John French Sloan
John Sloan was born in Lock Haven, Pennsylvania, on 1871. As an American painter and etcher, and is considered to be one of the founders of the Ashcan school of American art. He is best known for his urban genre scenes and his ability to capture the essence of neighborhood life in New York City, often observed through his Chelsea studio window. His father was James Dixon Sloan, a man with artistic leanings and Henrietta Ireland Sloan, a schoolteacher from an affluent family. Sloan grew up in Philadelphia, Pennsylvania, where he lived and worked until 1904, when he moved to New York City. That is were he and his two sisters, Elizabeth and Marianna, were encouraged to draw and paint from an early age. In the fall of 1884 he enrolled at the prestigious Central High School in Philadelphia, where his classmates included William Glackens and Albert C. Barnes.
Sloan, at the age of sixteen, became responsible for the support of his parents and sisters, as in the spring of 1888, his father experienced a mental breakdown that left him unable to work. He dropped out of school in order to work full-time as an assistant cashier at Porter and Coates, a bookstore and seller of fine prints. Since his duties were not as demanding, it allowed him many hours to read the books and examine the works in the store's print department. It was there that Sloan created his earliest surviving works, among which are pen-and-ink copies after Dürer and Rembrandt. He also began making etchings, which were sold in the store for a modest sum. In 1890, the offer of a higher salary persuaded Sloan to leave his position to work for A. Edward Newton, a former clerk for Porter and Coates who had opened his own stationery store. At Newton's, Sloan designed greeting cards and calendars and continued to work on his etchings. In that same year he also attended a night drawing class at the Spring Garden Institute, which provided him his first formal art training.
He soon left Newton's business in search o having a greater freedom as a freelance commercial artist, but as this endeavor produced him little income, in 1892, he began working as an illustrator in the art department of The Philadelphia Inquirer. Later that same year, Sloan began taking evening classes at the Pennsylvania Academy of the Fine Arts under the guidance of the realist Thomas Anshutz. Where among his fellow students was his old schoolmate William Glackens. Also that same year, Sloan met Robert Henri, a talented painter and charismatic advocate of artistic independence who became his mentor and closest friend. Henri encouraged Sloan in his graphic work and eventually convinced him to turn to painting. They shared a common artistic outlook and in the coming years promoted a new form of realism, known as the "Ashcan school" of American art.
In 1893, Sloan and Henri founded the Charcoal Club together, whose members would also include Glackens, George Luks, and Everett Shinn. Towards the end of 1895, Sloan decided to leave The Philadelphia Inquirer to work in the art department of The Philadelphia Press. As his schedule was less rigid, it allowed him to have more time to paint and Henri often sent Sloan reproductions of European artists, such as Manet, Hals, Goya and Velázquez to offer encouragement. In 1898, Sloan was introduced to Anna Maria (Dolly) Wall, and the two fell immediately in love. They entered into a relationship, and married on August 5, 1901.
By 1903, Sloan had produced almost sixty oil paintings but had yet to establish a name for himself in the art world. In April 1904, he and Dolly moved to New York City and found quarters in Greenwich Village where he painted some of his best-known works, including McSorley's Bar, Sixth Avenue Elevated at Third Street, and Wake of the Ferry. He became increasingly prolific, but he sold little, and he continued to rely on his earnings as a freelancer for The Philadelphia Press, for which he continued to draw weekly puzzles until 1910. By 1905, he was supplementing this income by drawing illustrations for books and for journals such as Collier's Weekly, Good Housekeeping, Harper's Weekly, The Saturday Evening Post, and Scribner's.
Sloan participated in the landmark 1908 exhibition at the Macbeth Galleries of a group that included four other artists from the Philadelphia Charcoal Club (Henri, Glackens, Luks and Shinn) as well as three artists who worked in a less realistic, more impressionistic style, Maurice Prendergast, Ernest Lawson, and Arthur B. Davies. The group was afterward collectively known as "The Eight." The Macbeth Galleries exhibition was intended as a rebuke to the restrictive exhibition practices of the powerful, conservative National Academy of Design. Sloan organized a touring exhibition of the paintings from that show that traveled to several cities from Newark to Chicago and elicited considerable discussion in the press about less academic approaches to art and new definitions of acceptable subject matter.
Also in 1913, Sloan participated in the legendary Armory Show. He served as a member of the organizing committee and also exhibited two paintings and five etchings. For Sloan, exposure to the European modernist works on view in the Armory Show initiated a gradual move away from the realist urban themes he had been painting for the previous ten years. In 1914–15, during summers spent in Gloucester, Massachusetts, he painted landscapes en plein air in a new, more fluid and colorful style influenced by Van Gogh and the Fauves.
Beginning in 1914, Sloan taught at the Art Students League for eighteen years. Sloan also taught briefly at the George Luks Art School. And for thirty years starting in the summer of 1918, he spent four months each summer in Santa Fe, New Mexico, where he was inspired with the desert, but still, the majority of his works were completed in New York. In 1943, Dolly Sloan died of coronary heart disease. The next year, Sloan married Helen Farr, a former student with whom he had been romantically involved for a time in the 1930’s. John Sloan died on September 7, 1951 in Hanover, New Hampshire. The following January the Whitney Museum of American Art presented a well-received retrospective of his career. Helen Farr Sloan, who became a noted philanthropist in her later years, oversaw the distribution of his unsold works to major museums throughout the country.
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Édouard Leon Cortès
Édouard Leon Cortès was born in Lagney, France in 1882. At the age of 17, Edouard began his studies at the École des Beaux-Arts in Paris. His first exhibition in 1901 brought him immediate recognition. The way he was able capture the magic in his paintings of Paris is what brought him much acclaim. His French landscapes have a universal fascination which his audience can relate to. His paintings dance with beauty, as the speckling of light across each work creates intriguing subjects alluring to a nostalgia. Each of his city scenes glows with arresting beauty. The flower markets, the quaint boutiques, the sidewalk cafes and beautiful landscapes all enter into his brilliant, jewel-like compositions which are known and revered all over the world.
His works were first exhibited in North America in 1945 and he subsequently achieved even greater success. In his last year of life he was awarded the prestigious Prix Antoine-Quinson from the Salon de Vincennes. A member of the Society of French Artists, Edouard Cortes was a painter who made an indelible imprint on the minds and affections of art lovers not only in Europe but also throughout the United States.
In the period we know as La Belle Époque from about 1880 to 1914, there were many revolutionary ideas in politics, technology, science, poetry, music, literature and the fine arts emerged in Paris during this vibrant time. Paris was the cosmopolitan, fashionable stage on which the drama of the Belle Epoque was enacted. The city itself was in a state of dramatic change with the rebuilding undertaken by Napoleon III and Baron Haussmann starting in the 1850's. Yielded wide tree-lined avenues, extensive parks, and elegant golden-gray stone buildings. Parisians thronged the new boulevards, parks, and theaters to see and to be seen. Cortès paintings express the romance, energy, and charm of old Paris through his masterly application of bold brush strokes and intriguing colors. Displaying the profound knowledge he held of perspective and composition, as the viewer's eye is most often caught by the fascinating details of his pieces, like the play of lights on wet pavement, shadows on streets and glowing windows and street lamps. For instance in this particular painting, one can find an array of tones ranging from soft gray hues and ambers to vivid reds, yellows, and oranges. A splash of red, pink and green of the flower vendor cart, may be a woman's maroon tailored dress or a stroke of light blue, in girls cloak. The viewer cannot help but marvel at the overall effect of the artist's wonderful composition of this piece.
Georges Stein was a late 19th and early 20th Century French Impressionist painter. According to the Benezit Dictionary of Artists, Stein was born in Paris Circa 1870. He was best known for depicting urban landscapes with figures like gentlemen, ladies, children, nannies, horses, and carriages, amongst other lively characters. Capturing the poetic city scene of cities like London, Monte Carlo, and especially Parisian street life scenes. As well producing numerous works of flower market at La Madeleine and of the Île de la Cité along the Seine, merging these Parisians scenes with well-known buildings, like the city theatre, arrondissements, and iconic places. Stein manages to capture the Parisian street scenes permeated with nostalgia for La Belle Époque, providing to the viewer a visual history of France as if recreating a window into this earlier period of Parisian life. He presents to the viewer a series of intimate glimpses of Paris in each of his masterful works.
Working with oil or watercolor, Stein's pieces are filled with movement and color, always achieving to represent a personal connection to this provocative era, taking the viewer to this time and place effortlessly. Each piece conveys a moment which is fleeting. We can feel the hustle and bustle of the streets, almost as if the viewer can sense the smells and hear the sounds of the people going about their day in the atmospheric wet streets in the heart of Paris.
Stein achieves mastery with much attention to detail and composition. He truly was a force in French Impressionism, creating atmospheres we can admire while capturing the essence of French life during the turn of the Century. One can describe his works as an intimate dazzling venture, as each work excites and illuminates daringly. Pieces burst with color from the flower vendors, or light flickers from the slick city streets, we can always find amusement of character and life in one of Stein's work.
This painting is an oil on panel titled "Rue Auber" depicting a wonderful Parisian street scene from the corner of Rue Scribe, finding on the left hand side the Musée du Parfum Fragonard Paris as an elegant townhouse furnished in period Napoleon III style. And on the right side the magnificent building all along the Rue Auber street. This piece is signed lower right "Georges Stein Paris" and with the artist stamp and tag on verso. Comes displayed in a wonderful gilt wood frame with an information tag from David Dike Fine Art on the back. The artwork shows some light compression of paint at frame edges, otherwise, this painting is in excellent condition
Alfred S. Mira
Alfred S. Mira was born in 1900 in Italy to a carpenter father, he left school and began working for an interior decorator, dreaming of going to art school. He did make a career out of painting though; he listed his address as East 8th Street and his occupation as painter in the 1940 census. And he sold his work at the Washington Square outdoor art exhibit, a heralded event decades ago. Though he painted scenes from all over the city, Mira focused his work on the sites and monuments of Greenwich Village, Washington Square Park, MacDougal Street and Seventh Avenue South. His inspiration seems to come from the urban realists who made a name for themselves in the early 1900s, such as George Bellows and George Luks. He died in 1981 and his work still inspires new generations of artists.
