Association's secretary for several years. He was a charter member of the local volunteer fire department. In 1919 he was elected a trustee of the local library, which represented an acceptance by the town of the artists in their midst. Minutes for the meeting in which Voorhees won his board membership state that "After discussion on the question of haying the artists now resident in Lyme represented on the corporation, as tending to bind them more closely to the interests of the Library, it was decided to elect one of them." The experiment must have worked well, because by 1927 Voorhees was president of the library board. 1871 - 1933 Clark Greenwood Voorhees 1 Voorhees Clark Greenwood 2047 Hubert Vos was born in Maastricht, Holland February 17, 1855 and died in 1935. He is considered a genre, portrait and still life painter from the American school. Vos received his formal art education at the l’Academie des Beaux-Arts in Brussels and in Paris at ‘Ecole des Beaux-Arts under orientalist Fernand-Anne-Priestre Cormon (1854-1924). Cormon would become the greatest influence on Hubert Vos’ career as a painter in the orientalist style. Vos was awarded gold medals at the Salons of Paris, Amsterdam, Brussels, Rome and Dresden. In 1892, he was appointed Holland’s deputy commissioner of the Dutch exhibits at the Chicago World’s Fair, held to commemorate the 400th anniversary of the voyages of Columbus. He grew to like the United States, a ‘Land of Hope and Opportunity, and embraced it as his adopted country. Hubert Vos was the first westerner invited to paint the portraits of China’s Empress Dowager, Cixi (1835-1908). Unlike his first trip to China, the Chinese government sponsored Vos’s second trip. He had been commissioned to paint portraits of the ministers of the Foreign Office. Upon his arrival in Beijing in June 1905’ Vos was informed that it wasn’t the mandarins whom he would paint, but the empress-dowager herself, Cixi. He was given ten days to get ready for the empress-dowager’s first appointed sitting on June 20th. Nothing, however, quite prepared him for his first encounter with the imperial mystique: the palace grounds, the architecture and of course, Cixi herself. Everything about Cixi, now an old woman of seventy years, seemed delicate and elegant. He set to work fast, scrambling to get a sketch of Cixi on a small canvas before the setting was over. He would then use the sketch when he started painting on the large canvas in his temporary studio on the top floor of the Beijing hotel. The sitting on the following day lasted only forty-five minutes, Cixi looked at the unfinished portrait. Through an interpreter she told Vos to use no shadows under or above the eyes or on the nose and to paint the eyes wide open, the mouth full and up, not drooping and the eyebrows straight. Vos had little choice but to comply. Working through the rest of the day in his hotel studio, he started a new sketch of Cixi according to her instructions: without the use of shadows. The result was a visage of a thirty-year old woman, calm and dignified. Cixi was pleased with the new sketch on the third day, suggesting nevertheless that the eyes ‘be more up, more slanting’. Vos continued to work on the portrait until August 18th, ‘The younger Cixi’ measured 92 x 54 and was handed over to the court officials before Vos returned to the United Stated. Vos would complete his original sketch of Cixi. The portrait would show the aging Empress Dowager as he remembered her. The “realistic Cixi”, with the dimensions of 52 x 36 in, was exhibited at the Paris Salon in 1906. Both portraits exist today. Together they tell the story of a brief encounter between personalities and cultures. Literature: No Shadows. (Hubert Vos’s portraits of China’s Empress Dowager, Cixi), Luke S.K Kwong, Professor of History, University of Lethbridge, Canada. Listed: E. B&eacute’n&eacute’zit, vol. 10 Who was Who in American Art, Falk American Art Annual Mantle Fielding Museums: Mus&eacute’e Luxembourg, Paris 1855 - 1935 Hubert Vos Vos Hubert 3163 Edouard (Jean) Vuillard was born Nov. 11, 1868 in Cuiseaux, France and died June 21, 1940 in La Baule). He is considered a French painter, printmaker, and decorator. He attended the Lycee Condorcet where his contemporaries included musician Pierre Hermant, writer Pierre Veber and painter Maurice Denis. In 1885, Vuillard left the Lycee Condorcet and joined his closest friend Ker-Xavier Roussel at the studio of painter Diogene Maillart (1840-1926). There, Roussel and Vuillard received the rudiments of artistic training. Vuillard began to frequent the Louvre and was soon determined to build an artistic career. In doing so, Vuillard broke with the family tradition of a career in the army. In March 1886, Vuillard entered the Academie Julian, where he was taught by Tony Robert-Fleury. On his third attempt, in July 1887, Vuillard passed the entrance examination to the Ecole des Beaux-Arts. For a period of about six weeks in 1888, Vuillard was taught by Jean-Leon Gerome. During his study, Vuillard developed a preference for the realistic study of still-life and domestic interiors. He was particularly attracted to the 17th-century Dutch artists. Later in life, Vuillard would also draw large decorative panels depicting landscapes. He would receive numerous commissions to decorate public buildings, including murals in the Palais de Chaillot (1937) and in the League of Nations building in Geneva (1939), and also designed for the Ballets Russes. In 1889, Vuillard was persuaded by Maurice Denis to join a small dissident group of young art students of the Academie Julian, committed to creating work of symbolic and spiritual nature. The group referred to itself as the brotherhood of Les Nabis. Serusier instilled in Les Nabis a love for the Synthetist method, which relied on memory and imagination rather than direct observation. Vuillard was at first reluctant to accept the Synthetist idea that the painter should not seek to reproduce realistically what he saw. However, during 1890 he made his first bold experiments in Synthetist painting. With Pierre Bonnard he developed the Intimist style, characterized by small paintings of daily home life, such as Woman Sweeping (c. 1892). Vuillard was an original member of the Nabis. His “Public Gardens (1894)”, a series of decorative panels that use pale light and neutral colors to create a mood of restful calm, are typical of his mature work as a Nabi. 1868 - 1940 Edouard (Jean) Vuillard 1 Vuillard Edouard (Jean) 3164 Frederick R. Wagner was born on December 20, 1860 to Conrad S., a saloonkeeper, and his wife Antonio Ackerman Wagner' of Port Kennedy, Pennsylvania. Wagner studied with Thomas Eakins at the Pennsylvania Academy of the Fine Arts, Philadelphia, from 1879 to 1884, and then worked as a demonstrator in anatomy under Eakins and Thomas Anshutz. An early American impressionist, Wagner painted in California in the late 1800s and in the Philadelphia area in the early 1900s. Around 1902, he became an illustrator for the Philadelphia Press. He was known for his urban scenes, especially his series of Pennsylvania Railroad pictures. He also created landscapes around New Hope and in Canada and France. Wagner taught at the Pennsylvania Academy's summer school at Chester Springs, Pennsylvania, for seven years, and then founded the Addingham Summer School of Outdoor Painting. His works were in the annual exhibitions of the Pennsylvania Academy first in 1882 and consistently every year from 1906 to 1940, and in the biennial exhibitions of the Corcoran Gallery of Art, Washington, D.C., between 1907 and 1935. In 1913 he had two works in the landmark Armory Show in New York. Wagner was awarded the Pennsylvania Academy's fellowship prize in 1914, and in 1922 he won an honorable mention at the international exhibition of the Carnegie Institute in Pittsburgh. Wagner was a member of the Philadelphia Sketch Club, the Philadelphia Water Color Club, and the Philadelphia Art Alliance. His paintings are in the collections of the Reading Public Museum, the Pennsylvania Academy, and the Cleveland Museum of Art. Wagner died on January 14, 1940. 1860 - 1940 Frederick R. Wagner 1 Wagner Frederick R. 1980 John Hanson Walker is considered a portrait painter from London. He was born in England in 1844 and died in London in 1933. Walker was a friend of Lord Leighton (Baron Leighton of Stretton), 1830-1896. With Lord Leighton encouragement and assistance, John Hanson Walker developed a very distinct style of portraiture. His wonderful portraits show a significant in influence of his master, Lord Leighton. Walker became a regular exhibitor at the Royal Academy in London where he exhibited his portraits and an occasional genre scene. Museums: Cheltenham Art Gallery, England Derby Gallery, England Bibl: L.& R. Ormond, Lord Leighton, 1975 Listed: The Dictionary of Victorian Painters, 2nd Edition, Christopher Wood, pg.493 E.Benezit, vol. 10, pg.613 1844 - 1933 John Hanson Walker Walker John Hanson 2077 William Aiken Walker was born in Charleston, South Carolina in 1839 to an Irish Protestant father and a mother of South Carolina background. Walker would grow up southerner through and through. He completed his first painting at age twelve and continued painting until his death in 1921 at age eighty-three. When his father died in 1842, Walker's mother took her family to Baltimore, where they remained until returning to Charleston in 1848. During this period, he began painting rural farm and plantation scenes of poor southern blacks and it was these works that he built his reputation. Something of a prodigy as an artist, Walker exhibited his first painting in 1850, and received his first one-man show at the South Carolina Institute Fair in 1850 and Courtenay’s Bookstore in Charleston. In 1861, Walker enlisted in the Confederate Army and served under General Wade Hampton's South Carolina brigade. In 1862 at the Battle of Seven Pines, he was wounded. On his recovery, he was transferred back to Charleston, where he was eventually placed on picket duty, which freed to resume his painting. For the next two years his service to the Confederacy consisted mainly of drawing maps and sketches of Charleston's defenses, until he was mustered out at the end of 1864. After the Civil War, Walker first moved to Baltimore and would begin traveling to southern resort areas, where he painted postcard studies and small paintings, which he sold to tourists for between fifty cents and three dollars. Walker was perhaps the earliest artist in the South to make a living from the tourist trade. His paintings served much like postcards, mementoes (just the right size to be tucked in a suitcase) of the "Old South" in all its quaintness and beauty. For more than fifty years, Walker frequently visited New Orleans, Baltimore, Charleston, and several towns and cities in Georgia, North Carolina, and Florida. Maintaining ties with New Orleans, he exhibited frequently at the Southern Art Union and the Artists’ Association. No other Southern artist so prolifically portrayed his land during the post-Civil War Reconstruction and developing new South than William Aiken Walker. In the French Quarter he often sold his paintings on the corner of Royal and Dumaine Streets. The multitalented Walker sang, played the piano and violin, and wrote poetry in both French and English. An engaging conversationalist, he was a welcome houseguest on his many trips. Walker was something of an eccentric as well as debonair figure, who delighted in passing himself off as a professor when he was not playing the role of landless gentry. Welcomed as a house and hotel guest, he made regular stops annually at as many of the growing resorts of the South as he could manage in a season, working his way from New Orleans to the Blue Ridge mountains, down to Charleston, and along the coast southwards to Florida, at each stop placing some of his small-scale paintings of rural black cabins, sharecroppers working in the fields, or palmetto-lined beaches for sale to passing tourists. The dialect writing of George Washington Cable, Lafcadio Hearn, and even Mark Twain is echoed in Walker's images, which also parallel the kind of drama (or, more accurately, melodrama) being written about the South in the same period. Like the consumers of consciously "regional" literature, the consumers of Walker's paintings were not those who had passed their lives in the rural South, but rather were the Yankees and the urban businessman of the New South, admirers of a mythic, unhurried and untroubled Southland that existed mainly in their imaginations. Museums: Yale University Art Gallery, New Haven, CT Harn Museum of Art, Gainesville, FL High Museum of Art, Atlanta, GA Morris Museum of Art, Augusta, GA Richmond Art Museum, Richmond, IN Addison Gallery of American Art, Andover, MA Museum of Fine Arts, Boston, MA Greenville Museum of Art, Greenville, NC The Newark Museum, Newark, NJ The Parrish Art Museum, Southampton, NY Springfield Museum, Springfield, MO Gibbes Museum of Art, Charleston, NC Amon Carter Museum, Fort Worth, Texas San Antonio Museum, San Antonio, Texas Maier Museum of Art, Lynchburg, VA 1838 - 1921 William Aiken Walker Walker William Aiken 1741 Of all the states between the East and West coasts, It was was Ohio that developed the greatest and most continuous artistic tradition. Even though Chicago had become the artistic center of the American heartland by the end of the nineteenth century and in some ways rivaled the Eastern metropolises, Ohio's achievements had greater longevity, and the work of Ohio artists had, on the whole, a greater national impact. It is out of this tradition that David Walkley started painting. Born in Hartford, Connecticut in 1834, but moving to Rock Creek, Ohio as a child his early recollections were of the beautiful scenery around his new city. He painted views of the Ohio landscape and exhibited at the National Academy of Design, 1911-1912, and the Pennsylvania Academy of Fine Art as early as 1898. He studied at the Pennsylvania Academy of Fine Art, 1867-1871; Went to Europe and studied at the Academy Julian, with Boulanger and Lefebvre, 1878; Academy Moster, 1878; Art Students League in New York City with William Merritt Chase, 1885. Among the first artist-residents at Mystic, Conn., ca. 1902-ca. 1915. Member: Salmagundi Club, 1903 Society of American Artist Exhibited: National Academy of Design, 1911-1912 Pennsylvania Academy of Fine Art, 1898 Chicago Art Association, 1897 Colombian Expo, Chicago, 1893 Art Institute of Chicago Corcoran Gallery of Art Museum Teaching Positions: Pittsburgh School of Design, (1879-84) Art Students League, (late 1880s) 1849 - 1934 David Birdsey Walkley 1 Walkley David Birdsey 3199 Martha Walter was a well-known Philadelphia-born Impressionist who specialized in light hearted, colorful beach scenes especially of Gloucester, Coney Island, Atlantic City and the French Coast. She went to Girls High School, and from 1895 to 1898, studied at the Pennsylvania Museum & School of Industrial Art, now The University of the Arts College of Art and Design). Her recognition's at the school included the following: 1895/96: Received Certificate A in Industrial Drawing. Received honorable mention for the Henry Perry Leland Prize given by Mrs. John Harrison for work in Pen and Ink; $20 second prize for best set of drawings in the Course of Industrial Drawing. 