What painter, born in 1725, is fabled to have convinced his father of his natural aptitude for painting when the parent mistook his son’s pen-and-ink drawing of Saint James for an engraving?
What illustrator’s fame was established when the first volume of The Yellow Book — an art and literature quarterly for which he served as art editor as well as contributing drawings and covers — appeared in April 1894?
Answers here~ https://schristywolfe.com/2015/08/21/august-21/
This house-painter and handyman was the center of a furor in 1927 when he became the first living self-taught artist to be recognized by the American art establishment, upon his acceptance to the Carnegie International exhibition.
One of the members of the Bloomsbury circle, this painter, sculptor, writer, and educator began to study pottery at the age of 25 and in 1935 went to Staffordshire to acquire the necessary technical knowledge.
Answers here~ https://schristywolfe.com/2015/08/19/august-19/
George Wesley Bellows (August 12 or August 19, 1882 – January 8, 1925) was an American realist painter, known for his bold depictions of urban life in New York City, becoming, according to the Columbus Museum of Art, “the most acclaimed American artist of his generation”. Wikipedia
Bellows once commented that “there is nothing I do not want to know that has to do with life or art.” He drew equal inspiration from municipal workers removing snow from the city’s streets, longshoremen loading and unloading cargo from ocean liners and freighters, and the ladies and gentlemen who created a rich visual pageantry as they enjoyed New York’s parks. The variety of Bellows’s urban subjects was matched by the range of palettes and techniques he employed, often on immense canvases. Few would have disputed a critic who observed of Bellows at the time of his death, “He was an adherent of ‘wallop’ in painting.” In an astute bid for broad appeal, Bellows exhibited his works widely, attracting both critics—”There’s been an awful lot written about me,” he admitted—and patrons. His dramatic paintings of familiar subjects were acquired by major museums, important regional art centers, educational institutions, and prominent collectors, from the relatively adventurous to those with more conventional tastes. Both an active academician and a keen independent, Bellows was at home among diverse factions of the art world. Writing in 1913, the critic Forbes Watson noted his “curious appeal” to “the conservative and radical alike.”
Which realist painter-printmaker had significant experience as an actress from 1909 into the 1920s, supplementing her income from acting with work as a muralist and illustrator as well as studying at the Chicago Art Institute?
Which artist is considered one of the most important painters and engravers in Puerto Rico, and has been instrumental in promoting art and art education in her country?
Answers here~ https://schristywolfe.com/2015/08/18/august-18/
Which Italian painter and printmaker, born into a family of renowned artists, was also a popular and skilled teacher whose anatomical studies were later engraved and used for almost two centuries as academic teaching aids?
Which photographer had brief careers as model, stage actress, and silent film actress — appearing in three films, the last one in 1922 — before discovering her true talent as a photographer?
Answers here~ https://schristywolfe.com/2015/08/16/august-16/
This 18th Century Italian landscape painter, whose Arcadian scenes with picturesque peasants earned him an international reputation, often included a figure with a gourd bottle because zucco is Italian for “gourd”.
This contemporary sculptor has moved between laminated wood, stainless steel, corrugated iron, polycarbonate, marble, clay, vinyl, foam and leather; he explained in 2005, “Changing materials from one work to the next is a way of beginning again each time”.
Answers here~ https://schristywolfe.com/2015/08/15/august-15/
This French painter moved to Rome in 1734 and stayed until he was recalled to Paris in 1753 to begin an official commission on paintings of French seaports, for which he is best known.
This French painter and lithographer was an avid equestrian, known primarily as an exceptional painter of horses in full movement — either racing, hunting or in cavalry portraits.
Answers here~ https://schristywolfe.com/2015/08/14/august-14/
George Luks was an American realist painter and comic illustrator, best known for his images of New York and its inhabitants. Born in Williamsport, Pennsylvania, Luks worked as a vaudeville performer before moving to Philadelphia to study art at the Pennsylvania Academy of the Fine Arts…Luks was publishing comic illustrations in Puck and Truth, and upon his return in 1893 he accepted a job as a newspaper illustrator at the Philadelphia Press.
His career took a small detour in 1895 when he traveled to Cuba as an artist-correspondent for the Philadelphia Evening Bulletin…When he returned to America in 1896, he joined the staff of Pulitzer’s World as an illustrator and cartoonist…One of his many famous colleagues at the World was Richard F. Outcault, who had joined the staff in 1894…Outcault’s Yellow Kid became so popular with the public and showed that it increased the newspaper’s sales as well as the sales of merchandise his likeness appeared on, from candy to whiskey. This awareness was occurring at the same time that William Randolph Hearst had come to town, purchased the Journal and was having an intense battle with Pulitzer’s World for dominance in New York City. Hearst knew a good thing when he saw it and lured Outcault away from Pulitzer…Pulitzer was not to be outdone, however, and assigned Luks to continue drawing the Yellow Kid in Hogan’s Alley for the World…Luks [continued to work] at his painting and was finally able to make a living at it. He left the newspaper in 1898.
George Luks prided himself in being the “bad boy” of American art and would be pleased that this notion has survived as his reputation as a significant painter of the twentieth century continues to grow. A heavy drinker and engaged story-teller, Luks manufactured details of his own life to make himself more colorful. Most ingrained in his biography was his tall tale of having fought in the Mid-West as “Chicago Whitey,” a middle-weight boxing champion. No one ever checked his details. However, the mythology Luks created around himself masked an insecurity that reveals itself in the diversity of styles he sometimes employed as a painter. His mainstay was realism, but he experimented with impressionism and post-impressionism and was known to alter a canvas if it was criticized, sometimes ruining it entirely. The critic, James Huneker, noted literally hundreds of unfinished canvases in Luks upper Manhattan studio which he would either re-work or paint over. But when Luks was “on” he was a forceful painter of huge talent and confidence, noted for his sure, brilliant handling of a brush.
Ephemeral New York: Posts Tagged ‘George Luks’~