This is a sensational depiction of Washington Square Park on a rainy day from the turn of the century by Mira. The way the artist composes this scene pulls in the viewer with his use of light and shadow. The road is slick with rain as reflections of the buildings are picked up effortlessly on the ground. Figures are coming and going as we can feel as though we are taken back in time with this timeless piece. A wonderful display of Mira's characteristic style as honest, sometimes gritty, sometimes dreamy, and deeply atmospheric pieces. As a true street artist who captured the moods of the city, Mira has embraced the times of the early 20th century leaving us with mesmerizing landscapes of New York City. Signed lower right and displayed in a wonderful gold tone gilt frame.
Jules René Hervé
Jules René Hervé (French, 1887–1981) was an Academic painter, born in Langres. Known for his paintings of cityscapes and landscapes, Hervé painted in an impressionistic style that captured the shimmering texture of the city and the softer light of the countryside. Hervé arrived in Paris in 1908 and continued his studies at the School of Decorative Arts having his first-time exhibition at the Salon des Artistes français in 1910. Hervé was also trained at the Ecole Nationale Supérieure d’Arts Decoratifs of Paris and studied with Fernand Cormon (French 1845–1924) and Jules Adler (French, 1865-1952). From 1911 to 1943, he teaches painting with many generations of artists. Hervé was awarded multiple honors during his lifetime, he received a silver medal in 1914 from the association of the French artists, including a gold medal by the association of the French artists in 1925 and a gold medal for the World Fair of 1937.
His paintings are in collections in Pads, Langares, Saint-Etienne, Annecy and Tourcoing France; and also in institutions like the Chicago Art Institute, Musée d'art et d'histoire de Langres, Musée du Petit Palais in Paris, Casablanca Marocco, Dijon, Tourcoing, Musée des beaux-arts de Tourcoing, Musée des beaux-arts de Saint-Étienne, Musée des beaux-arts d'Annecy and the Dahesh Museum in New York City.
An exceptional impressionistic depiction of the Path by Notre Dame in Paris by Jules René Hervé on a fall day with the busy activities of school children walking and of figures seated on a bench. Hervé is known as a painter of the scenes of the Parisian life. The Paris captured on Hervé's canvas is the city of poetry, the “City of Lights”. By looking at each brushstroke, is like seeing through Herve's eyes this city of poetry in a mesmerizing impressionist manner. Signed lower left and on verso, comes displayed in an elegant wood carved frame.
Guillaume Seignac was born in Rennes, France in 1870. He became a dedicated follower to traditional academics. From 1889 until 1894 he studied at the Academy Julian in Paris, where he received vigorous training . His teachers included Tony Robert-Fleury, a noted history and genre artist, Gabriel Ferrier, who had been awarded the Prix de Rome in 1872 and William Adolph Bouguereau, one of Frances most academic painters of the time and winner of the Prix de Rome and one of the most successful French painters of all time. Each teacher a highly renowned painted from the 19th Century. Seignac began exhibiting at the Salon in 1897 and did so almost yearly until his death in 1924. He was elected a member of the Society of French artists in 1901 and that same year was also appointed an Officer of the French Academy. Seignac also received an Honorable Mention at the Salon of 1900 and a Third Class medal in 1903. In 1906 Seignac was appointed to the post of Officer of Public Instruction in Art. Specializing in portraying romantic figures of beautiful women, both in the nude and clothed, he was addressed with much success, mostly in the United States, where his work could be found in many collections.
The look of the "Official" art of the Salon continued in the work of Guillaume Seignac, or, as Charles Saunier wrote of his art in the Salon of 1908: "Bouguereau is dead, long live Bouguereau! Or, rather, long live Monsieur Seignac! For in the works of the disciple live once more the subjects dear to the dead artist, with his mellowness and perfection of execution."
Martha Walter was born in March 19, 1875 in Philadelphia, Pennsylvania. Walter is a well-known American Impressionist painter as she benefitted from an excellent arts education. She attended Girls High School from 1895 to 1898, Walter studied at the Pennsylvania Museum & School of Industrial Art, now The University of the Arts College of Art and Design. Then she enrolled with William Merritt Chase at his summer school in Shinnecock, Long Island, followed by enrolling the Pennsylvania Academy of Fine Arts studying under Chase’s wing. Showing on Walter's early work a very strong influence of Chase, translated in a use of rich saturated colors, combined with a very successful application of black paint. Since black was a pigment extraordinarily difficult to master and often omitted in the general course of American Impressionism. She was also was one of the few American Impressionists who used black in her palette.
The Pennsylvania Academy of Fine Arts is where she was awarded the school's Toppan Prize and in 1903 she won a two-year traveling Cresson Scholarship that gave her the opportunity to go to France, where she attended the Académie de la Grande Chaumière under the tuition from Rene Menard and Lucien Simon and the Académie Julian in Paris, she also visited, Spain, Italy and Holland. In 1909 Walter also won the school’s Mary Smith Prize from the Academy for the best painting by a resident female artist of portrait she had painted in Europe. And in 1922 she was given a solo show at the Galerie Georges Petit. Seeking to explore outside of the academic structure, she established a private studio in the Rue de Bagneaux along with several other American women artists. But at the outbreak of World War I, she returned to the United States and set up a studio in Gloucester, Massachusetts. She began painting charming beach scenes in New York and Massachusetts; the fishing village of Gloucester, and Coney Island, Atlantic City and from along the French Coast provided an ideal subject for her with its bright colors and scenes of cheerful children, which have brought her national acclaim.
Walter is also known for her depictions at Ellis Island of the immigrants as they arrived in their ethnic costumes from other countries, poor children in rural Tennessee, and later, orientalist compositions of market scenes from her travels in North African cities. Though influenced by the artists of both the European and American art worlds, it could be said that she developed a unique painting style. Her training with Chase is evident in the saturated colors and plein-air subject matter in her early Impressionist work with bold dashing brush strokes in conjunction with total color control and well organized composition. Her painting captured the animation of the city and the light and color of seashore scenes.
Walter lived a charmed life keeping addresses in New York City, suburban Philadelphia and Gloucester while continued to visit Paris frequently traveling abroad, capturing in oil and watercolor a wealth of landscapes and cultures across the globe. Her outdoor scenes, both of city and country life, were vividly colored and somewhat abstracted. The palette changed according to the setting, but Walter’s strong, well-chosen colors were continually alluring. Her loose rendering of form gives the work an abstract quality, and the quick brushstrokes reinforce the sense of fun and vitality. Eventually she took up a teaching position at the New York School of Art, run by her old teacher William Merritt Chase. And after 1945, Martha spent most of her time in Huntingdon Valley and Glenside, Pennsylvania, where she enjoyed painting flowers from her garden.
Walter’s works can be found in the collections of the Pennsylvania Academy of the Fine Arts, The Detroit Institute of Arts, the Art Institute of Chicago, the Philadelphia Museum of Art, the Woodmere Art Museum, the Cheekwood Museum in Tennessee, the Toledo Museum of Art, the Milwaukee Art Museum, in France the Terra Museum at Giverny and the Musee d' Orsay in Paris, and the Musee Du Luxembourg, among others. She never married, and in her later years she preferred not to be disturbed by galleries and museums. And although well advanced in years, Martha Walter lived to the age of one hundred and one and continued to paint until a few years before she died on January, 1976 in Gloucester, Massachusetts.
Elaine de Kooning
Elaine de Kooning was an accomplished landscape and portrait artist active in the Abstract Expressionism movement of the early 20th century. She was a member of the Eighth Street Club (the Club) in New York City. The Club’s members were part of the abstract expressionist movement, and the Club functioned as a space to discuss ideas. A membership position for a woman was rare at this time. Women were often marginalized in the Abstract Expressionist movement, functioning as objects and accessories to confirm the masculinity of their male counterparts. On December 9, 1943, she married Dutch action painter Willem de Kooning, whose career eventually eclipsed hers.
Elaine de Kooning was a part of the abstract expressionist movement. She chose to sign her artworks with her initials rather than her full name, to avoid her paintings being labeled as feminine in a traditionally masculine movement. She made both abstract and figurative paintings and drawings. Her earlier work comprised watercolors and still lifes, including 50 watercolor sketches inspired by a statue in the Luxembourg Gardens in Paris. Later in her career, her work fused abstraction with mythology, primitive imagery, and realism. Her gestural style of portraiture is often noted, although her work was mostly figurative and representational, and rarely purely abstract. She produced a diverse body of work over the course of her lifetime, including sculpture, etchings, and work inspired by cave drawings, all in addition to her many paintings. Late in life, she produced a series of paintings inspired by the paleolithic cave paintings of Lascaux in France and Altamira in Spain; these were shown at the Fischbach Gallery in November 1988. She died three months later from complications of lung cancer.
Kristina Nemethy is one of the twin sisters of Albert Nemethy and sibling of five. She was born in 1950, Germany and arrived to New York City at age one. In her later years, her father found that the town of Newburgh was where this family of artists can flourish. She was raised with strong influences and was inspired by the surrounding artistic values that reached all of the siblings; who all eventually became artists. Julien, Georgina, Albert, George and Veronica; whose paintings you may spot at auction halls upstate New York.
Augustina Kristina Nemethy started to go her own way, trying different subjects of her skills. She paints still lifes, river boats, portraits, seascapes, landscapes, and emotionally strong depictions of subjects she feels connected to; creating intricately detailed modern subjects with rich colors and fine details. She often varies her media from oil to water colour and other techniques.
There is a spiritual connection that binds the Nemethy's, with the tradition of love towards fine art and the heritage of the Hudson Valley. Being inspired by a father of such talent; studying and experience directed her and made it so much easier to be self-taught. Kristina's work is vast, as she is inspired by many traditional values of painting. Always incorporating her fine art skills, her work is intricate with the finest details. Her work is expressive and bold; making it easier for her work to be distinguished from her other siblings.
Kristina is a traditional painter, and will always have that in her expressive nature, but there are moments where she chooses to paint off the path of her family. She opens a new tradition in her art style when experimenting in other subjects. A style that expresses a rich color pallet with subjects that are extravagant, and bold. As her work is always consistently detailed and this consistency will always follow her no matter what style she is experimenting with; creating paintings that are modern, elegant, sophisticated, and most of all expresses her love for fine art.
Jacques Zucker was born in 1900 in Radom, Poland. He was a notably famous Jewish American artist mostly known for his expressionist figure paintings. In his young years he traveled to Palestine to study fine arts at the Bezalel Art School in Jerusalem. In 1917 he joined the British Royal Fuesiliers under the leadership of General Allenby to liberate Palestine from the Turks. After the first World War he settled in Paris, where he continued his studies at Académie Julian and Academie Colarossi. He then emigrated to the United States in 1922 and continued his art studies at the National Academy of Design. He supported himself by designing jewelry.