1896/97: Received John T. Morris Prize of $10.00 for drawing of Details of the Human Figure; Jacob H. Weil Prize of an outfit of Oleo Water-Colors for best sketch in watercolors from Life. 1897/98: Honorable mention for the Mrs. George K. Crozer Prize offered for the best work in drawing; Caroline Axford Magee Prize of $20.00 for group of designs introducing decorative use of the human figure. At the Pennsylvania Academy for the Fine Arts, she studied with William Merritt Chase, and at his insistence, she entered competitions for various student awards. She won the Tappan prize in 1902, and was one of four artists to win the first two-year Cresson traveling scholarship in 1908, which afforded her the opportunity to go to France, Holland, Italy and Spain. She attended the Grande Chaumiere in Paris where she had the advantage of the critical counsel of both René Menard and Lucien Simon, but eventually she felt their strictly classical approach too restrictive to her progress, so she enrolled in the Academie Julian. Once again she grew weary of the boundaries of tradition and so established her own studio in the Rue de Bagneaux with several other young American women artists. It was at this point that she developed her infatuation and skill for plain-air subjects. Walter's early work, 1900-1908, shows the very strong influence of William Merritt Chase. Her use of rich saturated colors, combined with her adept application of black paint was very successful. Black was a pigment extraordinarily difficult to master, and often omitted in the general course of American Impressionism. The quietude of Martha Walter's Paris period lasted until about 1912 when she began to vivify her palette and concentrate on light and shadow. Upon her return to America, around the beginning of World War I, she favored the use of bright and intense colors as highlights in her beach scenes of Bass Rock, Gloucester and Atlantic City. Her works had more spontaneity, as she concentrated on hues rather than subjects. In this sense she was once again in league with the French Impressionists who were frequently more concerned with the color recorded than with the form drawn. The subtle dissolution of forms tended to accentuate the predominant central theme in her works. Her figures did not suffer; they merely became more elusive. Walter's influence throughout her career was chiefly derived from the work and teachings of William Merritt Chase. She journeyed to the very places where Chase had painted - Shinnecock, Carmel, Paris, Holland, etc. Martha Walter had a studio in New York, taught at Chase's New York School of Art and had a studio in Gloucester, and even taught in Brittany. She was continually traveling back and forth to Paris. While she was in France, Eugene Boudin proved to be another strong source of inspiration for her. Many of Walter's beach scenes exhibit varying tones of gray, which are reminiscent of the atmospheric quality achieved in Boudin's work. Many of Walter's canvases are obviously distinct reflections of French Impressionism. Through it all though, she developed a style of painting, which was a uniquely Martha Walter, with bold dashing brush strokes in conjunction with total color control, and well organized composition. Her style reflected the sensitivity of her European predecessors, but maintained a vigor, which was definitely American. Cecelia Beaux offered favorable criticism of Walter's work by saying that the beach scenes seemed as if they were blown onto the canvas. Walter visited Chattanooga, Tennessee, many times from 1903 to 1910, where she painted commissioned portraits and landscapes during the summer. Her ability to contrast her light and vibrant palette to the harsh reality of life in the mountains of Tennessee as expressed by the children that she saw and portrayed make the poignancy of the moment even more heart wrenching. Some of the children that she portrayed were so underprivileged that they didn't even know the meaning of the word mountain. In 1922, Martha Walter was given an exhibition of her paintings at the Galleries George Petit in Paris. The French government purchased a painting entitled The Checquered Cape from this exhibition, for the Musee de Luxembourg. This picture was a study for a larger painting of the same name. In the 1930s, Martha Walter was represented by Milch Galleries in New York, and it was then that she began to travel to North Africa to paint her chromatic impressions of Tunis, Tripoli and Algiers. The Harsh African sun lent the cafe scenes, camel markets, and souk transactions an intense but different color sense than her American and French subjects. The broad flat planes of the local architecture, combined with the flowing Arabian robes worn by the inhabitants, gave her renderings of sharply defined areas of color a new dynamic quality. From Africa, Walter traveled to the Dalmatian coast where she settled for a long enough time to paint dozens of bustling market scenes. Although well advanced in years, Martha Walter continued to paint until a few years before her death in 1976. She has been represented in the Museum collections of Musee de Luxembourg, Pennsylvania Academy for the Fine Arts, Art Institute of Chicago, Detroit Institute of Arts, Milwaukee Art Center, Toledo Museum and the Woodmere Art Center, Philadelphia. Sources: Paul Sternberg, Art by American Women Additional information supplied by Sara J. MacDonald, Public Services Librarian The University of the Arts, whose source are the PMSIA commencement programs and annual reports. 1875 - 1976 Martha Walter Walter Martha 3324 Edmund F. Ward illustrated for the Saturday Evening Post and did his first illustrations for the magazine before turning age 20. He had a successful career as an illustrator of works that ranged in style and subject matter from dark tonalist in oils to humorous in wash and watercolor. For many years he illustrated the Alexander Botts and Assistant District Attorney Doowinkle stories for the Saturday Evening Post. Ward studied at the Art Students League in the same class with Norman Rockwell. The two students became friends, and shared a studio in the attic of a Manhattan brownstone, which unbeknownst to them was over a brothel. Among his teachers at the league were Edward Dufner, George Bridgman and Thomas Fogarty Ward’s early oils were as authoritative and dramatic as any of the more established artists. He could capture intimate, delicate scenes as well as large, action-filled dramas, and even comedy with a sure touch. Among the magazines that hired him were Youth's Companion, Liberty, Ladies' Home Journal, Redbook., Pictorial Review, McCall's, Country Home, Country Gentleman, Saturday Evening Post, Woman's Home Companion, American, Collier's. Ward was commissioned to paint historical book illustrations, murals (White Plains Public Library), and government commissions during both World Wars, which rounded out his career. Ward would later settle in the Manhattan suburb of New Rochelle, a well-known artist colony and home to many of the top commercial illustrators of the day including friend Norman Rockwell. At the time more than fifty percent of the illustrations in the country’s leading publications were done by artists from New Rochelle. He spent his professional career in White Plains, where he painted a mural for the Federal Building. He was a longtime member of the Salmagundi Club, the Guild of Free Lance Artists, and was a member of the Society of Illustrators. Edmund Ward continued to paint long after he left the illustration field. Source: "The Illustrator in America" by Walt Reed. 1892 - 1991 Edmund Franklyn Ward 1 Ward Edmund Franklyn 2073 Melvin Warren was born in Los Angeles, California in 1920. He died in Clifton, Texas in 1995. Warren lived as a child on ranches throughout California, Arizona, New Mexico and Texas. He served in the Air Force during WWII. Warren earned a degree in Fine Art from Texas Christian University in 1952. He also studied under Samuel Ziegler. Awards & Exhibitions Warren is a member of the Cowboy Artists of America. His work is extensively exhibited at Southern Methodist University in Dallas and is housed at the LBJ Library in Austin. Museums: Desert Caballeros Western Museum, Wickenberg, AZ Leanin' Tree Museum of Western Art, Bolder Colorado National Cowboy and Western Heritage Museum, Oklahoma City, Ok Meadows Museum, Dallas, Texas Cowboy Artist of American Museum, Kerrville, Texas Zelma Basha Salmeri Gallery, Chandler, AZ. Philosophy Warren’s palette emphasizes earth tones -browns, reds, and yellows. His subject matter emphasizes the history of the West - cattle trails and frontier forts. 1920 - 1995 Melvin Charles Warren Warren Melvin Charles 1760 Elizabeth Fisher Washington was born in Siegfried's Bridge, Pennsylvania. She is considered a landscape and miniature painter from the American school. Washington received her formal art training at the Pennsylvania Fine Arts Academy under Hugh Henry Breckenridge (1870- 1937) and Fred Wagner (1864-1940). Memberships: Fellowship, P.A.F.A Plastics Club, Phila. Artist Alliance of America Pennsylvania Society of Miniature Painters North Shore Art Association, Gloucester, Mass Awards: Pan American Exposition 1915 Medal Mary Smith Prize, P.A.F.A 1917 & 1942 Fellowship Prize, P.A.F.A. 1917 Exhibited: Chicago Art Institute Pennsylvania Fine Art Academy 1917-1942 Carnegie Institute 1920-22 Corcorain Gallery, Washington D.C National Academy of Design 1930 Pan American Exposition 1915 Woodmere Art Gallery 1941-1945 Cape May, NJ 1939-1945 Collections: Fellowship Collection, P.A.F.A. Civic Club, Phila, PA. Pierce Business College, Century Collection Smith College Municipal Art Gallery, Trenton, NJ High School Gallery, Springville, Utah Boyerstown Gallery, Pa Pennsylvania Museum of Art, Pa Allentown Gallery, Pa Philadelphia Civic Center Oak Lane Review Collection Women’s Club, Westchester, Pa Listed: Mantle Fieldings, Dictionary of American Painters & Engravers The Annual Exhibition Records of the P.A.F.A., vol. II, 1876-1913 The Exhibition Records of the Chicago Art Institute Index of Artists, Mallett Women Artists in America, 18th Century to The Present Who Was Who in American Art. Unknown Elizabeth Fisher Washington Washington Elizabeth Fisher 2041 Harry Willson Watrous was a highly successful academic portrait painter. During his distinguished career he spe-cialized in a wide variety of subjects, including genre paintings, idealized por-traits of women, landscapes, night scenes and still lifes. Born in San Francisco in 1857, Watrous spent his childhood in New York. He attended private schools in New York City. After a trip to California in 1881, Watrous went abroad for approximately five years. He first studied with Humphrey Moore in Malaga and traveled through Southern Spain and Morocco. He studied at the Academie Julien in Paris under Leon Bonnat, Gustave Boulanger and Jules Joseph Lefebvre. The most important influence on Watrous’ s early work was genre painter Jean Louis Meissonier. Watrous established himself as an aca-demic genre painter early in his career. He painted finely detailed genre scenes, which included men in historical costumes and decorative interiors. Around 1905, Watrous began to lose his eyesight and he began more innova-tive paintings. From 1905 to 1918, Watrous specialized in painting highly stylized women in seductive costumes. These pictures often included unusual birds or insects; their symbolic content contributed to their uniqueness. From 1918 to 1923, Watrous changed his focus from the female figure to landscapes and night scenes. The works of Watrous ‘s friend, Ralph Blakelock, influenced these paintings. Both painters used contrasts of light and shadow in broad compositions. After 1923, Watrous concentrated on detailed still lifes of decorative objects. He used antiques from his collection in these carefully observed paintings. Regardless of subject matter, Watrous’ s work was rather academic in style. The surface of the oil paintings was smooth and highly polished. He drew the outlines of the objects with pre-cision, and the compositions were classic in their simplicity. Watrous was married to painter and author Elizabeth Snowden Nichols. He served as secretary of the National Academy of Design from 1898 to 1920, and as president of the Academy in 1933. Watrous died in New York City in 1940. Memberships: American Federation of Arts Century Association Lotus Club National Academy of Design National Arts club Salmagundi Club Society of American Artists Society of Painters Public Collections: Brooklyn Museum City Art Museum, St. Louis Corcoran Gallery, Washington, D.C. Fort Worth Museum, Texas Metropolitan Museum of Art, New York City Montpelier Museum, Vermont Portland Museum, Maine *American Art Analog, vol.ll 1857 - 1940 Harry Willson Watrous Watrous Harry Willson 3229 George Frederic Watts, 1817-1904 George Frederic Watts was born on February 23, 1817 in Bryanston, England and died July 1, 1904 in Limmerlease, Compton. He is considered a painter of portraits, historical and allegorical subjects and sculptor. After a long trip to Italy, Watts visited Henry Thoby Prinsep and his wife, Sara, at Little Holland House, Kensington, supposedly for a short stay in 1851, but he lived there until 1875. Their home was a Bohemian centre for artists