Henry Marvell Carr

Henry Marvell Carr, “Maurice Alan Easton”, 1944, Oil on Canvas, 76.2 x 63.5 cm, National Maritime Museum, Greenwich, London

Born in August of 1894 in Leeds, England, Henry Marvell Carr was a British portrait and landscape painter. He studied at Leeds College of Art and did his postgraduate work at the Royal College of Art under painter and printmaker William Rothenstein, best known for his work as a war artist in both World Wars.

Henry Carr served in the Royal Field Artillery in France during World War I. The work he produced as a war artist was exhibited at London’s Royal Academy in 1921, and in other British and Parisian galleries. Among the works Carr painted during the 1920s were landscapes depicting England’s south coast and portraits of Olivia Davis, his daughter, and writer Aldous Huxley.

At the outbreak of war in 1939, Carr received an appointment by the War Artists’ Advisory Committee to serve as an official war artist. The first exhibition of his war paintings was held in July of 1940 at the National Gallery in London, which included his 1940 “Dismantling Emergency Water Tank”, a tableaux depicting the removal of one of the National Fire Services’s storage tanks installed during the Nazi bombardment of London. Other wartime works of Carr includes the 1941 “Incendiaries in a Suburb”, “Merchant Seaman Fireman” in 1942, and views of London’s gothic Saint Pancras Station and Saint Danes Church on the Strand.

Between 1942 and 1945, Henry Carr was later attached to the British First Army in North Africa and Italy, where he painted the battles, infantrymen, and casualties of these campaigns. Among his works in this period were portraits of General Dwight Eisenhower and naval telegraph operator Maurice Easton, and a 1945 depiction of a gun crew stationed at the entrance to the port of Algiers, entitled “A Bofors Gun, Algiers”. While stationed in Italy in 1944, Carr witnessed and painted a major eruption of Mount Vesuvius which occurred in late March and destroyed several towns.

After the war, Carr resumed his career as a portrait painter. He was elected a Fellow of the Royal Society of Portrait Painters in 1948, and, in 1956, was awarded the Paris Salon’s Gold Medal. In 1966, Carr was elected Royal Academician at London’s Royal Academy. He published two academic works, the 1952 “Portrait Painting” and “Portrait Drawing” in 1961. Henry Marvel Carr died in South Kensington, London, in March of 1971 at the age of seventy-five.

Henry Carr’s 1944 head and shoulders portrait “Maurice Alan Easton” depicts Easton, who had a hostilities-only rating, in his seaman’s uniform and naval cap. As he was a telegraphist, Eason bears the radio communicator’s badge on his right arm. Originally a civilian railway clerk from Oxfordshire, Easton was selected from his naval barracks at Naples by Captain Carr who was working there as a wartime artist. In order to impart a symbolic significance to the portrait of the young man, Carr used fluid brushstrokes and portrayed Easton in a heroic stance.

Carr’s finished work was exhibited simply as “The Sailor” in the Navy League’s post-war “Naval Art Exhibition”, which was held at the Suffolk Street Galleries and opened by the First Lord of the Admiralty on the 29th of January in 1946. The image of Easton was also used as a poster for the show, which greatly astonished Easton when he was sent back to London at that time and saw his face on the advertising billboards. Greenwich’s Maritime Museum only learnt the identity of the sitter, and the circumstances surrounding the portrait, from a 1946 clipping of the Sunday Dispatch newspaper, that it received in 1975 from an acquaintance of Maurice Easton.

Insert Image: Henry Marvell Carr, “Staff Sergeant Major E. A. Billett”, 1943, Oil on Canvas, 60.9 x 51.4 cm, Imperial War Museum, London

Jan Muller

Jan Muller, “The Martyrdom of Saint Sebastian”, circa 1699, Engraving, 53.6 x 33.8 cm, The Metropolitan Museum of Art, New York

At the end of the sixteenth and early in the seventeenth century, Dutch Mannerist artists turned their attention to the German master Albrecht Dürer and other northern Renaissance artists, creating a revival of interest in their works. Printmakers copied these earlier designs or made new compositions emulating the style of their predecessors.