In 1925 he returned to Paris and studied at the Academie de la Grande Chaumier et Colarossi. During the Depression he worked for the WPA. From 1928 he took part in the Paris Salons: Autumn and the Tuileries. His works are expressionistic variations in the type of the Ecole de Paris. As a protégé of both Chaim Soutine and Renoir, hints of their style can be observed in much of his own work. Zucker’s style, that may have been influenced from the art of artists such as Marc Chagall, took pride in being an “internationalist”, standing the art of painting in its highest expression is universal no matter where the canvas was created.
People who respond to quality in art will understand the beauty and meaning, in their own land or in a foreign land, this was his main idea behind his artworks that was exhibited in numerous solo show in leading galleries and museums in New York, Paris, Tel Aviv, and other art centers. Claude Roger-Marx of Figaro Litteraire, dean of French art critics, write a comprehensive study of Zucker’s illustrated with 135 color and black and white plates. He traveled widely, including Italy, Spain, Portugal, Mexico and Israel. From then on Zucker lived alternately in New York and Paris, maintaining homes in both places, and spent considerable time painting in Mexico, Portugal, Greece, and Israel.
Zucker's post-impressionist works including town and landscapes, still-lives, and portraits, are part of an array of permanent installments in numerous museums and private collections in Tel Aviv, including the Joseph Hirschorn collection in Washington, D. C., the Museum of Modern Art in Paris, and the Bezalel Art Museum in Jerusalem. In 1947 he settled in Arcueil near Paris. Zucker died in 1981 in New York.
Albert Nemethy (Albert Szatmar Nemethy) was born on March 31, 1920 in Budapest, Hungary. As a young Jewish boy he realized a gift for art that animated his thoughts and artworks throughout his life. Largely self-taught, he sought inspiration in the old masters, yet always strove to express his own ideas. Even thought he was blind in his left eye since an early age, Nemethy was educated at the Academy of Art in Budapest. He and his wife Georgina and family, moved to Salzburg, Austria in 1948, and then to Munich, Germany, where they stayed for two and half years. There he was chosen the “First Artist” out of a group of 600 artists in 1950 and was given an opportunity to exhibit at the National Gallery at Munich, Germany.
In 1951 the Nemethy family of 6 children came to the United States, settling first in Montclair New Jersey. Nemethy was especially interested in the Hudson River Valley School, and he came to public attention primarily through his exquisitely detailed paintings of Hudson River steamboats depicting life during that time and modes of transportation for commerce and pleasure in the manner of James Bard. Out of homage to the Hudson River School artists, he also painted landscapes, then portraits, and genre scenes. Painting almost every day and far into the night, he produced thousands of paintings.
His work of art is unrivaled and unparalleled in subject, color, design and illustrative power. His art is traditional in technique and highly philosophical in aim. Much of his inspiration comes from the Old Testament once declaring "We are able to see the past much better than the present”. Nemethy had other talents besides painting. While in Germany he passed a test on organ building and for many years worked on designs for organs to be built along methods entirely unique in the musical world. He also had a working knowledge of woodworking and masonry.
Albert Nemethy specialized in painting murals for factories, churches, plant lobbies and various companies. Several were painted in New York City, including Worthington Corporation on Park Avenue, New York. These murals, although highly sophisticated, harmonize with their surroundings. In these delightful renderings, he usually depicted science, music, life, time, water, love and transformation of form in modern art. Besides murals, Nemethy also specializes in portraits and landscapes, with a distinct style all of his own and he refers to this style as “psychic realism”. While his works does not have any artistic kinship with one of the most celebrated painters, Salvador Dali, many of his admirers recall Dali’s art. However, he has nothing in common with Dali’s "bizarre weirdness". He is a painter of Life, Nature, Humanity, Love, Flowers, and Music.
In the more recent years his painting subjects widened considerably to include grand landscapes of the American west in the manner of Bierstadt and what he cared about most, his paintings of “moralism”. Where his fertile mind gave expression to a complex philosophy of the role of human life in the universe, a legacy he wished to present to the public and to be remembered by.
As an international artist he received membership in the Munich Academy of Art in Munich in 1950. Also his paintings were exhibited at the U.S. Military Academy at West Point and at the Temple Hill Museum and Lodge in Vails Gate, New York. A piece painting depicting the Washington statue situated in Budapest's City Gardens decorates now the White House in Washington. With important international donations like the paintings “Chaikovsk’s Symphony” and portrait to “President Mihail Gorbachev” to the people of Russia. Nemethy painted and presented to President Richard Nixon several works, one of which was to commemorate the bi-centennial of the United States of America.
Given the vast quantity of works he produced, now residing in collections around the nation and abroad, many of them unsigned, his legacy will all be uncovered for years to come. Near to his last days, his enthusiasm for painting did not diminish, he died on September 3, 1998 and he was buried in his native Budapest, leaving us an extraordinary legacy of art.
Max Ginsburg was born in Paris, France in 1931. He studied at the High School of Music and Art, New York, NY From 1945 to 1949, Syracuse University, Syracuse, NY, to obtain his bachelor degree from 1949 to 1953, the City College of New York, New York, NY for his master's degree from 1960-1963, and studied informally with Abraham Ginsburg over many years. He lived and worked in New York all his life and as a New Yorker, he felt a personal and deep connection to the rich, energetic and beautiful scenery of this unique city, with its amazingly diverse population. His main objective is to represent the wide mosaic of people from New York, realistically and with compassion in his paintings. Expressing in each and every piece a strong connection to his feelings about the portrayed subjects. Ginsburg was a teacher at the High School of Art and Design, New York, NY from 1960 to1982, at the School of Visual Arts of New York from 1984 to 2000 and also at the Art Students League of New York from the period of 1997 to 2000 and 2008 to 2011. He has had a multitude of solo exhibitions and also he was invited to a number of group exhibitions in the United States. He was also awarded the “Best in Show” Award at the Art Renewal Center Salon in 2011, the Joseph Hartley Memorial Award, the Salmagundi Club non-members Juried Exhibition in 2010, the Philip Desind Award, 72nd National Midyear Exhibition, and The Butler Institute of American Art in 2008 among many others..
In this piece we find a prominent depiction of a typical New York City street scene that the artist so passionately executes. Ginsburg strives to create pieces uniting his love for Manhattan, with his excellent realistic approach to the canvas. Hints of Hopper are felt within this piece, with his use of line, shadow, and composition. This painting was created on site on West 50th Street of what looks like a worker from the Butcher shop taking a quick break from his day. Comes ready to hang with wire on verso and displayed in this lovely wood frame with gold inlay.
Lucien Adrion was born May 25, 1889 in Strasbourg, France. He was was a French Post-Impressionist painter, draftsman, and printmaker known for his depictions of the French countryside and beaches, as well as Parisian life including landscape, still life, figure and landmarks paintings. He began his initial studies in Strasbourg as a technical draughtsman. In 1907, at the age of 18, he left his hometown Strasbourg and traveled to Paris, where he found employment in a large drafting company to work as a fashion illustrator. Adrion changed his mind upon arrival and rather than working for a large company, he decided to peruse his artistic career by traveling to London, Munich and Frankfurt. As the World War broke out he had to go to Berlin, where he studied as an engraver with Hermann Struck, who was also the teacher of Marc Chagall. He remained in Berlin until the war ended and after the demobilization, Lucien would study engraving under Franz Ritter von Struck, who was Marc Chagall's teacher as well. Adrion returned to his home town in France in 1919, and then eventually moved to Paris, where he took a studio in Montparnasse of Paris and allied himself primarily with the young Eastern European painters such as Chaim Soutine, Pinchus Krémègne and Michel Kikoine to operate. In 1921 Adrion had his first solo exhibition at Galerie Chéron and then in 1926 at the age of 37, he had his first major exhibition in the Salon des Indépendants, where later on, he exhibited regularly. In 1940 he exhibited in the Salon d'Automme and the following year 1941 in the Salon des Tuileries where he exhibited several landscapes. As an engraver, watercolorist and painter from the French school, he took a variety of external scenes as subjects for his work, showing a particular fondness for the picturesque aspects of the Parisian landscape, beach scenes and horse races. Throughout his career, Adrion continued to exhibit his work at Salons in Paris, where his paintings were praised for their ability to capture the movement and transience of urban life. He eventually left Paris to settle in Normandy, where he began focusing on beach landscapes subject, with a great success because they became very popular as decorative paintings. He died on August 1953 in Cologne, France.
Marguerite Rousseau was born in 1888 in Belgium. Several works by this Belgian painter have been sold at auction, including: ‘The Tennis Match’ oil on Panel sold at Freeman's “Fine American & Continental Paintings” department in 2002, ‘A Regatta’ oil on Canvasboard of 1913 sold at Christie's New York in 1992, ‘An Elegant Lady Entering A Coach’ oil on board of 1919 sold at Christie's New York in 1989, ‘At the Races’ oil on canvas of 1914 sold at Christie's New York in 1990, ‘A Game of Tennis’ oil on canvas of 1916 sold by Phillips London in 1995, ‘Beach Scene’ oil on canvas of 1919 sold at Leslie Hindman Auctioneers in 1992, ‘The Bathers’ oil on board of 1919 sold at Christie's New York in 1989, ‘The Flower Market’ oil on board of 1920 sold at Christie's New York in 1990, ‘A Sunday Outing at the Sea Shore’ oil on Board sold at Doyle New York in 1991, ’Rollerskating’ oil on Panel sold at Christie's New York in 2004 and ‘Afternoon at the Beach’ oil on Canvas sold at Sotheby's in 1992. Rousseau died in 1948.
Rousseau was a noted impressionist from Belgium. She adapted a very French painterly style which is exhibited in her works. In this piece she is depicting a scene at the beach in a very unique and abstracted way. It almost has a surrealist, yet fun attraction which pulls in the viewer to participate in the abstractions. We can find that pieces of the painting may be "missing" and this is why we can feel the urge to "participate" to fill in the missing areas. The color pallet the artist uses is very captivating, as the deep reds of the umbrella stands out as one of the main highlights. The blue hues from the sky sweep down in to the ocean, as the colors of the people pop and tie in to the work effortlessly. This is a truly unique painting, one that can be considered very eye catching and different from the rest of Rousseau's works.