and writers like Tennyson, Julia Margaret Cameron and several young Pre-Raphaelites. Watts had been depressed when he moved in, but the Prinsep home provided him with a secure environment in which he gained confidence and he painted many portraits of the visiting eminent Victorians. Watts married his first wife Ellen Terry, the young actress, on 20 February 1864. However, her youth and wish for a career led to their separation after a year (they were not divorced until 1877). Terry lived with E.W. Godwin until 1875, who then married Beatrice Philip, who later became the wife of Whistler. Watts was married for a second time in 1886 to Mary Fraser Tytler (1850-1938), a Scottish designer. In 1865 Watts met the Manchester patron Charles Rickards, who began to buy his non-narrative symbolic paintings. This side of Watt's work was not revealed to the public until the first Grosvenor Gallery exhibition of 1877, at which he exhibited the large version of G. F. Watts, Love and Death. Watts lived at Melbury Road, London, and in 1881 he turned his studio into a gallery. His status (and an indication of his personality) is underlined by his refusal of a baronetcy in 1885 and again in 1894. However, he accepted the new Order of Merit in 1902. In 1891 he settled at Limnerslease, in Compton, Surrey, with his second wife. A craftswoman in her own right, Mary Watts set up a pottery, designing and decorating in an Art Nouveau style the Mortuary Chapel dedicated to Watts's memory. The nearby Watts Gallery contains a representative collection of his works. Bibliography: Dorment, R., Victorian High Renaissance, Minneapolis, 1978; The Annual Register, 1904, pp. 132-134; Blunt, W., 'England's Michelangelo': A Biography of George Frederic Watts, O.M., R.A., London, 1975; The Grove Dictionary of Art Online, ed. L. Macy 1817 - 1904 George Frederic Watts 1 Watts George Frederic 2910 Frederick Judd Waugh was a marine painter and illustrator born in Bordentown, New Jersey in 1861. He studied with his father, portrait painter Samuel Bell Waugh (1814-1885); at the Pennsylvania Academy of Fine Arts with Thomas Eakins and at the Academie Julian in Paris with Boulanger and T. Robert-Fleury (1888-1889). While sailing home from Paris across the Atlantic, Waugh became inspired to become a marine painter. Soon he depicted the New England Coast and painted in Provincetown (MA) and on Monhegan Island (ME). He was a member of the Royal Academy, Bristol, England; Associate (1909) and Academician (1922) of the National Academy of Design; Salmagundi Club; Lotos Club; National Arts Club; fellow, Pennsylvania Academy of Fine Art; Boston Art Club; Connecticut Academy of Fine Arts; Washington Art Club; North Shore Art Association (1924) and American Federation of Art Awards include medals at the National Academy (1910, 1929, 1935); Buenos Aires Exposition (1919, gold); Boston Art Club; Art Institute of Chicago (1912); Conn. Academy of F.A. (1915); Pan-Pacific Exposition (1915); Philadelphia Art Club (1924, gold); Carnegie Institute; and Buck Hill Falls Art Association (1935). Waugh is best known for his ocean views that depict active waves crashing against jagged rocks along the New England coast. His views of the Monhegan shoreline show long distance views of the entire coast or close up views of only waves and rocks with little sky and no shoreline. Because he was an expert at painting the ocean he wrote and illustrated Painting by the Sea and Seascape Painting, Step by Step and Landscape Painting with a Knife. He also wrote The Clan of the Munes and illustrated for the London Graphic and the London Daily Mail early in his career. Waugh exhibited extensively in the Paris Salons prior to exhibiting throughout the United States. By the time he died in Provincetown, Massachusetts, in 1940 he was a recognized worldwide for his sumptuous ocean and shoreline vistas in oil. Museums: Metropolitan Museum of Art, NY Art Institute of Chicago, IL. National Gallery of Art, Wash., D.C. Brooklyn Institute Museum, NY Terra Museum of Art, Chicago Montclair Art Museum, Canada Walker Art Gallery, Liverpool, England Durban Art Gallery, South Africa Dallas Museum of Art, Texas Austin Museum of Art, Texas St. Louis Museum Art, Mo Pennsylvania Academy of Fine Art, Pa Currier Gallery, Manchester, NH Edwin A. Ulrich Museum, Hyde Park, NY 1861 - 1940 Frederick Judd Waugh Waugh Frederick Judd 3165 Richard Gibson Wedderspoon, the son of a Methodist Episcopal clergyman who came to the United States from Ashroth, Scotland, was born on October 15, 1889, in Red Bank, New Jersey. His father's appointments to pastorates in Pittsburgh and Washington, D.C., made it possible for the young Wedderspoon to study at Carnegie Institute of Technology and the Corcoran Gallery of Art, respectively. When a broken collarbone ended his hopes for a college football career, Wedderspoon turned to his drawing talents and enrolled in classes at the Pennsylvania Academy of the Fine Arts, Philadelphia, in 1913. Like his teacher and mentor Daniel Garber, Wedderspoon received the William Emlen Cresson Traveling Scholarship (in 1915 and 1916). He also was honored with the academy's First Toppan Prize for landscape in 1917.3 Wedderspoon's most important influences were his two teachers at the academy, Garber and Henry McCarter. Later he joined Garber in the New Hope area, where he lived for more than four decades. A favorite student of Garber's, Wedderspoon was one of three young men depicted in the monumental Garber painting The Boys (Everson Museum of Art, Syracuse, New York).' He had no further contact with McCarter after graduating. While attending the academy, Wedderspoon began to spend his summers in Bucks County, often as a weekend guest of Garber at his home, Cuttalossa. He also spent a year painting with Garber and wrote in his journal, "I got on very well with Garber. He seemed to like my work and my diligence." Some of Wedderspoon's close friends and contemporaries at the academy—Clarence Johnson, Charles Hargens, Stanley Reckless (later his next door neighbor), Lloyd R. Ney, Charles Garner, and Inez McCombs—also moved to Bucks County, most of them to settle in the New Hope or Solebury area. Immediately after graduating from the Pennsylvania Academy in 1917, Wedderspoon enlisted in the army. He was commissioned as a second lieutenant and assigned to the Adjutant General's Department, Central Division, in Chicago, where he "served two whole years and never touched a brush." Following his discharge from military service, he began his Cresson scholarship (delayed due to the war) and studied in Paris, Switzerland, and Florence. In 1923 he began teaching at Syracuse University, where he was a professor of painting for more than twenty years, until 1946. In 1931 he was unanimously elected a trustee of the Syracuse Museum of Fine Arts (now the Everson Museum of Art). During the summers he returned to his house in Bucks County on Solebury Road, just north of New Hope. "If I can get two good canvases during the summer, I am satisfied," he said." Wedderspoon experimented with a variety of styles. He is best known for impressionist landscapes similar to Garber's, with a focus on light and shadow. He was a skilled draftsman and combined sound painting technique with great delicacy and brilliant color. He exhibited at many venues, including the Corcoran Gallery of Art in 1916; the Pennsylvania Academy from 1915 to 1920; the Art Institute of Chicago from 1918 to 1926, winning the Robert Rice Jenkins Prize for landscape in 1922; the Detroit Institute of Arts; the Peabody Institute, in Baltimore; and the Syracuse Museum of Fine Arts. His first wife, Lorena, died in 1935. A year later he met Margaret (Peg) Walsh, a graduate of Syracuse University, who became his second wife. After he retired in 1948, the couple moved to Naples, Florida. In 1952 they sold their home in Solebury, but not long after, in 1955, they moved back to Bucks County, settling into a small cottage at 125 North Main Street in Yardley. He also found a small studio to rent on Afton Avenue across from the old Yardley Library. He wrote in his journal, "I always started my paintings on the spot and only brought them to the studio for finishing touches. I sold more of my paintings in the Yardley community than any place I had lived." Wedderspoon was also active in establishing the Friends Meeting in Yardley. During his last years, Wedderspoon developed glaucoma and spent most of his time at home listening to recorded books. Referring to his failing sight in his journals he said, "Rudyard Kipling wrote a novel called The Light That Failed. It was the story of an artist who lost his sight. Nothing could be worse. The best thing he can do is dream about the beautiful pictures he would paint, better than he ever painted before." Wedderspoon died on February 15, 1976, at St. Mary's Hospital in Langhorne, Pennsylvania. He is buried in Arlington National Cemetery in Virginia. 1889 - 1976 Richard Gibson Wedderspoon 1 Wedderspoon Richard Gibson 3114 Weir was born on August 30, 1852, in West Point, N.Y., and died on December 8, 1919, in New York City. He was in Windham and Branchville, 1882-1918; and in Cos Cob, 1892-93. Julian Alden Weir was part of a distinguished family of artists, a founding member of The Ten American Painters, a president of the National Academy of Design, and a president and trustee of the Metropolitan Museum of Art. He traveled widely in Europe but concluded that "Europe palls on me. For some there is no place like home.'' He spent winters in New York City, but home was also Connecticut, where he spent many months of his life and where he found the inspiration for much of his art. "Here shall we rest and call content our home" was the epigram painted over the front door of one of his country houses. He was unusual in that he maintained two homes in this state — one at Branchville in the southwest, the other at Windham Center in the east. Weir was a son of Robert W. Weir, noted artist and instructor of art at the military academy at West Point, and his brother was the artist John Ferguson Weir, who taught at the School of Fine Arts at Yale University from 1869¬1913. He studied with his father and then, in the late 1860s and early 1870s, at the National Academy of Design in New York. In 1873 he went to Paris and worked under Gerome at the Ecole des Beaux-Arts and became friends with Jules Bastien-Lepage. He describes days in Paris that regularly included eight hours of drawing from a model, three hours of painting in the studio, and sometimes a lecture on perspective. Little wonder that he was appalled, when he first saw Impressionist work in 1877, at its lack of concern for drawing and form. Weir returned to America in 1877 but made several more trips abroad, including one in 1881, where he painted in Holland with his brother John, Bastien-Lepage, and John Twachtman. In 1882 he fell in love with Anna Dwight Baker, whose family had homes both in New York City and in Windham Center, Connecticut, and his visits to her country home mark the beginning of his association with this state. Their marriage took place in 1883, the list of wedding ushers ranging from artists like William Merritt Chase to architect Stanford White to Elliott Roosevelt, younger brother of Theodore. Weir made a home for his bride in Branchville, near Ridgefield, where he had acquired some hundred and fifty acres from the art collector, Erwin Davis, in exchange for an Old Master painting. Through the years Weir enlarged and improved the house and built a fishing pond. Though Weir had stayed at the Holley House in Cos Cob before his marriage and taught in Cos Cob later, he was never closely associated with any art colony. (He visited Old Lyme only for a day or two.) But he entertained so many artist friends that he experienced much of the fellowship and stimulation that art colonies provided their members. Anna Weir died in February, 1892, leaving Weir with three little daughters to raise. In 1893, he married Anna's sister, Ella Baker (Twachtman was best man), and thus continued his association with Windham. Weir inherited the property there, and then he had two Connecticut homes and two country studios. Several of the artists who visited him in Branchville, such as Childe Hassam, Albert Pinkham Ryder, and John Singer Sargent, also visited Windham. Emil Carlsen and his family were frequent guests there. In 1892 and 1893 Weir taught summer classes with Twachtman at Cos Cob, and for four years, beginning with the summer of 1897, he held summer art classes at Branchville. From his return to America until 1898, he taught at the Cooper Union and at the Art Students League, for a total of about twenty years. In 1897, with Hassam and Twachtman, Weir seceded from the Society of American Artists and founded The Ten American Painters. His own career was distinguished, and he was an artist who succeeded both in portraiture and in the Impressionist landscapes he had begun to do by the 1890s. Several prominent artists considered him their best friend and looked to him for advice (some, like Ryder, also for needed sustenance). Twachtman once wrote from Paris that he was taking Weir's advice and working hard at life drawing; Carlsen, often gently admonished by Weir for drawing too much, occasionally was able to achieve a looseness (as in Cherry Blossoms, cat. 4, illus. p. 12) that surpassed what Weir himself could do. Weir's youngest daughter remembers that the family used to divide each summer fairly evenly between Branchville and Windham. The artist sometimes traveled between the two places by train, sometimes by horse. Weir's letters reveal he also visited one place or the other at additional times of year. Both places were working farms, with the help of hired hands, and Windham, at least, had dairy cattle and an apple orchard. Weir, who developed heart disease, spent the last summer and fall of his life at Windham. In October, when he was too weak to walk, he was carried outside by farmhands to a hammock back of the house, where he lay for hours near his fragrant grapevines, looking past oaks and elms toward Obweebetuck, the mountain he had painted several times. Dorothy Weir Young, the daughter who published his letters, wrote that she often heard him say as he lay there, "What a beautiful world it is.'' He died in New York City in December, 1919, and is buried in the Windham Center cemetery. The Metropolitan Museum of Art held a major memorial exhibition in 1924. Further reading: Baur, John 1.H. Leaders of American Impressionism: Mary Cassatt, Childe, John II. Twachtman, J. Alden Weir. Exh. cat., The Brooklyn Museum, 1937. Clark, Eliot. "The Work of J. Alden Weir.'' Art in America, 8 (Aug. 1920), 232-42. Phillips, Duncan. Julian Alden Mir: An Appreciation of His Life and [Berks. Phillips Publications Number One. N.Y.: E. P. Dutton & Co., 1922. Includes essays by Emil Carlsen, Royal Cortissoz, Childe Hassam, and J. 13. Millet. Young, Dorothy Weir. The Lye and Letters of J. Alden Weir. New Haven: Yale University Press, 1960. 