Born in 1571 in Amsterdam, Jan Muller was one of these reproductive engravers. He most likely received his initial training in engraving from his father, Harmen Jansz Muller, an engraver and owner of The Gilded Compasses, a publishing business in Antwerp. Jan Muller’s work is generally associated with the school of Hendrick Goltzius, the most prominent of the Dutch Mannerist engravers, with whom Muller was employed until about 1589.

Though Jan Muller made engravings based on his own designs, he was essentially a reproductive engraver for works by Haarlem Mannerists or Prague artists, such as painter Bartholomeus Spranger and engraver Hendrick Goltzius. Muller had contact with many artists in the Prague area including, by relation through family marriage, Dutch sculptor Adriaen de Vries, who was working at Emperor Rudolf II’s court.

During the late 1590s, Muller would often be employed by Emperor Rudolph to reproduce the designs of artists working at the royal court. The work he produced were characterized by an array of engraving techniques including areas of hatching and broad, sinuous lines. From 1594 through 1602. Muller traveled in Italy and lived in both Naples and Rome, where he continued to make engravings, including what are considered his most accomplished works.

After 1602, Jan Muller continued to produce engraved portraits and a few other works. Upon his return to Amsterdam, he virtually abandoned his engraving and managed The Gilded Compasses, which he had inherited. Muller’s inheritance from his father included all his father’s engraved copperplates, artwork and printed paper along with the tools and their accessories. Between 1624 and his death in 1628, Jan Muller produced only four known compositions and one painting, whose provenance is firmly attributed to him through his inventories and will.

Top Insert Image: Jan Muller, “The Martyrdom of Saint Sebastian”, Detail, circa 1699, Engraving, 53.6 x 33.8 cm, The Metropolitan Museum of Art, New York

Bottom Insert Image: Jan Harmensz Muller, “Two Wrestlers”, 1588-1592. Engraving, 16.8 x 21.2 cm, Rijksmuseum, The Netherlands

Guillermo Martin Bermejo

The Drawings of Guillermo Martin Bermejo

Born in 1971, Guillermo Martin Bermejo is a Spanish Postwar and Contemporary artist who is currently based in a small village north of Madrid. Influenced by the works of French novelist Marcel Proust and Swiss painter and graphic artist Otto Meyer-Andem, Bermejo’s pencil drawings reference both historical paintings and literature to form a very personal world.

Drawn in pencil on pages from second-hand notebooks and the covers of paperback books, Bermejo’s work, although deceptively simple in composition, is woven with his own life experiences and memories. While some of his drawings are simple portraits, others portray elaborate scenes which contain the settings and the traditions of village life in the mountainous area of norther Spain.

Guillermo Bermejo’ stylized figures, often taken from history, appear in subtly altered scenes taken from renowned artworks, These figurative scenes act, in a visual sense, as legends in which the total story is understood only through the underlying meaning of the objects placed in the tableaux. An example of this is found in Bermejo’s 2020 “Aschenbach’s Dream”, a drawing which relates to an interpretation of Thomas Mann’s “Death in Venice”, drawn with figures from Luchino Visconti’s 1971 film of the same name .

Guillermo Martin Bermejo’s work has appeared at the 2018 exhibition at Real Academia de San Fernando in Madrid, the Museo Carmen Thyssea Malaga in 2017, and the 2016 exhibiton at the Fundación Santiago y Segundo Momes in Valladolid. His most recent solo exhibition , entitled “La Pleyade de la Espana Moderna”, was held in 2019-2020 at Madrid’s Museo Lázaro Galdiano. Bermejo also exhibited at the 2020 Modern and Contemporary Art Fair in London. He is currently represented by the James Freeman Gallery in London.

The Museum of Contemporary Art in Madrid acquired a series of twelve drawings by Bremejo in 2020 for the collection. His works appear in a number of notable collections, including the Koc Collection in Istanbul, the Caja Collection in Madird, the Marine International Bureau in Mónaco, and the Spanish Embassy in Tokyo, Japan.

Yerebatan Samici: Basilica Cistern

The Yerebatan Samici (Basilica Cistern)

The Yerebatan Samici, or Basilica Cistern, is the largest of several hundred cisterns located beneath the city of Istanbul in Turkey. Built in the sixth-century during the reign of Byzantine Emperor Justinian I, it is located one hundred-fifty meters southwest of the Hagia Sophia and currently maintained as a tourist site.