Niek van der Plas
Niek van der Plas was born in Katwijk aan Zee, Netherlands in 1954. He was the oldest son in a family of four children. Growing up surrounded by historic areas from his hometown, he was inspired by many places which seemed to stay with him into his early adulthood. The old, white church, Holland’s beaches and dunes, bulb fields, city scenes in Amsterdam and Maastricht, and other typically Dutch vistas such as harbors of old Dutch towns. We can admire these characteristics in much of his works throughout his career. Niek began painting from a very young age with signs, promoted and encouraged by his father. In 1966 he was proposed as a student to the Famous Artist school in the United States where he was awarded for his talents. Between 1973 and 1978 he studied at the School of Art in Frankfurt, and he has taken part in collective exhibitions, mainly in Germany and Belgium.
The drawings he showed at Appel & Fertsch in 1985 were rapidly executed sketches, with a very spare but supple line, sometimes indefinite, but in general representing a manifestation of movement. A man apparently hanging, a blurred structure, a strange small boat - signs of vague recognition that are ultimately less important than the way they take shape and the creative impulse they convey. What started in the early seventies with a romantic style of painting, developed through the naturalism to a more impressionistic way of working; a style of painting that came to the surface clearly in the early 1980’s.
Van Der Plas has become an artist of international renown and uses a wide variety of subjects as his palette. His paintings are still influenced by his love of water and the richness of the Dutch landscapes which one sees over and over in his work. His use of warm soft colors makes his paintings easy on the eye and delightful to behold. He is a colorist, exhibiting lush rich textures inspired by many post-impressionistic painters from France. Preferably he works with warm colors as he uses dashes of bold brushwork, which enhance the emotion of his composition. He strives to create pieces which have a French environment. As well, surrounding himself around the French Riviera, Cafes in the bustling city and of course the majestic scenes in the Parc de Belleville.
Niek continues to enchant the viewer by subtle brushwork and a balanced palette in keeping with the best of impressionist tradition. His works have been exhibited in major museums around the world, and his works of art are to be found in some of the most prestigious public and private collections worldwide. His works hang in two museums in the Netherlands and several books about him are available. He is one of the few contemporary artists listed in Benezit Dictionary of Artist. Paintings by Niek van der Plas have achieved strong auction records at International Fine Art auctions, and his paintings are continually increasing in value each year. Recently one of his paintings “Canal Grande Venice” was placed next to the paintings of Vincent Van Gogh and Maximilien Luce in a Dutch theater production called ‘Aspects of Love’.
Edouard Febvre was born in 1885 in France. Febvre is a visual artist known for his city and streets scenes, pieces of the of suburbs under the snow, fairgrounds and Gypsies. As a painter, active in the 20th Century his work sometimes brings back an imaging of a picturesque, desperate and pessimistic scenario, but sometimes we can find some other works by him that glimmers more cheerful when he painted over the butte. Several of the works by the artist have been sold at auction, including: ’Carnival à Paris’ sold at Christie's New York, ‘The House Sale’ in 2007 and more recently ’Rue anime avec chopes et fiacres’ sold at Eric Pillon Encheres, Versailles in 2014, ‘L’accordoniste’ and ‘Paris, Montmartre’ sold at Eric Pillon Encheres, Versailles in 2014.
Febvre remains a painter to be rediscovered, and which deserves a better understanding of his prolific lifetime as being a true impressionistic painter of the early 20th Century. His works have been exhibited in the Salon d'Automne of 1941, in Galerie Roussard and in Workshop at 8 both in Paris. Febvre died in 1967.
Andre Gisson was born with the name of Anders Gittelson in 1921 in Brooklyn, New York. As a leading American Realist painter, he is often known for landscape, still life, portrait and figure paintings that reflect an adopted experience by his extensive travels and studies in Europe and the Far East, and his desire to appear in a cosmopolitan background. As a struggling young Impressionist painter originally from New York City, and to highlight his reputation in order to enhance his chances for success, he claimed to be French and adopted his artistic name asserting to have been born in 1910 to find himself more closely aligned with the founders of the Impressionist movement.
He lived in Westport, Connecticut for most of his life, but also in New York and in France. He graduated from the Pratt Institute, and after graduation, he joined the United States Armed Services to become Captain in the Army during World War II. Gisson continued his studies in Europe, where he came under the influence of the great French impressionists. Upon his return to New York he resumed his career in art as an impressionist painter, having developed and refined the style and technique of impressionism. As multitalented artist, he is equally adept at painting landscapes, coastal scenes, still lifes, and portraits with small broken brushwork including soft and vibrant colors. Gisson's landscapes and beach scenes depict the French countryside, where he paints every summer, and the region around Lake Mahopac in upstate New York, where he lived for many years.
His portraits were intended to create a reflective mood of serenity. His still life compositions show a Japanese influence in his work, while the French influence is more pronounced in his studies of the human figure. Several of Gisson’s paintings have been published and distributed internationally. His works have been exhibited in leading art galleries throughout the country for over four decades, as a solo show extended from New York, Washington, Philadelphia, Texas and California, also overseas locations in London, Paris and Tokyo. His work are part of the collections of the Smithsonian Institution and the Triton Museum of Art, in North Carolina. Among his private collectors were President Lyndon B. Johnson and W. Somerset Maugham. Gisson died in 2003 in Atlanta, Georgia.
Paul Renard (French, 1941-1997). The art of Paul Renard can be best described as a true love story. He remained faithful his entire life to painting the soft scenes that he saw around him as a boy of the bustling sidewalks of Paris. He applied his sensitive and consuming fascination, with seeking to capture the beauty of French city life and country rivers on canvas as he saw them right up until his recent death. Renard wanted other to sense, see and feel what he spent his life adoring. Also, as in the greatest of love stories, Renard patiently studied and savored every nuance of his chosen affection.
From the magnificence of lush river scenes of his birthplace in La Grenouillere, to the life swollen Parisian streets, his magic brush strokes entice the viewer to experience the impressions of the life he knew creating pieces filled with life and vibrancy. This painting is in excellent condition, displayed in a beautiful golden bronze color wood frame and signed lower right.
Paul Gagni was born in 1893 and is a Post-Impressionist French artist. He studied at the Ecole des Beaux-Arts in Paris. He exhibited at the Autumn Salon and the Salon of Independent Artists. He is well known for his Paris street scenes, and he died in 1962 with a great legacy of impressionistic artworks.
This piece is an exceptional impressionistic cityscape scene by Gagni of flower vendors along the sidewalk, as pedestrians, bicycles and cars stroll along the road. This Paris scene is depicted with soft brushwork and beautiful details. The busy street is captured from the times of the early 20th century with captivating movement and great impressionisms. A true piece of the times. Comes in a beautiful french carved wood frame with an original plaque. There is some amount of craquelure in the sky from old age but otherwise in good condition.
Jean Salabet was a French, 20th Century artist born in 1900. Salabet was a Parisian painter mostly known for his colorful cityscapes depicting the times of his generation. His work is comparable to those of Jules Herve, Antoine Blanchard and Edouard Cortes. His paintings are a wonderful example of his dedication and passion throughout his of his career. Exemplary depictions of his pieces are city scenes of artist's vendors selling paintings along the view of Notre Dame de Paris, in Paris. People are scattered throughout between the tree-lined Parisian streets. Or like flower vendors walking down the street with a view from the Pont Neuf bridge, the oldest standing bridge crossing the river Seine, with people are scattered throughout with cars depicted in the background. As well wonderful examples of his works the street scenes with bustling cars and the traffic of the people walking along the sidewalks in front of the storefront view of Parisian cafe's as well as wonderful depictions of the most important Parisian monuments and iconic views of the city of Paris. Including in each one of his works a diverse color palette with vibrant details that Salabet captures in a magnificent way of the architecture of Paris so beautifully; you can feel the energy of the day and the excitement.
Georges Jeannin was a Parisian still life and flower painter. Having studied under Vincelet, he began exhibiting at the Paris Salon from 1875. Jeannin, in collaboration with Cesbron, decorated the Paris Hotêl de Ville’s Salon de Passage. Many of Jeannin’s flower paintings were purchased by the State and he was awarded many prizes of excellence throughout his career.
An absolutely breath taking still life with flowers, Mandolin, and music sheets. Jeannin was a French artist who was a true master of his time. This painting exudes an almost realistic expression, but we do still very much feel an impressionistic technique. Signed bottom right corner, with the original plaque in a gold guild frame.
Georges d'Espagnat was born August 14, 1870 in Melun, France. He was a French Post-Impressionist painter, muralist, illustrator, and theater designer. His family moved to Paris when he was a young man in the 1880's and at the age of 18 he declined the academic training of the Ecole des Beaux-Arts spending only a few hours there and chose instead to independently study the works of the Old Masters in the Louvre and also attending classes at the free academy. By studying this painting, he became involved with prominent Impressionist painters of the time, exhibiting his work at the Salon des Refusés and the Salon des Indépendants in Paris. d’Espagnat’s depicted everyday Parisian life, female figures, landscapes, and still lifes, in a painterly style of additive brushstrokes with a unique treatment of color, resembling the Fauves. He also travelled to Italy where he particularly admired the work of the Venetians, Titian and Tintoretto.
In 1891 d'Espagnat began his public career at the Salon des Refusées, where he took part of an exhibition and in the following year exhibited four paintings at the Salon des Indépendants, later exhibited at the Salon of the Société Nationale. A strongly independent student, and having rejected the traditional places of artistic education available in the capital, he become one of the most individualistic of 20th century French painters. Although associated with many of the greatest names in 20th century art, and though his work has at various times been identified as Fauve, Nabis or just plain Impressionist, he retained his own individuality. He was influential in the art circles of his time like Henri Matisse, Paul Gauguin, Pablo Picasso, Camille Pissaro and Marc Chagall. D'Espagnat also became closely acquainted with many of the Impressionists and Post-Impressionists including Renoir, Vuillard, Andre, Bonnard and Denis. In 1895 he had his first solo show in Paris and three years after that a show of his work was held at Durand-Ruel Gallery. Later and with a close friendship with Renoir he was a part of a group exhibition of 1907 at the Marcel Bernheim Gallery along with Bonnard, Cézanne, Matisse, Pissarro, Rouault, Seurat and Toulouse-Lautrec while in 1926 his works were a part of another exhibition at the same gallery along with André, Bonnard, Braque, Chagall, Matisse, Picasso and Signac. In 1898 he traveled Morocco and worked along the Mediterranean coast near Toulon, capturing in his canvas the strong light and vivid colors of the region.