1852 - 1919 J. Alden Weir 1 Weir J. Alden 1759 Theodor Weller is considered a genre painter from the German school. Weller was born in Mannheim, Germany May 12, 1802 and died in the same city December 10, 1880. He received his formal art training at the Munnich Academy under Professor Peter Van Langer. In 1825, Weller traveled to Rome and continued his studies at the Beaux Arts Academy. He was awarded a medal at the Salon exhibition of 1835. In 1851, Weller was appointed director of the Munich Academy. A position he held until his death in 1880. Museums: Brunswick Museum Carlsruhe Museum Municipal Museum, Munich Dessin and Laboureur Italian Listed: E. Benezit, Vol. X Champlin & Perkins Dictionary 1802 - 1880 Theodor Weller Weller Theodor 1957 Cecile de Wentworth, the wife of Josias Wentworth, was born Cecile E. Smith to a prominent New York family in1853 and died on August 28, 1933 in Nice (Alpes-Maritimes), France. She began her formal training, as an artist, after being accepted into the Beaux-art Academie under Alexander Cabanel (1823-1889) and with Jean Baptiste Édouard Detaille (1848-1912). It was the influence of these two artists that Cecile de Wentworth developed her wonderful academic style. Wentworth began exhibiting in the Paris Salons in 1889 and continued until 1920. She was awarded a Bronze Metal in 1890 and Honorable Mention in Universal Exhibition of 1891. She exhibited and was awarded medals in Lyon, Turin and was awarded 1st gold medal at the National Exhibition in Tours. Mrs. Wentworth exhibited “Prayer” #598 at the 1893 World’s Columbian Exposition, Chicago. Wentworth was appointed Officer de Academie, Paris in 1894 and Officer de Instruction. In 1900, Cecile de Wentworth received her most honored award as Chevalier de la Légion, one of France’s highest honors. At the 1900 Paris Exposition, Wentworth was awarded a medal for her portrait of Pope Leo XIII which hangs in Vatican City. She became sought after as a portrait painter. Her commissions came from some of the world’s most noted people. Such as, Theodore Roosevelt, William Henry Taft, and Archbishop Corigan. Museums: Musee de Luxembourg, Paris Vatican Musee, Rome Senate Chamber, Paris Metropolitan Museum, NY Corcoran Gallery, Washington, D.C. Listed: Revisiting the City of White, American Art at the World’s Fair, pg.346 Mantle Fieldings, Dictionary of American Painters, Sculptors & Engravers, pg. 996 E. Benezit, vol.10, pg.691 Dictionary of American Artists, Sculptors & Engravers Young American Art at the Nineteenth-Century Paris Salons Lois Marie Fink, pgs.243 & 405-05 1853 - 1933 Cecile de Wentworth Wentworth Cecile de 1758 American-born painter and graphic artist, active mainly in England. He spent several of his childhood years in Russia (where his father had gone to work as a civil engineer) and was an inveterate traveler. His training as an artist began indirectly when, after his discharge from West Point Military Academy for `deficiency in chemistry', he learnt etching as a US navy cartographer. In 1855 he went to Paris, where he studied intermittently under Gleyre, made copies in the Louvre, acquired a lasting admiration for Velázquez, and became a devotee of the cult of the Japanese print and oriental art and decoration in general. Through his friend Fantin-Latour, he met Courbet, whose Realism inspired much of his early work. The circles in which he moved can be gauged from Fantin-Latour's Homage to Delacroix, in which Whistler is portrayed alongside Baudelaire, Manet, and others. He settled in London in 1859, but often returned to France. His At the Piano (Taft Museum, Cincinnati, 1859) was well received at the Royal Academy exhibition in 1860 and he soon made a name for himself, not just because of his talent, but also on account of his flamboyant personality. He was famous for his wit and dandyism, and loved controversy. His life-style was lavish and he was often in debt. Dante Gabriel Rossetti and Oscar Wilde were among his famous friends. Whistler's art is in many respects the opposite of his often-aggressive personality, being discreet and subtle, but the creed that lay behind it was radical. He believed that painting should exist for its own sake, not to convey literary or moral ideas, and he often gave his pictures musical titles to suggest an analogy with the abstract art of music: Art should be independent of all claptrap-- should stand alone, and appeal to the artistic sense of eye or ear, without confounding this with emotions entirely foreign to it, as devotion, pity, love, patriotism, and the like. All these have no kind of concern with it, and that is why I insist on calling my works arrangements and harmonies. He was a laborious and self-critical worker, but this is belied by the flawless harmonies of tone and color he created in his paintings, which are mainly portraits and landscapes, particularly scenes of the Thames. No less original was his work as a decorative artist, notably in the Peacock Room (1876-77) for the London home of the Liverpool shipping magnate Frederick Leyland (now reconstructed in the Freer Gallery, Washington), where attenuated decorative patterning anticipated much in the Art Nouveau style of the 1890s. In 1877 Ruskin denounced Whistler's Nocturne in Black and Gold: The Falling Rocket (Detroit Institute of Arts), accusing him of `flinging a pot of paint in the public's face', and Whistler sued him for libel. He won the action, but the awarding of only a farthing's damages with no costs was in effect a justification for Ruskin, and the expense of the trial led to Whistler's bankruptcy in 1879. His house was sold and he spent a year in Venice (1879-80), concentrating on the etchings-- among the masterpieces of 19th-century graphic art-- that helped to restore his fortunes when he returned to London. He made a happy marriage in 1888 to Beatrix Godwin, widow of the architect E.W. Godwin, with whom Whistler had collaborated, but she died only eight years later. In his fifties Whistler began to achieve honors and substantial success. His portrait of Thomas Carlyle was bought by the Corporation of Glasgow in 1891 for 1,000 guineas and soon afterwards his most famous work, Arrangement in Grey and Black: Portrait of the Painter's Mother (1871), was bought by the French state (it is now in the Musée d'Orsay, Paris) and he was made a member of the Légion d'Honneur. Allentown Gallery, Pa Philadelphia Civic Center Oak Lane Review Collection Women’s Club, Westchester, Pa Listed: Mantle Fieldings, Dictionary of American Painters & Engravers The Annual Exhibition Records of the P.A.F.A., vol. II, 1876-1913 The Exhibition Records of the Chicago Art Institute Index of Artists, Mallett Women Artists in America, 18th Century to The Present Who Was Who in American Art 1834 - 1903 James Abbott McNeill Whistler Whistler James Abbott McNeill 3115 White was born on September 15, 1861, in Hartford, and died on September 28, 1952, in Waterford. He was in Hartford until 1914; summers in Waterford, 1891-1914; spring and fall in Old Lyme, 1903-07; to Waterford year-round 1914. Henry C. White was the son of-Judge John Hurlburt White and Jennie M. Cooke. For two years after his graduation from Hartford High School in 1882, he was clerk of the Hartford Probate Court his father presided over. His art training had begun at fourteen with private lessons in 1875 front Dwight Tryon, who became a life-long friend. White is the author of the major biography, The Life and Art of Dwight William Tryon, published in 1930. Front 1884-86 White studied in New York, privately with Tryon and at the Art Students League with Kenyon Cox and George de Forest Brush. In 1889 he became a teacher of drawing at Hartford High School and built his first studio. That same year he was married to Grace Holbrook. He began to spend summers in Waterford in 1891, except for 1896 and 1897, when he traveled in England, France, Holland, Belgium, Germany, and Italy. On his return in 1897 he gave up high school teaching, taught briefly at the school of the Art Society of Hartford, and held a private drawing class in his studio. Although White traveled frequently, sketching as he went, he was essentially a painter and etcher of the Connecticut landscape and shore. From 1903-07 he spent spring and fall in Old Lyme. He experienced his favorite seasons three times over each year. Spring in Hartford was followed a week or two later by spring at Old Lyme, then finally at Waterford. Late autumn was the other time of year he would be always outdoors sketching in pencil or pastel. Summer was his least favorite season for art because summer greens were "Too much spinach!'' His oil paintings were usually done in the studio, a composite of remembered impressions. In 1903 White and his family stayed at the Florence Griswold House in Old Lyme. Later they rented what was called the Brick Store, farther down Main Street. White's Knox, the first automobile in Old Lyme, was sheltered in a barn opposite a tree called "Barbizon Oak," because artists like Ranger, Dessar, "Uncle" Howe, and White painted it so often. Though the Whites' extended stays in Old Lyme lasted only through 1907, they remained close friends with the artists. Charles Davis of Mystic was also a friend. White designed for Davis' sailboat an ingenious folding mast that enabled the Mystic artist to float his boat under the low bridge in his town with no trouble. At least once, too, White traveled to Greenwich to visit and paint with John Twachtman. When White realized, early in his career, that he could exhibit at important shows and galleries without fear of rejection, he stopped seeking such status and limited himself to occasional one-man exhibitions. Yet his influence on art in Connecticut was strong. He was a founder and officer of the Connecticut Academy of Fine Arts, which, front its beginnings in 1910, developed into an important showcase for artists in Connecticut and neighboring states. He painted until he was nearly eighty. Though he asserted that Impressionism had touched him little, he shared with the American Impressionists their attitudes towards nature and some of their techniques. His son, Nelson C. White, a landscape artist in Waterford, has said that "fleeting, evanescent effects'' were what moved his father, but that "his castles in the air, if you will, had foundations under them, as Thoreau so wisely recommended." Further reading: Henry C. White, 1861-1952: Memorial Exhibition. Exh. cat., Lyman Allyn Museum, New London, 1954. 1861 - 1952 Henry C. White 1 White Henry C. 1740 Thomas Worthington Whittredge, an important member of the later Hudson River School, specialized in landscapes, although he also painted some portraits and still lifes. His mature style incorporates both European and American influences, and celebrates the Catskill Mountains in New York and the American West, particularly the Great Plains. Worthington Whittredge, as he called himself after about 1855, was born on a farm in Springfield, Ohio in 1920. He received little formal education. In 1837, he moved to Cincinnati, where he worked with his brother-in-law, a house and sign painter, while teaching himself to paint portraits and landscapes. He experimented with daguerreotypes in Indianapolis, and opened a portrait studio in Charlestown, West Virginia before returning to Cincinnati. After about 1843, he devoted himself to landscapes. Works from this period, reveal the romantic influence of Thomas Cole and Thomas Doughty. Cincinnati at this time boasted a large and wealthy community of art lovers. A number of patrons, headed by Nicholas Longworth, sent Whittredge to Europe to study and paint in 1849. He spent five years in Dusseldorf, where he studied under Carl Lessing and Andreas Achenbach. For a time he adopted the hard, relatively monotone palette of the Dusseldorf School. He also visited Switzerland and Paris, where he viewed- but was not impressed by- the naturalistic landscapes of the barbizon painters. He than spent five years in Rome, where he was part of an artists' colony that included Frederick Church and Nathaniel Hawthorne. Upon returning to the United States in 1859, Whittredge settled in New York City. He opened a studio and began exhibiting at the National Academy of Design, to which he was elected in 1861: he served briefly as the Academy's president. Gradually he abandoned the Dusseldorf manner, painting large, tonally harmonious canvases of woodlands and streams. He became particularly adept at rendering sunlight filtered through dense foliage. He also produced a few still lifes, showing richly colored living fruit on tree branches. A series of trips to the West and Mexico, beginning in 1865, introduced Whittredge to the grandeur of the frontier scenery, which he reflected in broad, spacious paintings. His use of horizontal masses and golden, variegated light suggest vastness and serenity. Whittredge died in 1910 in Summit, New Jersey. Member: National Academy of Design Public Collections: Amon Carter Museum of Western Art, Fort Worth, Texas Century Association, New York City Cincinnati Museum Corcoran Gallery of Art, Washington, D.C. Denver Art Museum Joslyn Art Museum Metropolitan Museum of Art, New York City Reynolda House, Winston-Salem, North Carolina 1820 - 1910 Thomas Worthington Whittredge 1 Whittredge Thomas Worthington 2016 One of the most accomplished and esteemed watercolorists of the first half of the twentieth century, John Whorf created realist depictions of urban and rural imagery, working in a luminous painterly style often compared with that of John Singer Sargent and Winslow Homer. He was born in Winthrop, Massachusetts, and received his initial exposure to art from his father, Harry C. Whorf, a commercial artist and graphic designer. He went on to study in Boston at the St. Botolph Studio and at the School of the Museum of Fine Arts, where his teachers were Philip Leslie Hale and William James. Whorf spent the summer of 1917 or 1918 in Provincetown, Massachusetts, attending classes with Charles W. Hawthorne and associating with such leading contemporary painters as Max Bohn and E. Ambrose Webster. About 1919 Whorf visited France, Spain, Portugal, and Morocco. In Paris he enrolled briefly at the Ecole des Beaux-Arts, the Grande Chaumiere, and the Academie Colarossi. During his time abroad, Whorf turned increasingly away from oil painting and began to focus on watercolor, which he found suited his transient lifestyle and his expressive and aesthetic interests. After his return to Boston in the early 1920s, Whorf was commended in the press as Boston's leading watercolorist. After 1937 he lived in Provincetown, although he continued to travel in the United States and abroad in search of painting subjects. Throughout the rest of his career, Whorf's realistic, fluidly painted works were highly popular and sought-after. 