Before the construction of the cistern, a public building serving as a commercial, legal and artistic center, called the Stoa Basilica, was located on the site of the large public square at the First Hill of Constantinople. After assuming control of the empire in 324 AD, the Emperor Constantine built the Basilica Cistern on that site. The cistern served as a water filtration system for the extensive palace complex of Constantinople and other public buildings on the hill. After the Nika Riots of 532 destroyed nearly half of the city of Constantinople, the original cistern was rebuilt and enlarged during the reign of Emperor Justinian.

The Basilica Cistern/s chamber is about ninety-eight hundred square meters and is capable of holding eighty-thousand cubic meters of water. The ceiling, nine meters in height, is supported by twelve rows, spaced five meters apart, of twenty-eight marble columns, with capitals of mainly Corinthian and Ionic styles. The majority of the columns, carved and engraved from various types of marble and granite, were likely brought to Constantinople from other parts of the empire

Entrance to the Basilica Cistern is reached through a descent down fifty-two stone steps to the water storage. The source for the cistern’s water supply is the current Eğrikapı Water Distribution Center in the Belgrade Forest, located nineteen kilometers north of Istanbul. The water’s long journey includes a one-thousand meter run through both the Valens and Mağlova Aqueducts to reach the storage basin of the cistern.

The Basilica Cistern has undergone several restorations since its foundation. During the eighteenth-century reign of Ottoman Emperor Ahmed III, architect Muhammad Agha of Kayseri oversaw a major restoration in 1723. A second major restoration during the nineteenth-century was conducted during the reign of Sultan Abdulhamid II. The Metropolitan Museum of Istanbul also undertook two repairs to cracks in the masonry and damage to the columns, the first in 1968 and the second in 1985.

During the 1985 restoration, fifty thousand tons of mud were removed from the Basilica Cistern, and platforms for tourists were built to replace the former tour boats. The cistern was opened to the public on the 9th of September in 1987. It has appeared as settings in fiction novels, video games, and films, including the 1063 James Bond “From Russia with Love” and Jean-Baptiste Andrea’s 2013 thriller “Brotherhood of Tears”

Jacques Azéma

Paintings by Jacques Azéma

Born in 1910, Jacques Azéma was a French artist who made Marrakech his home in 1930. At the age of twenty, he had traveled throughout North Africa, until he finally settled in Morocco, his home for the next fifty years.

Azéma’s work grew from his fascination with Morocco’s geometric patterns prevalent in its architecture, mosques, and tiled walls and floors. Influenced by the works of the Surrealists, his soft, richly colored works include scenes of artisans at work, Marrakech street scenes, entertainers in the Jemma el Fna square, and local traditions among the people.

Azéma’s small-format paintings reveal a dreamlike representation of Morocco, which closely represents the pictorial language of such surrealists as Giorgio de Chirico and Pierre Puvis de Chavannes. Azéma’s paintings greatly influenced a large number of aspiring Moroccan artists during the 1930s, including Marrakech artist Mohamed Ben Allel, whom Azéma encouraged to paint without heed of traditions.

Jacques Azéma was a professor of drawing and painting in Marrakech. As part of the group organized by Mahjoub Ben Seddik, one of the founders of the Moroccan Labor Union, Azéma taught painting workshops at Casblanca’s École des Beaux-Arts from 1962 to 1974. He also taught animated painting workshps at Marrkech’s Lycée Mangin High School, where he made an impact on its art students.

Jacques Azéma passed away in 1979 in Marrakech. A retrospective of his lifetime achievements and unique body of work was shown in 2008-2009 at the Yves Saint Laurent Museum in Marrakech. Many of his works are in private collections.

Carlos Mérida

Top Image: Carlos Mérida, “The Three Princesses”, 1955, Lacquer and Casein on Parchment on Laminated Wood, 41 z 32 cm, Saint Louis Art Museum

Bottom Image: Carlos Mérida, “Los Hechiceros (Sorcerers)”, 1958, Oil and Polytec on Panel, 70.2 x 109.9 cm, Private Collection

Born in Guatemala City in December of 1891, Carlos Mérida was a Guatemalan artist who was one of the first artists to fuse European modernism to Latin American themes. His heritage was of mixed Spanish and Maya-Quiché ancestry, a culture he promoted throughout his career. Although initially studying both art and music, Mérida, due to the partial loss of his hearing at age fifteen, concentrated his talents on his artwork, with a particular emphasis on painting.