1903 d’Espagnat, along with the architect Frantz Jourdain and critic Ivanhoe Rambosson, was a founding member of the Salon d’Automne and, a year later, became the vice president. Then in 1906 he collaborated on the illustrations for Remy de Gourmont's Sixtine, and later worked with Alphonse Daudet on his book, L’Immortel. Traveling extensively throughout his lifetime, d’Espagnat visited Britain, Germany, Italy, Portugal, Morroco, and Spain. Elected vice president of the Salon d’Automne in Paris in 1935, d’Espagnat from 1936 he served as a Professor at the Ecole Nationale Superieure des Beaux-Arts in Paris until the 1940s. In 1945 d’Espagnat became the president of La Société des Amis d’Eugène Delacroix, that was a position that he held until his death. In the following years he painted La Rochelle and Concarneau, villages along the coast of France, with watercolors.
His work can be found in many of the world’s most important museums including the Museum of Fine Arts, Boston, the Musée Royal des Beaux-Arts, Brussels, the Metropolitan Museum of Art, New York, the Art Institute, Chicago, Indianapolis Museum of Art, the Pushkin Museum, Moscow, the Musée d’Orsay, the Musée d’Art Moderne, Musée Eugène Delacroix, Bibliotheque Nationale and Palais de l’Institut, Paris Musée de l’Annonciade, Saint-Tropez, Musée d’Art Moderne et Contemporain, Strasbourg, Musée Lambinet, Versailles, Mueso Thyssen-Bornemisza, Madrid and the National Museum of Western Art, Tokyo. As an artist that constantly strove for originality and independence d’Espagnat, marked a place for himself among the modern masters. He died on April 17, 1950 in Paris, France. In the following year he was honored with an exhibition at the same Salon d’Automne, of which he was Vice-President for several years showing a variety of his large body of work; also he has honored by Durand-Ruel Gallery shortly after with a retrospective exhibit as well.
Ben Benn was born with the name of Benjamin Rosenberg in 1884 in the town of Kamenets Podolsk, Ukraine. This town was the regional capital of an area in what is today, South West Ukraine, and was historically known as Podolia. His family chose to immigrate to the United States in c. 1894 to reside eventually in New York City. Between 1904 and 1908 he studied at the Arts Students League and at the National Academy of Design. He spent most of his career in New York City including memberships with the American Society of Painters and Sculptors, American Artists Congress and the Woodstock Artist Association.
Despite his excursions into Cubism and Abstract Expressionism, Benn seems always to have been a ‘subject’ painter. The Academy curriculum stressed portraiture built up with broad, painterly brushstrokes, a technique that remained the foundation of Benn’s style. By his mid teens Benn’s canvases were bolder in color and more decorative in style, the artist also depicted urban scenes, yet, unlike the Social Realists, his work was more an affirmation than a critical commentary on the human condition. Considering this, it is remarkable that he remained visible at all during the 50’s and early 60’s, when prejudice against the representational amounted nearly to a proscription of this kind of artwork.
His first important participations were in the Forum Exhibition of Modern American Painters in 1916 as well as the First Annual Exhibition of the Society of Independent Artists in 1917. As a pioneer American modernist, with an independent style, was best known for his bold simplification. He exhibited extensively including his first solo exhibition which was held in 1925 at J.B. Newman’s New Art Circle Gallery and four at the Babcock Gallery between 1960 and 1970. He also exhibited at Columbia University in 1927, Whitney Museum of American Art from 1927 to 1950, the Corcoran Gallery in 1932 and 1957, and the Pennsylvania Academy of Fine Art in 1942 and 1952.
Benn participated in other important exhibitions of American Modernism included “The Decade of the Armory Show: New Directions” in American Art from 1910 to 1920, and the Whitney Museum of American Art's traveling exhibition from 1963 to 1964 and many more. Benn had many solo exhibitions during his lifetime, including one at the Jewish Museum of New York in 1965 and at the Walker Art Center in Minneapolis. Also he was awarded a medal that year at the the Pennsylvania Academy's 147th Annual Exhibition. Today Benn’s works is part of many museums and permanent collections including the Metropolitan Museum of Art, the Museum of Modern Art, The Whitney Museum, Newark Museum, Baltimore Museum, Albany Institute of Art in New York, Butler Art Institute in Youngstown Ohio, the Knoxville Art Center and the University of Minnesota.
His prominence in the art world over 6 decades was reaffirmed at a 90th birthday show at the Hirshhorn Museum in Washington, D.C. in 1974. Between his most publicly recognized works are a portrait of ‘New York Judge J. Planken’ that has been at the New York City Courthouse, a ‘Still-Life Painting’ that forms a part of The Kröller Collection in The Hague, Holland, and the piece named ‘End of the Street’ that was exhibited at the Hammer galleries at a solo exhibition shortly after the artist’s death, with the number 36 in catalogue, which became also a part of the collection of the New Britain Art Museum. Benn died in 1983 in Bethel, Connecticut.
Richard 'Dick' Sargent
Richard 'Dick' Sargent, one of The Saturday Evening Post’s most prolific illustrators, was a Midwesterner born in Moline, Illinois, on March 26, 1911. His early career in art began just after his graduation from Moline High School when he went to work for a local printing and engraving plant. While there, Sargent attended night classes at the Moline Illinois Art School, the foundation for his future career as an artist. In 1951, Sargent completed his first cover for The Saturday Evening Post, “Truth About Santa,” for the December 15 Christmas issue. While Sargent’s popularity grew through the exposure he received with the Post, he also did illustration work for magazines such as Fortune, Woman’s Day, Photoplay, and American Magazine. Americans adored Sargent and his art for his ability to show relatable, pregnant scenes with open-ended conclusions that commented on the situational comedy of life.
Robert Freiman, deaf from birth, was born in March 1917 in New York City. He attended an oral program near his home and later transferred to the Lexington School for the Deaf when he was six. Early in his childhood, his love for drawing, painting and studying became apparent, and as an adult, he continued his studies in New York at the National Academy of Design, Pratt Institute, the Art Students League and the Parsons School of Design. In Paris, he studied at the Ecole des Beaux Arts. Freiman was especially focused on painting portraits and figures in motion in various mediums, especially the mixed-media combination of watercolor, acrylic and pen. Among his subjects were acrobats, ballet dancers, cyclists and other athletes. He as well focused on abstracts for a time, discovering new media in his works with quick brushwork and expressive movements.
Francis McCarthy was born in Philadelphia in 1923, he lived and painted most of his life in Philadelphia although a great many of his pictures came from his world travels. He began art lessons at the unusually young age of 3 at the Friends Neighborhood Guild and his talent was constantly nurtured there and at home. In the 40's Albert Barnes met Francis at the Guild and understood his gifts. Barnes became his encouraging patron, then McCarthy studied at the Philadelphia College of Art, Barnes Foundation, Grand Chaumiere (Paris, France), and the School of the Art Institute of Chicago. McCarthy was an instructor of adults and children at the Fleisher Art Memorial for fifty-one years from 1953 onward and continued to teach drawing and painting in Fleisher's evening program until his health began to fail just prior to the start of the Fall 2004 semester. His work is in the collections of the Philadelphia Museum of Art, the National Gallery in Washington DC, the Barnes Foundation, and other museums and private collections in America and Europe. McCarthydied in 2005.
René Galant was born in 1914 in France. He is known for his abstracted figural genre, a style completely unique from his counterparts when actively painting in Paris during the rush of the bohemian society. He studied at the Art school in Limoges. After his studies he planted himself in a studio and surrounded himself with the elite, socializing with Luis Buñuel, Coco Chanel, Jean Dubuffet and others. Recently more than 50 of his works have been exhibited at the Museum of the History of St. Petersburg. Galant's captures a romantic, yet very real emotion in his works, portraying society through his eyes and devoting his paintings to the ears of his times.
A semi-abstract depiction of a fashionable couple walking arm and arm. This couple purported to be John and Yoko Ono circa 1968. "Avant…Apres" [John & Yoko]. The busy street is captured with whimsicality and an abstracted depiction of each character, which is of a very charming nature since this is what Galant is mostly known for in his work. Comes displayed in a beautiful wood frame with hanging wire.
Johann Berthelsen was born in Copenhagen, Denmark on July 25, 1883. He was a member of the Salmagundi Club, the American Watercolor Society, and the Allied Artists of America. He exhibited widely and was the recipient of numerous awards including the Erskine Prize in 1928 in Chicago and in 1946, in Indianapolis, the Holcombe Prize. Known for his scenes of city streets in New York, he usually did paintings in pairs and is best known for his New York winter scenes.
This is a wonderful example of Berthelsen's charming New York City scenes. The artist was truly a master of capturing the magic of New York in all of its glory throughout the seasons. This piece is executed whimsically, yet dramatically evoking an emotion of wonder and beauty.
East End artist, John Crimmins was born in New York in 1963. As an American Impressionist painter, he lives in New York and he is very active in the Hamptons. Incredibly, he is self-taught, having studied the works and techniques of the prominent American artist Charles Hawthorne and living by his saying “Let Color make form”. If you view John’s paintings at close inspection you will see single spots of color silhouetted with another which not only shows his skill but his passion and intricate dedication to his work. His paintings are done 'alla prima', that in Italian means 'at first attempt', it is a painting technique, used mostly in oil painting, in which layers of wet paint are applied to previously administered layers of wet paint. With this style of painting the work is to be completed while the paint is still wet, so once started his works are finished in one session.
He is a member of the East End Arts Council and his paintings are a part of the Ken Ratner Collection and the Southold Historical Society in New York. His works were a part of the Islip Art Museum IAM Pocket sized open Call Exhibition in 2015. He is mostly known for his Flag and Beach Paintings. This particular piece is a wonderful scene of iconic Columbus Circle in Manhattan depicting the snow storm in a most intimate, yet energetic way. Crimmins is known for capturing on sight scenes of Manhattan and Long Island, engaging his audience with a quick use of brushwork and a great attention to picking up the energy passionately of his subject. In this piece we find figures coming and going, with a charming yellow taxi, American Flags blowing in the wind, and of course the grandeur of the buildings in the city. This piece comes displayed in a unique wood frame, ready to hang with wire on verso.