1903 - 1959 John Whorf Whorf John 3212 Gunnar Widforss was born in Stockholm, Sweden in 1879. He studied to be a muralist at the Institute of Technology in Stockholm from 1896-1900. In search of landscape subjects, he traveled extensively in Russia, Europe and Africa gaining popular acclaim particularly among European royalty who became important patrons of his earlier works. He remained in Sweden until 1921 by which time he had become a premier figure in the art world. While en route to the Orient in 1921, Widforss visited San Francisco and opted to remain. In 1922 Stephen T. Mather, the director of the national parks, influenced Widforss to make painting America's national parks his specialty. He did just that, and in 1923 illustrated the book "Songs of Yosemite." Many national magazines used his paintings for their covers and his fame in America grew rapidly. He painted the canyons of the Colorado and Yellowstone, Zion and Bryce canyons, the Kaibob forest at Mesa Verde, Taos and Crater Lake but his first love was the Grand Canyon. It was his obsession with the Grand Canyon that prompted him to become an American citizen. He built a studio on the rim of the Grand Canyon and spent his last years there, studying geological formations and painting the beauty that he saw. The paintings from these last years were called "the finest to have come out of the West" and are still highly sought after today. Widforss died on the rim of his beloved canyon at the age of fifty-five and was buried there. He was a member of the California Watercolor Society and the Scandinavian-American Artists. His works are held by many important private collections throughout the world and can be viewed at the Yosemite National Park Museum and the Museum of Northern Arizona which held a retrospective of his works in 1969. 1879 - 1934 Gunnar Widfross Widfross Gunnar 1757 Olaf S. Wieghorst was born in Denmark in 1899. His father was an etcher and engraver. When he was a boy his father introduced him both to painting and horses, a combination that laid the foundation for his career as a painter in oil of traditional Western scenes and especially as portraitists, illustrator and sculptor of horses. In 1940, he obtained an agent to sell his paintings. By 1955, there was a waiting list of buyers for Wieghorst's works. "Horses have been my life,"Wieghorst says. And the central image of many of his the horse, painted with the authenticity of both anatomy and emotion that could come only from an artist who devoted his life to studying and painting his subjects. Wieghorst was a master of realism, although his paintings, with their fine flat strokes, have a post-impressionistic quality. Working from sketches made during many travels through the Southwest, Wieghorst insists on authenticity in his work. He has a museum-quality collection of Western artifacts and memorabilia that provide detail for his paintings. After suffering from a severe car accident, Wieghorst died in 1990. 1899 - 1990 Olaf S. Wieghorst Wieghorst Olaf S. 1756 Guy C. Wiggins was born in Brooklyn, New York in 1883, the son of Carleton Wiggins, who had a long and highly acclaimed career as a landscape painter. The younger Wiggins, who first studied with his father, continued the American landscape tradition, winning many prestigious prizes from 1916 on. Around 1900, Guy C. Wiggins studied architecture and drawing at the Brooklyn Polytechnic Institute, but went on to study painting at the National Academy of Design. Early recognition came at age 20, when he was the youngest American to have a work accepted into the permanent collection of the Metropolitan Museum of Art. Old Lyme, Connecticut became Wiggins's summer home around 1920, and he became one of the younger members of the group of painters in Old Lyme who were developing their version of impressionism by fusing French technique with American conventions. Though American art was moving more and more toward realism, Wiggins was dedicated to maintaining his own style; it was based on French impressionism but influenced by Childe Hassam and other American impressionists of The Ten. Wiggins earned a fine reputation in the 1920s for his city snow scenes, often painted from the windows of offices in Manhattan. His Washington's Birthday (1930, New Britain Museum) expresses the feeling of snow quietly hushing the bustling city street. In her American Art Review article of December, 1977, Adrienne L. Walt said of Wiggins that "his resolution was to constantly emphasize color, elevating it above all else and achieving luminosity through it...." In 1937 Wiggins moved to Essex, Connecticut and founded the Guy Wiggins Art School. During the following years, in addition to teaching, he traveled widely throughout the United States and painted scenes of Montana, Massachusetts and Connecticut. With the permission of President Dwight D. Eisenhower, he completed two paintings of the Executive Mansion from the lawn of the White House, one of which eventually was placed in the Eisenhower Museum in Abilene, Kansas, after hanging in the president's office. Wiggins died in Florida in 1962. MEMBERSHIPS: Connecticut Academy of Fine Arts National Academy of Design National Art Club Lotus Club Lyme Art Association Salmagundi Club PUBLIC COLLECTIONS: Art Institute of Chicago Beach Memorial Gallery, Storrs, Connecticut Brooklyn Museum; Dallas Art Association Hackley Art Gallery, Muskegon, Michigan Metropolitan Museum of Art, New York City National Gallery of Art, Washington, D.C. Reading Museum, Pennsylvania Syracuse Museum, New York Wadsworth Athenaeum, Hartford, Connecticut 1883 - 1962 4 Guy Carlton Wiggins 1 Wiggins Guy Carlton 2914 John Carleton Wiggins (1848-1932) John Carleton Wiggins is known primarily as a landscapist who specialized in pastoral American Barbizon landscapes, usually with flocks of sheep or herds of cattle. Carleton Wiggins, who preferred not to use his first name of John, was born in Turners (now Harriman), Orange County New York March 4, 1848. He attended public schools in Brooklyn. In 1870, Wiggins began his formal art studies at the National Academy of Design under George Inness (1825-1894), a noted American landscape painter and later with Johann Hermann Carmiencke (1810 - 1867) in Brooklyn. In 1880, Wiggins studied plein-air painting in France under the influence of the Barbizon School, and exhibited in 1881 in the Paris Salon. He won a gold medal at the Paris Salon in 1894, and exhibited regularly at London's Royal Academy. He also studied in Holland. His work was widely sought after upon his return to the United States. In New York, he maintained a studio in Greenwich Village, and was influenced by John H. Cocks, a sculptor turned landscapist, and a resident of Brooklyn. The inspiration for his paintings often came from the countryside of Old Lyme, Connecticut, a natural setting for the art colony there, whose work reflected the influence of the French Barbizon painters. Carleton Wiggins was one of the original founders of the Old Lyme Art Colony, an early center of American Impressionism, and began an art school in that town. His work reflects the influence from his studies with George Inness with the use of subtle lights and shadows, warm colors, and soft edges. A critic once said "His pictures have atmosphere and repose." Carlton Wiggins was elected as an Associate member of the National Academy in 1890 and made a full academician in 1906. He was the father and grandfather of painters Guy C. Wiggins (1883-1962) and Guy A. Wiggins (1921- ). Carleton Wiggins died June 12, 1932, in Old Lyme, Connecticut, which at the time was his permanent residence. Memberships: American Federation of the Arts American Watercolor Society Artists' Fund Society Brooklyn Art Club National Academy of Design Salmagundi Club Society of American Artists Society of American Landscape Painters Museums: Chicago Art Institute Brooklyn Museum Corcoran Gallery of Art, Washington, D.C. Metropolitan Museum of Art, NY National Gallery of Art, NY Newark Museum, New Jersey 1848 - 1932 John Carlton Wiggins Wiggins John Carlton 1755 Willems was born in Liege, Belgium on January 8, 1823 and died in Neuilly-Sur-Seine (Just outside of Paris) sometime around October of 1905. He is considered a portrait and genre painter. The following quote is by Edmond About1 Salon de 1864 from a book entitled Artists of the 19th Century page 353. "Men of taste have almost worn mourning for Willems. He made his debut with a pretty picture representing a blond woman in a white satin dress, a hundred others wished to place in their galleries the same woman and the same dress. The public who do not buy, but who judge, have ended by imagining that Willems exhibited always one and the same picture; then noticed it no more. Happily for us the commands have ceased, and the artist, who is after all, an excellent painter, has felt need of something else. His two pictures of this year (1L 'Accouche' and La Sortie) show a true advance. The artist has not only regained his commercial value but also a large part of his legitimate popularity..." Willems received his artistic training while attending lectures at the Malines Academy. He had his first exhibition and sold his first painting at the age of sixteen for a healthy sum of 250 francs. To support his education, he worked in a Gallery in Brussels as a restorer. Before he was eighteen, Willems found a friend and patron in Sir Hamilton Seymour, who commissioned him to paint portraits of his wife and children. It was through this patronage and his first exhibition that Willems received tremendous success and positive critical acclaim. In 1842 he exhibited in Brussels "Le Corps-de-Garde" and "Music-Lesson" (purchased by the late King of Belgium) and received a Medal. Willems continued to receive commissions from the court to paint 16th and 17th century costume paintings. In 1844, Willems decided that to continue his career he must travel to Paris. It was just prior to this move, Willems became very interested in Dutch 17th Century Masters. He started to study paintings and the academic techniques of Terburg, Metsu and Miens and especially his friend and fellow artist Alfred Stevens. Stevens and Willems shared all the secrets they discovered while studying the techniques of the masters. It was Florent Willems who helped Alfred Stevens progress with his abilities to paint beautiful ladies. It was this subject that the great Belgium artist, Alfred Stevens, became most noted. While in Paris, Willems continued to win medals and other honors; 1853, Chevalier in the Legion of Honor, officer in 1854 and commander in 1878. His favorable French acclaim was a result of the Paris Exhibition of 1855 in which he exhibited "The Interior of a Silk-Mercers Shop in 1660 (purchased by Napoleon III) and "Coquetry" (purchased by the Empress). Willems was also very honored in his own country. He was elected into the Order of Leopold as a Chevelier in 1853, as an officer in 1864, and commander 1878. Very few artists have ever achieved so very much during their career. Willems French award alone was equal to all those of William Adolphe Bouguereaus. One of Renoir's greatest dreams was to be elected into the Legion of Honor during his lifetime. The following quote is from James Dafforne, Art Journal, August, 1866. Artists of the 19th Century, page 352. "In that particular department of art to which Willems has almost entirely limited his practice, he certainly takes rank with the foremost men of the modern continental schools. His pictures are much in request, and find their way into the best collections, both in his own country and in France. Subject of a character so generally pleasing and placed with such artistic skill and such persuasive beauty on the canvas, can never fail finding patrons in men of taste and judgment." Florent Willems became so highly respected as an academic painter of 17th and 18th century subjects, he was requested by the Louvre to join their restoration laboratory. While associated with the Louvre, Willems was given the task of restoring Raphaels "Saint-Jean". Willems was also an extremely proficient drawer. He has left many drawings of 17 & 18th century rugs and furniture. Willems exhibited numerous times but those of note were in 1877, "Aux armes de Flandre", in 1864; "L' Accouchei" and "Going Out" in 1863; "The Widow" and "The Presentation of the Future", in 1861; "Au Roi! "Preparation of the Bride" was exhibited at the Exhibition of Belgian Art in Brussels in 1880. In the Belgian Art Exhibition Brussels in 1905 (just after his death) "Farewells", "The Engagement Ring", "Presentation of the Bridegroom1', "The Cobbler", "Kissing Hands", "The Arch of Peace". All of these paintings were from his collections. Willems also exhibited in London at the Royal Academy and at Grosvenor Gallery. The Belgium people love the artist Florent Willems. They commissioned a portrait by French artist Francois Flameng to paint his portrait which now hangs in the Liege Museum. Listed: E.Benezit, Vol. ~X, page 740. Cyclopedia of Painters and Paintings N.Y., J.D. Champlin, Jr. and C.C. Perkins (1885-1887). Encyclopedia Britannica, 14th Edition, London & N.Y., 1929. Index of Artists, Mallett. Page 