Edna Marie Schmidt
Edna Marie Schmidt was born in Cincinnati Ohio in 1912 and was a lifelong resident there. Her art career began at the young age of nine when she entered the Art Academy of Cincinnati. After graduating from Withrow High School, she attended the Applied College of Arts at the University of Cincinnati. That education led to doing fashion artwork for Mabley-Carew and the Cincinnati Enquirer. Several years later she was offered a better job in Milwaukee doing fashion page work for the Milwaukee Sentinel. She married William C. Schmidt of Cincinnati in 1937. Her art studies continued around the U.S. at various workshops, although her principal influence was her instructor Carl Zimmerman and the weekly studio that she attended for more than a decade in the '70's and 80's in his Loveland, Ohio studio. She has participated in numerous shows, with several one woman shows featuring her work. Her commissioned portraits of industry and educational leaders hang in various public buildings of the Cincinnati area including her "Camargo Hunt" series of fox hunting oils. Edna Marie Schmidt was known for portrait and landscape painting, alongside with newspaper fashion illustration, she died in 1999 in her hometown.
This piece depicts a unique impressionistic landscape of the San Francisco Bay depicting the Golden Gate Bridge and all the beautiful details of the busy city of San Francisco. With much whimsey and atractive vibrant colors, we can feel the energy of the day and time in which it was executed. The sun is bright and the day is warm. A most charming piece comes ready to be displayed in a wonderful gold tone wood frame.
Coulton Waugh was born in 1896 in Cornwall, England. He was an American visual artist, son of maritime painter Frederick Judd Waugh, and his grandfather was the Philadelphia portrait painter Samuel Waugh. In 1907 his family moved to the United States, he grew up in Provincetown, Massachusetts and later made his home in Newburgh, New York. Over there Waugh was enrolled at New York's Art Students League where he studied with George Bridgman, Frank Dumond and John Carlson. By 1916 Coulton was employed as a textile designer. In 1921 he moved to Provincetown, Massachusetts where he operated a model ship and hooked rug shop for 11 years.
As a part of an artistic family, Waugh was a painter, comic strip artist and author. As he lived in New York he is often known for the artistic work in marine scenes, still life compositions and cartoons. Also was one of the main artists who worked on the famous “Dickie Dare” comics, created by Milton Caniff. He was working on the strip for more than 20 years, from 1933 until 1957, and there is where Waugh met his future wife, Odin, after hiring her to work on the strip as an artist and letterer. In 1945, he created “Hank” which only ran a short time. From 1947 on, Waugh divided his time between painting, teaching art and writing a seminal history of cartooning called “The Comics” in 1947 as a reference on the history of comics, which became one of the first serious examinations of the medium, as well as instructional books on cartooning and palette-knife painting.
In Provincetown he created other pictorial maps or decorative maps, including ones of Provincetown of 1924, Cape Cod of 1926 and Newburgh, New York in 1958. His map of California of 1948 was a collaboration with his wife Odin Burvik (Mabel Burwick).
His paintings were displayed at New York's Hudson Walker Gallery, and he also was known for his pictorial maps and hand-colored lithographs, like the one exhibited of a Cape Cod map at the International Silk Show in the year 1918. Some other exhibitions where his artwork participated was at the National Academy of Design and the Provincetown Art Association. Among the Museum exhibitions that showcased his pieces are the Art Institute of Chicago, the Carnegie Institute (International), the Pennsylvania Academy of the Fine Arts and the Whitney Museum of American Art. Grand Central Art Galleries, New York City used to hold a notable representation of his artworks. Waugh died in 1973.
Nanno de Groot
Nanno de Groot was born in March 23, 1913 in Balkbrug, Holland. He started drawing at six years of age. Although his father prevented him to study art at the early age, he moved to the United States in the year of 1941 and in 1946 at age 33 he discovered Picasso and he dedicated the rest of his life to painting and drawing. He worked for a year as a cartoonist for the San Francisco Chronicle. After his marriage to the New York School artist Elise Asher in 1948 Nanno de Groot settled in New York on West 12th Street. He became connected to the pioneers of the New York School, where he came to identify with abstract expressionists such as Jackson Pollock, Hans Hofmann, Franz Kline and Joan Mitchell. Nanno de Groot considered himself an American artist and part of the abstract expressionist movement. His earlier works included a number of monotypes and the now famous "Linear Figures" series, skeletal characters delineated by evocative streaks of black oil paint. In the following series, "Women in Chairs", de Groot observed that features interfered with the expression of the painting.
Nanno de Groot exhibited at Saidenberg Gallery, New York in 1952, 54, 55 and Bertha Schaefer Gallery, NYC. His works were exhibited in Hansa Gallery, in 1953 and for the years of 1954-1955 in Tanager Gallery and Stable Gallery. He also participated from 1954 to 1957 in the invitational New York Painting and Sculpture Annuals. These Annuals were important because the participants were chosen by the artists themselves. In 1956, 59, 60, 61, 64 he exhibited with HCE Gallery, Provincetown, MA and 1957, 58, 59, 61 at Parma Gallery, NY. In October of 1960 his works were displayed in Stamford Museum & Nature Center, Stamford, Connecticut. In 1971 he exhibited at Jack Gregory Gallery, Provincetown, Massachusetts, and in 1982 a Retrospective Exhibition at Provincetown Art Association and Museum, Provincetown, Massachusetts. Through 1987–2003 he were were with Julie Heller Gallery, Provincetown, MA. For the years of 2004 and 2007 his works were selected for ACME Fine Art, Boston MA and there were presented two exhibitions "Nanno de Groot: The New York Years” and "Nanno de Groot: Earth Sea and Sky” respectively. His works are a part of Museums and Public Collections like: Everson Museum, Hirshhorn Museum and Sculpture Garden in Washington D.C., Museum of Fine Arts of Boston, Massachusetts, Chrysler Museum of Art in Provincetown, Massachusetts, Hebrew University at Jerusalem, Israel, Provincetown Art Association and Museum at Provincetown, Massachusetts, the Olson Institute at Guilford, Connecticut and the Kresge Art Museum, and of Michigan State University in East Lansing, Michigan. Nanno de Groot died on December 26, 1963 in Provincetown, MA.
Marcel Dyf was born as Marcel Dreyfus on 7 October 1899 in Paris. He grew up in Normandy, in the towns of Ault, Deauville and Trouville. Dyf started a career as an engineer, but soon decided to become a painter. In 1922, he moved to Arles, where he was trained as a painter and set up a studio.
He painted frescoes in the cityhalls of Saint-Martin-de-Crau and Saintes-Maries-de-la-Mer. He also painted frescoes in the Museon Arlaten and in the dining hall of the Collège Ampère, both of which are in Arles. He also designed windows inside the Église Saint-Louis in Marseille. In 1935, he moved to Maximilien Luce's old studio on the Avenue du Maine in Paris. By 1940, because of the German invasion of France during the Second World War, he returned to Arles. He quickly joined the French Resistance in Corrèze and the Dordogne. He later moved back to Paris, and finally moved in Saint-Paul-de- Vence. However, in the 1950s, he started wintering in Paris and summering in Cannes, where he attracted the attention of American art collectors.
His work was exhibited and sold at the Petrides Gallery, the Salon d’Automne, the Salon des Tuileries and the Salon des Artistes Français in Paris as well as galleries in Cannes, Nice, Marseille and Strasbourg. Overseas, it was exhibited at the Frost & Reed Gallery in London.
In 1954, he married Claudine (Godat) Dyf in Cannes, when she was only nineteen years old. They purchased a sixteenth-century hunting lodge in Bois-d'Arcy near Versailles, and it became their primary residence. They also summered in Saint-Rémy-de-Provence and Eygalières. He died on 15 September 1985 in Bois-d'Arcy.
Gaston Sébire was born August 18, 1920, in Saint-Samson Calvados. He was known for his landscapes, seascapes, still lifes and flowers. Sebire was also an engraver, pastel artist and painter of theatre decorations. He settled in Paris in 1951 and in 1953 he created the costumes and decorations for l'Ange Gris, with music by Debussy, for the Ballets of the Marquis de Cuevas. He lived and worked in Normandy and participated in numerous group exhibitions, including Salon of Independents, Paris Salon of Tuileries, Paris Comparisons Salon since 1962, Paris Salon of French Artists since 1964, Paris. He appeared at other groupings in London with Lorjou and Clave, in Munich, Washington, Japan, and different exhibitions of the School of Paris at the Charpentier Gallery in Paris in 1953, 1954, a1955, 1956, 1946, 1958 and 1962, at the Biennial of the Jeunes au Pavilon of Marsan in 1957. He received the Critic's Prize in 1953, the Greenshields Prize in 1957 and the Gold Medal at the Salon of French Artists in 1968.
Today his work can be seen in Museums around the world and among his shows and exhibitions include: 1944 Galerie Gosselin (Rouen, France);1952 Galerie Visconti (Paris, France); 1956 Galerie Charpentier (Paris, France); 1961 Galerie Combes (Clermont-Ferrand, France); 1962 Galerie Drouant (Paris, France); 1964 "Exhibition" Musee de Rouen (Rouen, France); 1965 Wally Findlay Gallery (New York and Chicago, USA); 1965 Galerie Drouant (Paris, France); 1965 Wally Findlay Gallery (Paris, France); 1968 Galerie Drouant (Paris, France); 1971 Wally Findlay Gallery (Paris, France); 1976 "Exhibitions" Cultural Center (Le Mesnil-Esnard, France); 1986 "Retrospective" Museum of Fine Art (Rouen, France); 1991 Roger Worms Association with "Cacheux" (Ville de Montfermeil, France) and in 1992 Wally Findlay Gallery (Paris, France).
A charming oil painting from the 20th Century depicting a French countryside landscape with figures. One figure is using a sickle as the other places clothing to dry on a clothing line. The trees are in bloom as the clouds drift past in the blue sky. The colors are rich with thick use of paint and whimsicality. We can feel the breeze and the sun shining. This piece takes us to a time which is captured effortlessly. Comes displayed in a wonderful matted wood carved frame with the artist plaque and hanging wire on verso.
Arie van Noort
Arie van Noort (Adrianus Cornelis van Noort) was born in Bennebroek, the Netherlands in 1914. He worked with his father who was a house painter and had the dreams of achieving much more as an artist. During the day he would work his day job, but in the evenings he studied and painted. He began his artistic career with studies under Henri Fréderic Boot, a famous artist from Haarlem and extensively studied the great masters of impressionism, a prominent force in all of his paintings. Being an on-sight painter, mostly executing works of the beaches of Holland nearby his house, we can admire the great use of light and contrast, always feeling the mood of the day from which he painted. This was his main objective, to gather the inspiration of the moment, and translate this into his canvases. We can feel this quality in his work effortlessly, as each piece vibrates with energy and movement.
Van Noort participated in several exhibitions organized at the end of the 40's in the Frans Halsmuseum, Het Huis van Looy in the Waaggebouw. He won the first prize even in a match. His teacher, H. F. Boot had a great deal of appreciation for Van Noort, admiring the structure in his pieces. Verwey bought a work from Van Noort to donate to Godfried Bomans. In 1942 he was accepted as a member of the society "Kunst zij ons Doel".
It did take the artist time to build his career as an artist, and in 1977 he grew to a status of having a constant demand for his work. He gained almost instant success. Exhibitions in Basel, Knokke, Geneva, and Paris were well received by the public. In addition, Van Noort gained much interest from the US. Van Noort is seen as the last representative of the Hague School. Beach views are the main subject of his body of work, but he also captures flower fields, cityscapes, and landscapes. The artist personality is best described as balanced and comfortable with an extremely positive life setting. At the same time, he was a humble and faithful man who, as he himself said, did not like to go into difficult situations. Van Nort was the last representative of The Hague School as an impressionist painter in the French line.
His work is admired all over the world having exhibitions from the Brès Gallery in Amsterdam to New York, Los Angeles, and Singapore. He died in 2003 at the age of 89. He was active and lived in Holland most of his life while preferring to go outside and use his paintbrush to capture “En plein air” his perception of the world.
Yolande Ardissone was born in Normandy in 1927, from a young age she was inspired by the great impressionists of her time, Gauguin, Renoir and Van Gogh. She left Normandy at age 17 to study at the Ecole des Arts Appliques in Paris. Two years later she transferred to the Ecole des Beaux-Arts* and studied in the atelier* of Unterstellar. Her studies paired with her travels around the world brought a greatness to her style. Her works exhibit charming atmospheres and playful arrangements of landscapes, portraits, still lives, street village scenes and her acclaimed boating scenes. Inspired by color and rich texture, she has traveled to Italy, Spain, Algeria, Holland, Indonesia, Egypt, Haiti, China, Thailand, and Russia bringing her inspirations from these parts of the world into her pieces effortlessly. One can feel a wordiness to her touch, and a great enthusiasm for vivid impressionism.
She was discovered by the art merchant Wally Findlay in 1957 and started exhibiting her works in New York City, Beverly Hills, Palm Beach and other US-based galleries that same year. Yolande Ardissone has gained a considerable reputation. She loves to paint Provence, Paris and the French countryside. But her favorite topic is the region of Brittany in western France. Her works have been acquired by the Ville de Paris, the Musée de l'Ile de France, the Musée de la Marine, l'Etat, etc. The Ville de Paris has awarded her the Médaille d'Argent. Museums and Exhibitions: Salons annuels de la Jeune Peinture; Salon des.
A vivid depiction of boats docked at the harbor with a lighthouse in the distance and houses along the water. Yolande was mostly known for her playful and sophisticated paintings executed with thick use of paint and sporadic, yet controlled brushwork. Her wonderful use of light and shadow is exhibited beautifully as we can feel the time of day and the atmosphere. This painting is signed lower left and comes displayed in a charming gold tone frame with hanging wire on verso.
Luigi Cagliani was an Italian Impressionist who worked in Italy and France in the first half of the 20th century. Italian sources note that he was active in Lombardy, which helps explain his penchant for lakeside scenes. He also loved to paint scenes set in Venice. With a "delicate and moving" in a romantic, almost 19th Century sense, Luigi Cagliani presents a whimsical oil painting depicting a market-place scene in Paris, France.
As an Italian Impressionist artist, most of Cagliani's works were produced in the first half of the 20th Century. He was known for his charming compositions and settled in Lombardy, which helps explain his passion for intimate Parisian style paintings. He also favored painting scenes set of Venice. This piece is a wonderful display of figures going about their day in a wonderful courtyard with markets. The colors and lighting of this piece is truly a joy to discover, as we can feel the moment in time set beautifully. The details are soft and elegant as the shadows pick up specks of light throughout the pathway. A woman is walking toward the flower market as figures come and go, but we are drawn to this woman and the wonderful sway in her dress as she seems to be floating as she walks. This painting comes displayed in a carved gold tone wood frame with hanging wire on verso and is signed lower right.
Bela de Tirefort
Bela de Tirefort was known for his stunning New York scenes, mostly painted on sight, leaving us with an enduring record of the metropolis between the 1930s and ’50s. This piece is an excellent example of his on sight paintings, an iconic scene with beautiful brushwork, thick use of paint and whimsical details. We can feel the atmosphere that the artist has created with many layers of paint and specks of light peaking through the fresh snow.
This work is a charming depiction of a snowy pathway in Central Park, New York City on a winter day with city buildings captured in the distance. A cozy impressionistic scene with colors of light cobalt, muted pinks, and purples. This painting captures the essence of Christmas in the 1930s in NYC. Signed lower left and it comes housed in its original frame, a beautiful museum quality gold tone frame, ready to be displayed with hanging wire on verso.
Christopher Willett was born in 1959. He is a is a Bucks County painter with a family lineage of artists, as Willett, is also a descendant of the renowned painter Edward Hicks. From his early childhood to the present, Willett carried his natural talent and kept on the tradition in the arts. Currently as a painter in the New Hope, Bucks County Impressionist style- he works full time in the mediums of oil on board or canvas, and watercolor.
A scene of iconic Flatiron in New York City depicting the snow storm in a most intimate, yet energetic way. Christopher is known for capturing the beauty and simplicity of an earlier time of the 20th Century; old New York, families working together, villages and farms and friends taking walks together. Many are depicted in recognizable historic settings and this piece is an excellent example of this as he captures a snow-filled historic setting of the Flatiron Building with the calm, endearing charm of Manhattan. Christopher engages his audience with the quick use of brushwork and a great attention to picking up the energy passionately of his subjects.
Frances Cranmer Greenman
Frances Cranmer Greenman was born on June 28, 1890 in a log cabin in Aberdeen, South Dakota. She was named for suffragist Frances Willard. At 15, she attended the Wisconsin Academy of Art. At 16, she attended the Corcoran School of Art in Washington, DC. In the 1900s, she studied with William Merritt Chase and Robert Henri in New York City. She won a gold medal from Corcoran in 1908. She moved to Minneapolis in the 1910s. She had her first major exhibition in 1913 at the Handicraft Guild. She went back to New York for several years before settling at the Hampshire Arms Hotel. Her permanent studio was on the fifth floor of the building and was painted completely black for her portraiture.
She was awarded a gold medal at the 1915 Minnesota State Fair for a group of three portraits. Greenman was an established society painter in Minneapolis by the early 1920s and made portraits for Hollywood stars, politicians and socialites.
Her 1921 exhibition at the Bradstreet Gallery in Minneapolis was described in American Art News as "alternately gay and serious, prismatic and tonal." Greenman was awarded first prize in painting at the seventh and eighth annual exhibitions of Twin City Artists. Her portrait Jane won the prize for the eighth exhibition in 1922.
Greenman was replaced as a judge during the 1925 Iowa State Fair's Art Salon due to her modernist inclinations. Painter and exhibit head Charles Atherton Cumming postponed the art judging, first claiming that Greenman was ill. Greenman herself disputed this and Cumming went on to describe how she had been "converted to what she calls 'modern' art since I last viewed her exhibit." He explained that Iowa artists were "followers of 'white man's art'" and Greenman was replaced by one J. Laurie Wallace.
Following the Wall Street Crash of 1929, Greenman left New York and supported her family by painting portraits for wealthy clients. Greenman taught at the Minneapolis School of Art from 1941 to 1943. She also taught at the Art Institute of Chicago.
Her style was bold and informed by modernism. Her painting Pink Lotus depicted one David Painter and in a severe, flattened, and unflattering manner. While her earlier portraits were more adventurous, they became more conservative and conventional over time. Her 1922 work A Moment's Rest for Mrs. Hoscovics and her portraits of Polish immigrants in Wisconsin show that Greenman wanted to use her art to explore social issues.
Greenman painted portraits of many famous people, including conductor Emil Oberhoffer, Dolores Del Rio, and Mary Pickford. She painted the official governor's portrait of Karl Rolvaag. It is hung in the Minnesota State Capitol. She wrote her autobiography, Higher Than the Sky in 1954. She also worked for the Minneapolis Sunday Tribune as a critic, writing the art column "Frances Greenman Says". Greenman died in Medina, Minnesota on May 24, 1981
Cesar A. Villacres
Cesar A. Villacres was known for his impressionistic street scenes depicting France. Most of his landscape paintings are tremendously vivid and alive street scene from Paris in the 20th Century. People going about their day; street vendors and flower sellers are alive as horse and carries are wispily riding along. In the distance, you will see detailed some elements like a tree-lined street with cars driving pass, and beautiful architecture from the city. The use of thick paint is noted, with quick brushwork and precise attention to detail. An absolutely great work of the times, capturing an ever so fleeting moment from over a century ago.
In his pieces, Cesar A. Villacres represents himself as a French impressionistic visual artist. There is not much information about this artist but the majority of his work was by capturing the Paris busy street scenes from the 20th Century. He mostly used oil on canvas by using subtle brush strokes with a wide color pallet. Some of his work has been in action like 'La Madeleine' an oil on canvas sold at Quinn's Auction Galleries in 2009 and also 'New York City 1950's Street Scene' and 'Parisian City Streets' in 2008. The artist was truly a master of expressing the magic and nostalgia of the Parisian life of the "Belle Époque" in France.
Richard Hayley Lever
Richard Hayley Lever (1875-1958) was an Australian-American painter, etcher, lecturer and art teacher. He studied under James Ashton at his Norwood art school and was a member of the Adelaide Easel Club before emigrating to New York and later settling in Massachusetts. Lever taught at the Art Students League of New York. He is recognized today as a significant figure in 20th century American Impressionism. His works are included in the White House collection, the Hirschorn Museum, Brooklyn Museum of Art, Corcoran Gallery of Art, and many other distinguished collections.
An outstanding oil painting done with the utmost care to capture the energy of this wonderful day by the lake. We can feel the breeze and the warmth of the day as a sailboat passes along. The tree sways in the wind with the bench underneath in the cool shadow. A most fine work done with rich colors of cobalt blue, viridian green and pops of bright orange and red. SIghned lower left with original plague placed bottom center and displayed in a wonderful gold frame.