476. Dictionaire Biographic, illustre des Artists en Belgique (1830). Page 409. Dictionary of Artists, Graves. Page 303. Artists of the Nineteenth Century, page 352 and 353. Artists of Belgium, pages 795-798. Museums: Charlier Museum Brussels Bruges Museum Antwerp Museum Brussels Museum 1823 - 1905 Florent Willems Willems Florent 3191 Frederick Ballard Williams was a remarkably proficient landscape and figure painter who was born in Brooklyn, New York in 1871 and died in Glen Ridge, NJ in 1956 (where he moved in 1895). Williams studied at Cooper Union; with J.W. Stimson; at the NY Institute of Artist and Artisans, and the National Academy with C.Y. Turner, W.H. Gibson and E.M. Ward; and in England and France. The fun-loving, gregarious, ever-helpful Williams an "artist’s artist" who wanted to assist artists advance in talent and fame. He was an Associate (1907) and a full Academician (1909) of the National Academy of Design, NYC; the Lotos Club; the New York Water Color Club; Salmagundi Club (president, 1914-1919); National Arts Club; New York City Society of Painters; Montclair Art Association (president, 1924-1925; chairman of the art committee for 35 years) and the American Artists Professional League, NYC (founding president, 1928; national chairman for 22 years). He exhibited widely and won awards and medals at the National Academy (1909); Pan-American Exposition, Buffalo, NY (1901); American Artists Professional League gold medal (1949) and in that year the Montclair Art Museum gave him a retrospective exhibition; Salmagundi Club (1898, 1907), and more. His work is represented in the Metropolitan Museum of Art; National Gallery of Art; Albright Art Gallery, Buffalo; Montclair Art Museum, NJ; Lotos Club; National Art Club; Corcoran Gallery of Art; Brooklyn Institute; St. Louis Art Museum; National Gallery in Lima, Peru; Drexel Institute, Philadelphia; Cincinnati Art Museum; Dallas AA and more. He went to San Francisco in 1896 and 1901 and in 1910 he became a part of the famous Santa Fe Railway and American Lithographic Company sponsored trip to the Grand Canyon (with such painters as Thomas Moran and Edward Henry Potthast). He is represented in 16 museums. Painting like The Jade Necklace shows Williams adoration of the human figure in a romantic setting that exploits the beauties of the human body and nature and his exposure to the French rococo painting of Antoine Watteau. The painting is Barbizon in tone and academically handled with glowing light coming from the figures as light shines upon them. The William Macbeth Gallery of New York City was the artist's main dealer and The Worshippers was exhibited there. References: Who Was Who in American Art, vol. 3, p. 3577; Who's Who in American Art, 1947-1953; Three Hundred Years of American Art, p. 646. 1871 - 1956 Frederick Ballard Williams 1 Williams Frederick Ballard 1754 Lemuel Everett Wilmarth (1853-1918) was born in Attleboro, Massachusetts in 1835, and raised in Boston, Massachusetts, Lemuel Everett Wilmarth was trained as a watchmaker. Though he pursued this craft for a time, he doggedly studied art at night, first in the Pennsylvania Academy of the Fine Arts in Philadelphia and later at the National Academy of Design in New York City. Wilmarth turned permanently to art in 1859 and went to Germany to study in the Munich Royal Academy of the Fine Arts. After three and a half years in Munich, he went to the Ecole des Beaux-Arts in Paris, and was the first American to study under the famous painter Gerome. He remained two and a half years. Wilmarth's genre scenes, perhaps influenced by his earlier profession, were meticulously detailed and exactingly finished. On his return to the United States, he became active in teaching and organizing classes at the Brooklyn Academy of Fine Arts. Because of this work, he was made the first full-time instructor in the National Academy of Design School. The history of art institutions in America has been marked by the conflict between the desire for respectability and the admiration of independence. The National Academy of Design, for instance, wasfounded as a reaction against the American Academy of the Fine Arts, but it has been the source of further offshoots over the years. Wilmarth himself, despite his position, accompanied a group of dissident National Academy students away from the Academy between 1875 and 1877. After that brief rebellion, he returned to stay with the Academy until 1889. He died in 1918 in Brooklyn, New York. 1853 - 1918 Lemuel Everett Wilmarth Wilmarth Lemuel Everett 3346 J. T. Wilson (19th C.) is considered a realist landscape painter from the British school. Although little is known about the artist's life and education, there are two artists with the name J. T. Wilson. There is one listed in Graves Dictionary listed as a portrait and landscape painter, who exhibited at the Royal Academy between 1833-1853. The other J. T. Wilson is listed in as a landscape and genre painter living in London and actively exhibiting at the Royal Academy, Sulfolk Street and elsewhere between 1856 and 1882. Graves Royal Academy joins both as one, exhibiting from 1833-66 and living in London, Witley (1863) and Thursley, near Dodalming. Royal Academy Listings 1853 "Hop Garden, near Tunbridge Wells" 1860 "The Garden Pet" 1864 "Where the Stream Runs Across the Road" Public Collections Victoria & Albert Museum, "Stream and Cottage, Thursley, Surrey", 1863 Bethnal, Green Museum holds six watercolors by Wilson and one attributed J. T. Wilson. These works are scenes of neighborhoods around Thursley. Listed E. Benezit, Vol.10, pg. 731 Graves Dictionary of Artists, pg. 306 Graves Royal Academy The Dictionary of Victorian Painters, 2nd Edition, Christopher Wood, pg. 522 J T Wilson Wilson J T 1753 The years leading up to the Civil War were a time of great change as the nation forged West to consolidate the territories of the Great Plains and the Rocky Mountains. The Native Americans who inhabited this territory captivated a small group of artists who recorded their lives, culture and the environment in which they lived. Charles Wimar, a German-born artist from St. Louis, who had a very brief but illustrious career, created a series of images of the West and Native Americans that remains today as important visual documents of America's history. Wimar was born in Siegburg, Germany and began painting in oil at the age of twelve in Cologne. He emigrated to St. Louis, Missouri in 1843 with his mother and stepfather who had opened an inn. Wimar, having previously exhibited proficient artistic skills, became an apprentice to a local house and steamboat painter A. C. Wilgus. Unhappy with his training, the artist joined the studio of Leon Pomarede, a well-known painter who had some formal artistic training. In 1849, Wimar working with Pomarede completed Portrait of the Father of the Rivers, an extremely ambitious panorama of the Mississippi River. In preparation for this project, Pomarede and Wimar produced sketches from numerous steamboat trips up the Missouri River traveling as far as to the Falls of St. Anthony. Pomarede also completed works in oil depicting images of frontier subjects, including Native Americans and buffalo hunts. These themes would later become central to Wimar's paintings. After the completion of the panorama, Wimar set up his own studio in 1849 with fellow artist Edward Bonea, painting mainly portraits and genre subjects. In 1852 Wimar decided to attend the Dusseldorf Academy in Germany, the leading art school at the time, to study with the famous history painter Emanuel Leutze. At the academy, Wimar produced historical works that focused on the conflict between Native Americans and the pioneers as well as dramatic images from the popular novels of James Fenimore Cooper. After four years of study, Wimar returned to St. Louis where he sought inspiration in the Great Plains and its people instead of relying on history, literature and art for his great works. Soon after his return from Europe, Wimar in 1858 and 1859 embarked on two trips up the Missouri River travelling as far 2,300 miles up river, experiencing the wild frontier firsthand. From these travels Wimar produced an extraordinary collection of onsite drawings and photographs of the landscape and people he observed in and around the environs of the Missouri River. These images were the basis for a body of epic works the artist executed soon after his travels. These paintings, as Rick Stewart states, "enabled [Wimar] to achieve legitimacy with his audience for the larger mythic paintings he created concerning the American West. At the same time, he was conscious of the importance of a timely subject." (R. Stewart, J.D. Ketner and A. L. Miller, Carl Wimar, Chronicler of the Missouri Frontier, New York, 1991, p. 168) The timely subject was the Seminole war chief, Holatamica (Billy Bolek), more commonly known as Billy Bowlegs. 1828 - 1863 Carl Wimar Wimar Carl 2142 Conrad Wimmer was born in Vienna on June 15, 1844 and died in Munich on June 17, 1905. Wimmer is considered a painter, engraver and watercolorist from the German school. His main subjects landscapes and marine scenes. Conrad Wimmer received his formal art training Peter Johann Nepomuk Geiger (1805-1880) at the Vienna Academy. In 1862, he would travel to Dusseldorf to study landscape painting. While in Dusseldorf, Wimmer would meet fellow student Ludvig Munthe (1841-1896). Although the Munthe and Wimmer were very close in age, Munthe had a more mature approach to landscape painting and he would become the single largest influence on Wimmer ‘s development as an artist. They would travel the countryside painting winter and autumnal landscape full of natural beauty and atmosphere. Wimmer would then travel to Paris to exhibit in the Salons. While is France, Wimmer would add a more sensitive approach to his landscapes. These subtle changes to his palette would help him win a first class medal at the Universal Exposition of 1878. Wimmer also exhibited in Vienna, Berlin, Amsterdam and London. In 1872, he was awarded the gold medal at an exhibition in Berlin and he was awarded a medal in both the 1876 and 1894 exhibitions in Vienna. Wimmer would continue his successes in London and Amsterdam. 1844 - 1905 Conrad Wimmer Wimmer Conrad 3117 Winslow was born on July 13, 1874, in Boston, Massachusetts, and died after 1953? He was in Cos Cob, 1906; and in South Norwalk, 1908. The little-known artist, poet, and critic Henry Winslow studied with Whistler in Paris and exhibited in the Paris Salons and London's Royal Academy. As a student of Whistler — the flamboyant pre-Impressionist who ranks among history's greatest printmakers — Winslow developed a deep interest in etching. His book The Etching of Landscapes, published by the Chicago Society of Etchers in 1914, includes a perceptive criticism of Whistler. Winslow lived in New York City sometime after the turn of the century. He visited Connecticut at least twice. His etching Cos Cob, dated 1906, depicts the shipyard and shoreline from a vantage point within a dockside shed. An etching of South Norwalk's waterfront is dated 1908. Until Winslow, no one in the Cos Cob colony had produced prints there. Twachtman and Weir had created some etchings before 1890, but neither worked in that medium in Cos Cob. Later, Kerr Eby had an etching press in the village, which he shared with Hassam in 1915. The extent of Winslow's work in the Cos Cob area and his relationship with the Cos Cob group of artists have yet to be determined. Further reading: The Stamp of Whistler. Exh. cat., Allen Memorial Art Museum, Oberlin College, 1977, pp. 264-65. 1874 - 1953? Henry Winslow Winslow Henry 1738 Painter and sculptor. Born in Germany, March 28,1863. Came to America in 1866. His family settled in Saint Louis, Missouri, where he received his first formal training. By the later 1880s a landscape school was beginning to form in Saint Louis that would become the city's most distinctive artistic feature. It's members stressed poetic mood over topographical naturalism. Among them was Sylvester Annan, a Paris-trained painter of tonal landscapes, and, more important, Paul Cornoyer. Born in Saint Louis, Cornoyer studied at the School of Fine Arts in 1881, and later was recognized as the leader of the movement. Gastav Wolff, a student of the School of Fine Arts, and especially of Cornoyer, followed his teacher as a specialist in Tonal landscapes. And Wolff, who remained a major landscapist in Saint Louis, was the teacher of Arthur Mitchell, also a delineator of poetic landscapes in the early twentieth century and long-time resident of that city. Awards: Silver Medal, Portland, OR, 1905 First Dolph prize, Competitive Exhibition, Saint Louis, 1906 Wednesday Club, Silver Medal, Society of Western Artists, 1907 Work: "The Brook," City Art Museum, Saint Louis 1863 - 1935 Gustav Wolff Wolff Gustav 3257 Franz X. Wolfle was born in the old city Kaufbeuren, Bavaria in 1887 and died in the small mountain city of Zankenhaus, Germany in 1972. Wolfle is considered a miniature portrait artist from the German school. In 1907, Wolfle traveled to Munich to study painting at the Academy of Fine Art, which was founded 1808 by Maximilian I of Bavaria in Munich as the "Royal Academy of Fine Arts" and is one of the oldest and most significant art academies in Germany. Wolfle studies were interrupted with the outbreak of World War I. Upon the war's conclusion, Franz began painting highly detail miniature portraits to support his family. These wonderful miniature masterpieces (painted using a brush with a single hair) captured the individual character of local Bavaria merchants, farmers, politicians and their wives. With their popularity with collectors and tourists from European continent and the United States, galleries began displaying pairs of the unique portraits under a magnifying glass to show the minute detail that Franz Xavier Wolfle included is each portrait. 