Joachim Berthold, born 1917 in Eisenach, lived and worked until his death in 1990 in Oberaudorf am Inn. In 1936 he began his training at the renow ned Werkschule in Cologne. There he met his artist colleague and later wife Gisela BertholdSames and he continued his studies until 1941 at the Academy of Fine Arts in Munich. From 1945 he worked as a freelance sculptor. This was followed by hard artist years in which the execution of any commissioned work to secure a livelihood left little time for free work. Gradually, the situation improved until, from the 1960s, it gained international renown through more and more numerous and important exhibitions at home and abroad, large orders from industry and cities as well as museum acquisitions.
Berthold's appearance was striking. This corresponds to his figurative, mainly in bronze realized small to larger than lifesized sculptures. The topic of his work was the man. He was not concerned with the representation of individual, external manifestations. His sculptures are reduced to the essentials, re main in their economical movements, without facial expressions, anonymous and timeless. The essence of man and his development between becoming and decay were his concerns.
Through the mental processing of Greek metaphors, he concentrated on the depiction of the human forms involved in a matter or in their own body form and dissolving out of it, as well as cast their own shadow. Berthold's typical formal idiom lives from the antagonism of convex and concave, perfectly smoothed and rough, sometimes broken surfaces, exposing the underlying innermost amorphous layers.
William Rowell Derrick
William Rowell Derrick was an American artist born in 1857 and is noted mostly for his highly impressionistic oil paintings which provoke a mood strikingly accurate to his subjects. Derrick died in 1941. This pianitng is a charming depiction of a pond at the park with ducks swimming about. The foliage is breathtaking, as the impressionistic details are noted with thicker use of paint and calming colors. The trees are depicted wonderfully with beautiful fall colors. An inspiring painting, which brings about a mood and feeling. A gorgeous scene from the early 20th Century. The painting comes displayed in a wonderful ornate wood carved frame and is signed lower left.
William James Glackens
William Glackens was born in 1870 Philadelphia, Pennsylvania, where his family had lived for many generations. He was an American realist painter and one of the founders of the Ashcan School of American art. He is also known for his work in helping Albert C. Barnes to acquire the European paintings that form the nucleus of the famed Barnes Foundation in Philadelphia. William had two siblings: an older sister, Ada, and an older brother, cartoonist and illustrator Louis Glackens. He graduated from the prestigious Central High School in 1890. Throughout his school years, he showed a great interest in and aptitude for drawing and drafting.
His dark-hued, vibrantly painted street scenes and depictions of daily life in pre- WW I New York and Paris first established his reputation as a major artist. His later work was brighter in tone and showed the strong influence of Renoir. During much of his career as a painter, Glackens also worked as an illustrator for newspapers and magazines in Philadelphia and New York City.
After graduation, Glackens became an artist-reporter for The Philadelphia Record. In 1892, he left that newspaper and began illustrating for the Philadelphia Press. He enrolled in evening classes at the Pennsylvania Academy of the Fine Arts, studying under the renowned realist Thomas Anshutz.
John Sloan also attended the Academy, and he introduced Glackens to Robert Henri, a talented painter and charismatic figure in Philadelphia art circles. Henri played host to regular artists' gatherings at his studio, occasions to socialize, drink, sketch, talk about art, and give artistic criticism of one another's work.  Henri urged the young men he brought together to read Whitman and Emerson, William Morris Hunt's Talks on Art and George Moore's Modern Painting, and to think about the need to create a vigorous new American art that spoke to their time and experience. These gatherings were the inspirational beginning of what became known as the Ashcan school of American art, a style that rejected the formality and gentility of 19th-century academic art and looked to working-class and middle-class metropolitan life for its material.
Michael Posner Baxte was born in 1890 in the small town of Staroselje Belarus, Russia. For the first half of the 19th century it was a center of the Chabad movement of Hasidic Jews, but this group was gone by the middle of the 19th century. By the time the Baxte family immigrated to the United States at the beginning of the 20th century, the Jewish population numbered only on the hundreds. The native language of the Baxte family was Yiddish. It is likely that the death of Michael Baxte’s father triggered the family’s immigration. Three older brothers arrived in New York between 1903 and 1905. Michael and his mother, Rebecca, arrived in 1907. By 1910 Michael, his mother, and brother, Joseph, were living in New Orleans and may have spent some time on a Louisiana plantation. Around 1912, Michael Baxte returned to Europe to study the violin. In 1914 he, his mother, and Joseph moved to New York City.
Meanwhile, in Algeria, a talented young woman painter, Violette Mege, was making history. Since for the first time, a woman won the prestigious Beaux Art competition in Algeria. At first, the awards committee denied her the prize but, with French government intervention, Mege eventually prevailed. She won again 3 years later and, in 1916, used the scholarship to visit the United States of America. When Violette came to New York, she met Baxte, who was, by then, an accomplished violinist, teacher, and composer. Baxte’s compositions were performed at the Tokyo Imperial Theater, and in 1922 he was listed in the American Jewish Yearbook as one of the prominent members of the American Jewish community. As a music teacher he encouraged individual expression. Baxte stated, “No pupil should ever be forced into imitation of the teacher. Art is a personal experience, and the teacher’s truest aim must be to awaken this light of personality through the patient light of science.”
By 1920 Michael Baxte and Violette Mege were living together in Manhattan. Although they claimed to be living as husband and wife, it seems that their marriage did not become official until 1928. On their “unofficial” honeymoon around 1917, in Algiers, Baxte confided to her his ambition to paint. There and later in New Mexico where the wonderful steeped sunlight approximates the coloring of Algiers, she taught him his heart’s desire. He never had any other teacher. She never had any other pupil. For ten years she devoted all her time, energy, and ambition to teaching, encouraging, inspiring him. Then in 1928, their mutual strivings were rewarded, as his works were being chosen as one of the two winners in the Dudensing National Competition for American Painters. Out of 150 artists from across the country participated in the Dudensing, and Michael Posner Baxte and, Robert Fawcett, were the winners.
In his 1924 naturalization application, he indicated that he was sometimes known as “Michael Posner Baxte.” One of the witnesses to his application was Bernard Karfiol, a Jewish American artist. That’s when Michael may have decided to use the name Baxte for his art. Baxte, née Posner, received critical acclaim from art critics. In 1929, Lloyd Goodrich of The New York Times wrote, “Mr. Baxte has a way of choosing aspects of the world that are quite unhackneyed… He is an artist of considerable subtlety, not too strong perhaps, and sometimes a little uncertain, but always sensitive and interesting. One feels in each of his pictures an absorption in his subject and an individual manner of looking at it. He has a very attractive color sense, warm, sensuous, and unexpected, which seems natural and unforced.” A dozen years later another New York Times art critic, Howard Devree, commented, “Also at the Bonestell are paintings by Michael Baxte, who lays in his color with gusto and considerable acumen.”
During the 1930’s Baxte and his wife, Violet, lived in France and spent most of their time in Paris, where Baxte became part of the School of Paris and exhibited his artwork in government sponsored exhibitions including the Salon d' Automme, helping as well to organize an exhibition of American painters. When the World War II began, and Paris became unsafe Baxte and his wife relocated to Mexico where they continued to live and work. Baxte died in 1972 in Mexico.
Harry Leslie Hoffman
Harry Leslie Hoffman was born in Cressona, a small community in Pennsylvania's Schuylkill Valley. His mother was an amateur artist who encouraged her son to pursue a career in the arts. In 1893, Hoffman entered the School of Art at Yale University and studied with John Ferguson Weir, the son of Robert Walter Weir. After graduation in 1897, Hoffman moved to New York to continue his studies at the Art Students League. He also traveled to Paris and took classes at the Académie Julien.
A man with strong academic art training, Harry Hoffman was judged by his peers to have done best with his landscapes when he painted what he saw and set aside the theories. He studied in Paris, worked at Yale University with John Ferguson Weir, and was a student at the Art Students League with Frank DuMond. But Willard Metcalf had the strongest influence, encouraging Hoffman to paint in the style of impressionism.
In the summer of 1902, Hoffman attended the Lyme Summer School of Art, in the town of Old Lyme on the Connecticut coast. He stayed at the Florence Griswold House, returning for many subsequent summers. At one point, when he was exceptionally low on money, he nearly became a professional baseball player, but was dissuaded by his painter friends.
In 1905, Hoffman settled in Old Lyme and worked as a full member of the artist colony. He was particularly influenced by Willard Leroy Metcalf, an Impressionist also working in Old Lyme. Fellow artists later fondly recalled Hoffman's antics at the Griswold house, which included playing the flute and banjo, tap-dancing, singing humorous songs, and performing magic tricks. In 1910 Hoffman married another Old Lyme artist named Beatrice Pope, and the couple had one child in 1921.
Hoffman and his wife often escaped New England during the harsh winter months. In the winters of 1914 and 1915 he traveled to Savannah, Georgia with fellow Old Lyme artist William Chadwick. Hoffman depicted urban genre scenes around the city and was inspired by the soft hazy light created by the tropical climate. Hoffman's Savannah paintings feature loose, Impressionistic brushwork and vibrant, saturated colors. In 1916, he visited the Bahamas and became interested in seascapes and underwater scenes. During the early twenties, Hoffman accompanied renowned naturalist William Beebe as a staff artist on expeditions to the Galapagos Islands, British Guiana, and Bermuda.
He married Beatrice Pope from East Orange, New Jersey, who was also staying at the Griswold House, and they lived in Old Lyme. In the 1920s, he had a reputation for his underwater life paintings, having made a bucket with a glass bottom that he floated on the water for special vantage points. Intrigued by the many colors he found in the ocean, he accompanied the naturalist William Beebe on research trips to the Galapagos Islands, Bermuda, and British Guiana.
He was awarded a gold medal at the Panama Pacific Exposition in 1915 and won the Eaton Prize, bestowed by the Lyme Art Association in 1924. His work is now located in private and permanent collections throughout the United States. In 1930, he was elected an Associate of the National Academy of Design. He was also very helpful to Florence Griswold in her old age when she was about to lose her house. Successfully avoiding that loss, he served as the treasurer and fund raiser of monies to save it as a home during her lifetime and as a museum when she died.
In addition to his long painting career, Hoffman was a writer, actor, and musician. He was active in the historic preservation of the Florence Griswold House, the intellectual center of the Old Lyme Colony, as a museum. Hoffman lived to be ninety-two years old and died at Old Lyme, Connecticut, on March 1966.