1887 - 1972 Franz Xavier Wolfle Wolfle Franz Xavier 2088 Albert S. Wood, who signed his paintings A. S. Wood, is considered a landscape and marine painter and watercolorist from the English school. He was born in Dundee, England in 1852 and died in 1915. According to the exhibition records at the Victoria and Albert Museum, Edward actively exhibited at the Royal Academy, Suffolk Street between from1876 to1893. A wonderful example of his work “A View of Dordrecht” hangs in the Victoria Museum in Australia. Listed: E. Benezit, Vol. 4,pg. 110 Dictionary of Artists, Graves The royal Society of British Artists 1824-1893 & The New English Art Club 1888-1917, Jane Johnson 1851 - 1915 Albert S Wood Wood Albert S 2168 Robert Wood was born March 4, 1889 in Sandgate, England, a small town on the Kentish coast not far from the white cliffs of Dover. His father, W. J. Wood, was a successful painter who recognized Robert's unusual talent. At the age of twelve, his father enrolled Wood in art school in the small town of Folkstone. He then attended the South Kensington School of Art. While attending art school, Wood won four first awards and three second awards, one each year, a record. In 1910 after service in the Royal Army, nineteen-year-old Wood and his friend, Claude Waters, immigrated to America. Initially, he settled in Illinois and worked as a hired hand on a farm belonging to Water's uncle. He would then strike out on his own, living the life of an itinerant painter. Wood traveled as a hobo, hopping freight trains and selling or bartering small paintings to support him along the way. When times were hard, he worked at whatever job was available. In this manner, he saw most of the United States and fell in love with rural America. By 1912, Wood visited Los Angeles for the first time, arriving on the day the Titanic tragedy. Later that year, he had met, courted and married young Eyssel Del Wagoner in Florida. The couple moved to Ohio where a daughter, Florence, was born. During World War I, the family moved to Seattle where a son, John Robert Wood, was born in 1919. In the early 1920's, the young Wood family was almost constantly on the move. They stayed for short periods in Kansas, Missouri and California and for a longer time in Portland, Oregon, where Wood's friend Claude Waters had settled. Wood's seemingly endless wanderings disrupted his family life and delayed his development as a painter. However, through his travels he developed an appreciation for the American landscape that would inspire him for the rest of his career. Although aware of the current movement away from traditional realism in American art, he elected to travel that solitary path and remain true to his own vision of American’s grandeur and beauty poetically translated through his landscape and seascape paintings. In 1923, the Wood family discovered the beautiful city of San Antonio, Texas and it was there that he and his family would finally settle. He studied briefly at the San Antonio Art School with Spanish colorist Jose Arpa y Perea (1860-1952), who had arrived in San Antonio that same year. In the latter part of the 1920’s, Jose Arpa’s influence quickly became evident. Wood after several years of experimentation was becoming fine easel painter, capable of great subtlety with a new mature original style. Like Texas painters Robert Onderdonk (1853-1917) and his son Julian Onderdonk (1882-1922), Robert Wood concentrated on the distinctive Texas landscape with its Red Oak trees and wildflowers that covered the hill country landscape. He developed a reputation for his scenes of Blue Bluebonnets, the state flower. In the spring, Texas prairie is covered with wildflowers, especially in the hill country surrounding San Antonio and Austin. Wood incorporated native stone barns and rough wood farmhouses adding authenticity and romance to his compositions. In 1925, Wood was divorced from his wife. In 1932, he moved to the famous scenic loop on San Antonio's outskirts. While still living in Texas, he took extensive western sketching trips that brought him to California. It is evident that his 1930’s California and Texas works show an awareness of the then popular California Plein-Air movement. These more mature works are distinguished by a fine sense of detail reminiscent of late-19th-century American landscape painters laced with the colorful influence of American and French impressionism. With paintings being shipped to dealers across the continent, Wood’s reputation with collectors was growing nationally. It should be noted that from 1924 and 1940 Robert Wood also sign his paintings G. Day (Good Day) and Trebor (Robert backwards). He only used these signatures during these years (1924-1940) and there is conflicting information as to why. In 1941 after seventeen years in Texas, Robert Wood and his second wife Tula, who he had met in San Antonio, moved to coastal town of Laguna Beach, California. Laguna had been an artist colony since early in the century and it was the birthplace for California Plein-Air School, which was still active. While in Laguna, he developed a following for both his landscapes and marine paintings. Wood's paintings of the California coast remained a significant part of his oeuvre. Living in Laguna for seven years, Robert Wood became an active member of the Laguna Art Association and an exhibitor at the annual Laguna Festival of the Arts. After the War in 1948, the Woods moved east and bought a home Woodstock, New York, which he had visited in the 1930’s. It was a popular artist colony located in the Catskills Mountains. He purchased a studio hidden deep in the Wood Stock forest where Maples and Elms, as well as a quiet brook surrounded his small rustic studio. He found inspiration from the bold autumn colors of the forest, the Catskill Mountains covered in pillows of snow and the blossoming fruit trees of spring. During this period, he made sketching trips to New Hampshire, Vermont and along the Maine coast. Although included in his eastern subjects, these Vermont, New Hampshire and Maine subjects are rare when compared to the hundreds of paintings done while in Woodstock. The public was captivated with Roberts Wood’s seasonal Woodstock paintings. He began working with an inexpensive print publishing house (possibly Donald Art Publishing Co.) to reproduce several of his paintings. The reproductions were an immediate success. October Morn, which was his most successful, sold more than one million copies in less than two years. These inexpensive paper reproductions made Robert Wood one of American’s most famous landscape painters. After a few years in New York, Robert and Tula moved back to Laguna Beach. 1952 and 1953 were tumultuous years for Robert Wood. He and Tula became increasingly estranged and were divorced in 1952. The following year, Wood was hit by a car on Pacific Coast Highway and nearly died. His friend and amateur artist Caryl Price helped him around the house during his recovery and the two were soon married. He had instructed Caryl in painting and he would take her on sketching trips all throughout the west. During the 1950's, a combination of the popularity of Robert Wood's paintings and his print royalties eventually made him a comfortable living. It was during this period that Grand Tetons became a favorite subject. Although Robert Wood painted extensively in the Colorado Rockies in the 1930s and 1940s, he did not paint the Tetons until the late 1950s. By the early 1960s, the Tetons and the California coast made up a significant percentage of his artistic production. Wood would continue to paint his popular Texas landscapes but his style had changed. Works from this period are more broadly painted with a more chromatic palette, which was considerably different than those from the 1930s and 1940s. During 1960's, Robert Wood's found great success and his paintings brought higher prices, some selling in excess of five thousand dollars. At the age of eighty, the American Express Company commissioned him to paint a series of six works to be reproduced as limited edition serigraphs for their Cardholders. Each print depicted one of the National Parks, subjects that were well known to Wood. Around 1964, Robert and Caryl Wood would moved San Diego. They had purchased a wonderful Victorian house that Caryl wanted to restore. After several years in San Diego, they finally moved back to Bishop and the Sierras. Wood remained active and he continued to paint until just prior to his death in the spring of 1979, just weeks before his 90th birthday. Although Robert Wood shunned publicity and was modest about his accomplishments, he had millions of admirers who mourned his passing. There are thousands of artists in this country who learned a great deal by studying his work, his reproductions and through the art instruction books he authored for Walter Foster publishing. 1889 - 1979 2 Robert W Wood 1 Wood Robert W 2908 Alexander Helwig Wyant was born in Evans Creek, Ohio in 1836 and died in Arkville, New York in the Catskills in 1892. He was raised in a family of itinerant farmers and early apprenticed to a harness maker and sign painter. His commitment to becoming an artist resulted from his seeing landscapes by George Inness Sr. in an exhibition in Cincinnati in 1857. He made a trip to New York to meet Inness, who recognizing the young man's talent, helped him secure to the patronage of Nicholas Longworth of Cincinnati. This financial help enabled Wyant to study for a year at the National Academy in New York and in 1865 in Karlsruhe, Germany with Hans Fredrik Gude, a Norwegian artist of the Düsseldorf School. . Before returning to the States, he visited England where he was influenced by the landscapes of Constable and Turner. In 1867, Wyant returned to New York City where he established a studio and from where he traveled frequently into the Adirondack and Catskill Mountains. In 1873, at the age of 37, he was part of an expedition into New Mexico and Arizona where he painted many sites including Canyon de Chelly in Navajo country. On this trip, he suffered a stroke, which paralyzed his right hand and forced him to paint with his left. Wyant would spend his winters in New York City and summers in the Adirondacks at Keene Valley. By 1880, he was spending more time at Keene Valley and in 1889, with his condition worsening; he bought a home in the Catskills at Arkville, NY, an important center for American Barbizon painters. As a tonalist landscape and genre painter, Wyant is credited with making the transition from a tight, restrictive style of the Hudson River School style to the freer methods of Impressionism. He was much influenced by the French Barbizon impressionists, and his grandiose eastern mountain landscapes were much sought after during his lifetime Alexander Wyant was a member of the Century Association and the National Academy. He exhibited at the National Academy of Design from 1865 to 1892, at the Brooklyn Art Association from 1867 to 1892 the Boston Arts Club, Pennsylvania Academy of Fine Arts, the Art Institute of Chicago and the Metropolitan Museum of Art. Museums: National Museum of American Art Brooklyn Museum Metropolitan Museum of Art, Toledo Museum of Art Tennessee State Museum Kentucky Art Museum. 1836 - 1892 Alexander Helwig Wyant Wyant Alexander Helwig 3170 Edgar Yaeger was a prolific painter for the Michigan FAP, completing both easel paintings and several major mural commissions in the Detroit area. Educated at the Detroit School of Fine and Applied Arts, he traveled and studied in Europe and then returned to Michigan. His style, a combination of Cubist structuring and American Scene representation, is one of pleasing color harmonies and stylized patterns that was well suited for public murals. As a result, Yaeger’s work was in great demand by institutions sponsoring WPA art. He completed murals for Detroit’s Brodhead Armory, Detroit Public Lighting Commission Building (building destroyed), Grosse Pointe South High School, West Quad Dormitory at the University of Michigan and other buildings. Yaeger worked in illustration, automotive design, taught painting and designed stage sets. The Kresge Art Museum has 88 works by Yaeger, including many preliminary sketches of his WPA murals. 1904 - 1997 Edga Yaeger Yaeger Edga 3198 Edmund Yaghjian was born in Harpoot, Armenia in 1905 and died in South Carolina in 1997. He immigrated with his family to Providence, Rhode Island in 1907. At an early age, he knew he wanted to be an artist. In 1926, Edmund won a scholarship to study at the Rhode Island School of Design, where he graduated with a BFA in 1930. Upon graduation in 1930, Yaghjian moved to New York and enrolled at the Art Students League. At the league, Yaghjian studied with John Sloan and Stuart Davis. Like Sloan and other artists of the Ashcan school, Yaghjian concentrated on naturalistic depictions of the city, emphasizing commonplace activity as well as the vitality and distinctiveness of urban life in the 30's. Yaghjian left the Art Students League to briefly teach at the University of Missouri. In 1945, he was hired by the University of South Carolina in 1945 as head of the Department of Fine Arts. He was instrumental, with teachers Augusta Witkowsky and Catherine Rembert, in bringing a level of professionalism to the department and encouraging the development of the arts in the community and across the region. As in New York, he fell in love with the real life scenes of Columbia, and was drawn to scenes of everyday, vernacular life in his paintings. Yaghjian served in that position until 1966, when he was named USC’s first artist-in-residence. Among his students are Jasper Johns and the well-known mural artist, Blue Sky, as well as Bill Poulos of Rice University. I call myself a painter, only time will tell if I am an artist, Yaghjian Yaghjian's distinguished career was filled with notable awards and exhibitions. Among the museums that showed his work are the Metropolitan and the Whitney in New York, the Corcoran and the National Gallery in Washington, DC, the Butler Institute of Art in Cleveland, OH, and the Penn. Academy in Philadelphia. He has had one-man shows at the Kraushaar Gallery in New York City; Mint Museum in Charlotte, NC; Gibbes Museum of Art, Charleston, SC; Telfair Academy, Savannah, GA; and the Columbia Museum of Art, Columbia, SC, among others. He was the catalyst behind the foundation of the Artists Guild of Columbia and the Guild of SC Artists. "Mr. Yaghjian has employed the local scene and his paintings furnish interesting examples of familiar subject matter with original approach and treatment. He achieves an unusual combination of primitive and sophisticated technique. The trees, for instance, are all reduced to the geometric forms, especially in the handling of buildings. "Humor invades the whole show and a lively interest in folk customs and characteristics. There are a number of abstractions, but we feel that the artist is primarily interested in interpreting the scene around him and its adaptation to contemporary expression." March 1953, Savannah Morning News: Exhibition Telfair Academy, Savannah, GA 1905 - 1997 Edmund Yaghjian 1 Yaghjian Edmund 1748 Edmond was born in Paris on February 2,1836, and died in the same city on March 15, 1897. He was a Painter of landscapes and an Engraver of wood & copper. He was a pupil of Jean Achille Pouget and of Justin Lequien (1826-1882) both sculptors. His opening debut was with the Salon of 1865. He showed engravings on wood and several illustrations for the works of Victor Hugo. When he started painting he would interpret the works of such artist as dAnastasi, de Bernier, Corot, Millet , Guillemet, Van Marckeand Vernier. In 1867, he premiered the painting titled "Chemin Veizy" at the Salon. He won his first medal at a Solon showing in 1875 with a painting entitled "Bras de la Seine", which was painted around Montereau. He also won a medal at the 1879 Salon with his painting entitled "Le Bas de Montigny, Bords de la Marne". In 1886 he was elected Chevalier to the Legion of Honor. At the Worlds Fair in 1889 he won a gold Medal. Yon loved painting the edges of rivers and was often found painting along the banks of the Beaver River, Marne and Seine. One could also find him in Normandy at the Eure River, in Holland near Saint-Jean-of-Luz. His paintings are vibrant and colorful with a wonderful frankness that is true to nature. Museums: Amiens Anvers Arras Bayonne Calais Chateau-Thierry Draguignan Lille Louviers (Gallerie Roussel) Montreal Mulhouse Niort Paris Perigueux Soissons Tourcoing 1836 - 1897 Edmond Charles Joseph Yon Yon Edmond Charles Joseph 1747 Callie Bieber Younger born Callie May Robbins in Gonzales, Texas on January 27, 1903 and died in Redondo Beach, California on February 2, 1996. Ms. Younger was involved in many facets of the arts; she was a Ballet dancer and taught for years in the South Bay area. She received her formal training from Theodore Kosloff of the Imperial Russian Ballet School in Moscow. Callie studied with Kosloff for thirteen years; other pupils of Kosloff were the great Serge Diaghileff, Nijinsky and Fokine, the greatest dancers and choreographers in the last four decades. Callie Bieber Younger painting career started in 1951. She adored the paintings of Nicholi Ivanovich Fechen (1881-1955) although born in Russia is known as an American painter. She seemed to have a natural ability for painting and began studying with William Foster, Dale Sexton a known artist in Southern California, Davis Miller in Palos Verdes (member of Rolling Hills Art Group). The instructor that influenced her work the most was a Santa Barbara regionalist, Sergei Bongart; he was instrumental in developing her palette and style that would become her trademark. She competed in many competitions including a 3rd place in Southwest Art, 1970 and the Catalina Island Art Show. 1903 - 1996 Callie Bieber Younger Younger Callie Bieber 3323 Guglielmo Zocchi (1872-1920) Guglielmo Zocchi was born in Florence, Italy on January 18, 1874 and died around 1920. He received his academic training as a painter as a student of Tito Conti. Zocchi devoted himself to genre subjects with men, women and children in ancient Greek and roman costumes depicting life in richly decorated roman palaces. Following the French and British orientalist, Zocchi would also paint orientalist genre subjects to please his growing international clients. Although Zocchi well executed academic paintings were popular with his collectors, they were not well received by the critics. As an art teacher, Zocchi began receiving portrait commissions from heads of industry, politicians, well know personalities and clients, which would propelled him into becoming one of Florence’s most renowned portraitist. Listed: E. Benezit 1872 - 1920 Guglielmo Zocchi Zocchi Guglielmo 3166 Marguerite Thompson Zorach was born in Santa Rosa, CA on Sept. 25, 1887. She was raised in Fresno and showed artistic promise at age three. A brilliant student, she was one of the first women admitted to Stanford University in 1908. Shortly after her enrollment, she was lured to Paris by an aunt who was living there. She studied art for four years in Paris and, while there, met her future husband William Zorach. Returning to Fresno in 1912, she camped with her family in the Sierra Madre and did a series of paintings of that area. The following year, she returned to NYC, married Zorach, and lived in Brooklyn for her remaining years. A pioneer in modern art, she was one of the few young artists to introduce Fauvist and Cubist styles to the U.S. between 1910-20. The Zorachs made another trip to Yosemite in 1920. She died in Brooklyn on June 27, 1968. Exh: Paris Salon, 1911; Royer Gallery (LA), 1912; Armory Show, 1913; PPIE, 1915; AIC, 1920 (medal); Century of Progress (Chicago), 1933. In: MM; Fresno Federal Bldg; NMAA; MOMA; Whitney Museum; Newark Museum; Brooklyn Museum; Speed Museum (Louisville). Source: Edan Hughes, "Artists in California, 1786-1940" American Art Annual 1915-33; Who's Who in American Art 1936-66; Dictionaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs (Bénézit, E); American Women Artists (Rubenstein); Women Artists in America (Collins & Opitz); Artists of the American West (Samuels); NY Times, 6-29-1968 (obituary). 1887 - 1968 Marguerite Thompson Zorach 1 Zorach Marguerite Thompson 3167 William Zorach was born in 1887 in Lithuania. He immigrated with his family to the United States when he was just four years old, settling in Cleveland, Ohio. Zorach displayed an exceptional artistic talent at a young age and, at the recommendation of his seventh-grade teacher, began studying lithography at night at the Cleveland School of Art. It was not long before he was apprenticing at a lithography company in Cleveland. It was there that he realized he wanted to become an artist - to escape the commercial end of the field in which he was suddenly immersed. In 1907, Zorach saved enough money to move to New York and study art at the National Academy of Design, where he received several awards for his paintings and drawings. He continued his studies in Paris in 1910 at La Palette. This year abroad would turn out to be quite fruitful because in Paris he was greatly influenced by the Cubist and Fauvist movements and had several paintings exhibited at the Salon d’Automne. This influence and subsequent success fueled his career back in the states where he was honored with his first one-man exhibition. Due to this newfound stability, he married a young woman he met at school in Paris, and they moved to New York and set up a studio. Shortly after, their work was accepted into the famous 1913 Armory Show. For the next nine years, Zorach continued to think of himself as a painter, although he had already begun to experiment in sculpting. He was experiencing modest success with his painting and was therefore reluctant to abandon it completely. However, he was impelled toward sculpting, and in 1922, he painted his last oil. Zorach's involvement with sculpture began largely be accident. While he was working on a series of woodblock prints, Zorach suddenly became more interested in the butternut panel than the print and turned the panel into a carved relief. With no formal training as a sculptor, Zorach's first sculptures were of wood and his carving tools were primitive, such as a jackknife. I n fact, his early works have a certain stylized look, suggesting the influence of various primitive arts such as African and American folk. Zorach found his sculptural direction by instinct, but was not unaware of what other sculptors were doing, both here and abroad. He soon allied himself with a growing number of modern sculptors who believed in the esthetic necessity of carving their own designs directly in the block of stone or wood rather than modeling them in clay. From the beginning he found a deep satisfaction in the slow and patient process of freeing the image from its imprisoning block, watching the forms emerge and appear. "The actual resistance of tough material is a wonderful guide," Zorach said in a lecture on direct sculpture in 1930. The sculptor "cannot make changes easily, there is no putting back tomorrow what was cut away today. His senses are constantly alert. If something goes wrong there is the struggle to right the rhythm. And slowly the vision grows as the work progresses." Zorach also found that the material itself had a constantly modifying effect on the artist's vision. The grain of the wood, the markings in the stone, the shape of the log or boulder all set limits and suggested possibilities. He was always sensitive to the characteristic qualities of his material and occasionally let them play a major role in determining his forms. In works such as these, the feel of the original material is preserved in the finished piece and is often heightened by leaving parts of the original surface untouched and other areas roughly marked by the sculptor’s tools. In 1923 Zorach bought a farm in Maine, where he and his family would spend their summers. He continued to sculpt and was soon recognized as one of the country's premier artists, honored with multiple commissions throughout the country and exhibitions at the Art Institute of Chicago, the Dallas Museum of Fine Art, the McNay Art Institute, and the Whitney Museum of American Art, among others. Today his work can be found in such prestigious museums as the Metropolitan Museum of Art, the Museum of Modern Art, the Whitney Museum of American Art, the Art Institute of Chicago, the Boston Museum of Fine Art, the Los Angeles Museum of Art, the Brooklyn Museum and the Cleveland Museum of Art. In all, Zorach's sculpture is not outwardly American. It deals with the universal themes of life. He ultimately played a major role in rescuing American sculpture from the neo-classical tendencies and illustrative modeling which dominated it at the turn of the century. He helped to develop an isolated avant-garde in this country due in part to his focus not only on universal themes but on the intrinsic beauty of his material, sensuous tactile values, subtlety of modeling and a variety of imagery. Source: Owings-Dewey Gallery, Santa Fe, NM 1887 - 1966 William Zorach 1 Zorach William 3309 Anders Zorn occupies an enviable place in art history. His name is invariably included as a member of an illustrious quartet of late nineteenth-century/early twentieth century masters of the art of premier coup (direct stroke) oil technique. The names which are customarily linked are: American expatriate John Singer Sargent, Spain's masterful painter Joaquin Sorolla, Italy's most noted portrait painter Giovanni Boldini, and Scandinavia's most important impressionist Anders Zorn. These four, working contemporaneously, were the standard-bearers of the direct stroke impressionists discipline in their era. After traveling extensively in the 1880's, Zorn settled in his hometown, where he quickly earned an international reputation for his portraits that gained him acclaim based principally upon his incisive ability to depict the individual character of his model. On his journeys throughout North America, Zorn painted portraits in California, Minnesota, and Wisconsin. He spent time in Philadelphia, Princeton, New Jersey, New Orleans, San Antonio, and Miami. His successes and reputation continued to bring him important commissions including Presidential portraits of Grover Cleveland in 1899, as well as his wife, along with William H. Taft and Theodore Roosevelt. Zorn also captured elegant likenesses of Isabella Stewart Gardner, whose museum in Boston contains works by Zorn. Of all the countries Zorn traveled, including lengthy stays in England, France, Spain, and Germany, he enjoyed the greatest patronage for his portraits and the largest market for his etchings in the United States. Although primarily a portrait painter, Zorn's other compositions are fresh, direct, animated and frequently unconventional in his depiction of rustic life, traditional customs, nudes and realistic depictions of water. Zorn's health deteriorated markedly during his last years. He died on August 22, 1920. The funeral was conducted by Archbishop Nathan Söderblom and attended among others by representatives of the Swedish royal family and many cultural personalities. He is buried in Mora Cemetery. Emma Zorn survived her husband by 21 years. She died on January 4, 1942. To honor the memory of her husband, she had worked to create a museum, which opened in 1939. She completed the existing collection by re-purchasing a number of paintings that he had sold and at the same time she continued the philanthropic work that the Zorns had initiated together (from Zorn Collections - Mora). Some of Anders Zorn's most important works can be seen at the National Museum of Fine Arts in Stockholm, Musée d'Orsay in Paris, the Metropolitan Museum of Art in New York, and the Museum of Fine Arts, Boston. The Zorn Collections in Mora and Garberg, Älvdalen, consist of four museums dedicated to the life and works of Anders Zorn. The main museum - Zornmuseet - was designed by Ragnar Östberg and opened in 1939. Shown there are extensive works of Zorn and his collected art by Rembrandt van Rijn, 'The Hovingham Master' (Poussin's follower), Bruno Liljefors, Albert Edelfelt, and Pehr Hilleström. Zorn, Anders Leonard:. Swedish painter, printmaker, and sculptor, 1860-1920 1860 - 1920 Anders Leonard Zorn Zorn Anders Leonard 1736 One of the still-life specialist of the Fall River School (Connecticut), Abbie L. Zuill was the most faithful to her teacher Robert Spear Dunning. After Dunning's death, she was called in to complete many of his works that were not finished. Being a later pupil in the school , her work naturally reflects lighter forms and a soft, luminous light. The fruit in her pictures tend not to be as sharply defined, and the actual painting is somewhat course, but her work is, very close to that of Dunning's. Listed: Artt Across America, Two Centuries of Regional Painting, Vol. I, William Gertz American Still-Life Painting, William Gertz, Russel Burke 1856 - 1921 Abbie Luella Zuill Zuill Abbie Luella