Mérida entered Guatemala City’s Institute of Arts and Crafts, and later enrolled at the Institute of Science and Letters, where he became interested in the avant-garde movement. In 1910 at the age of nineteen, Mérida, with the help of Catalan artist, poet and writer Jaime Sabartés, organized his first solo exhibition at the offices of EL Economista, one of Guatemala City’s newspapers. Later in the same year, seeing little opportunity for an art career in Guatemala, he traveled to Europe where he settled in Paris, sought employment, and traveled the continent.

During his stay in Europe, Mérida became acquainted with many of Europe’s emerging artists, such as painters Pablo Picasso, Piet Mondrian, and Amedeo Modigliani. He also met Latin American artists who were studying in Europe at that time, including Diego Rivera, Ángel Zárraga, and Gerardo Murillo Cornado. Mérida exhibited his work, primarily figurative and landscape, at the Independent Salon and the Biroux Gallery, both located in Paris.

Returning to Guatemala in 1914, Carlos Mérida developed an interest in the diversity of his country’s folklore and pre-Hispanic art, which he began to use as a theme for his work. He exhibited his new work in the following year at his second show in Guatemala, an exhibition that would mark the beginning of modern painting in Guatemala. In 1919, after staying five years in Guatemala, Mérida moved to Mexico City. Gaining recognition for both his easel and mural works, he had his first exhibition in Mexico in 1920 at the National School of Fine Arts and, in the same year, his first show in the United States at the Hispanic Society of New York. One of Mérida’s earliest projects in Mexico was working on the great 1922 mural at the National Preparatory School as an assistant to Diego Rivera, who introduced him to the politically driven Mexican Social-Realism movement.

In the late 1920s, Mérida returned to Europe, where his work underwent a shift inspired by the avant-garde works he encountered. Over the two decades from 1928 to 1948, Mérida had forty-five exhibitions in the United States, including New York’s 1922 Independent Artists Exhibition , and eighteen shows in Mexico, including the 1940 International Surrealist Exhibition in Mexico City.

Carlos Mérida is best known for his mural and canvas work, most of which was executed in Mexico. He also did engraving, theater set design, and mosaic work; however, his preference was towards works on canvas. Like his contemporary Rufino Tamayo, with whom he shared a 1930 exhibition at the Art Center of New York, Mérida generally did not paint large-scale narrative paintings, and was more interested in painting than politics. His work was not concerned with the representation of things, but rather a concept of them.

Mérida’s body of work shows a progression of experiments in form, color and techniques, with music and dance, two passions in Mérida’s life, influencing the work’s rhythmic flow. From 1907 to 1926, during the art world’s transition from Impressionism to Cubism, his early work in Europe was figurative, influenced by the works of Picasso and Modigliani. Mérida’s surrealistic phase began in the late 1920s and continued to the middle of the 1940s. At this time, he became one of Mexico’s first non-figurative painters with a series of works leaning towards abstractionism. From 1950 until his death, Mérida’s work is marked with a focus on geometric forms, particularly those found in indigenous cultures such as the Maya.

Carlos Mérida, convinced of a need to establish a natively American art form, felt it was important to emphasize his New World identity and culture. His work reflected on both Aztec and Maya cultures, including its folklore, and promoted its indigenous motifs. Mérida painted the indigenous people and landscapes of Mexico and Central America without the sentimental overtures of his predecessors. The discovery of the Bonampak ruins in 1946, with its temple frescoes, bas-reliefs, and burials, inspired him with new ideas which eventually led to his integrating painting and sculpture into architecture.

In 1932, Mérida, along with Carlos Orozco Romero, founded the dance school of the Secretaiat of Public Education which he oversaw for three years. His interest in dance led to designing stage sets and costumes for twenty-two performances from 1940 to 1979. He also documented one hundred and sixty-two examples of indigenous dance, including pre-Hispanic. Mérida’s first retrospective was in 1966, followed by one in 1981 and again in 1992. A man committed to promoting the handcrafts and folk art of Latin America, particularly those of Guatemala, Carlos Mérida died in Mexico City at the age of ninety-four on December 21st of 1985.

Carlos Mérida’s works are held in the collections of the Art Institute of Chicago, the Art Museum of the Americas in Washington, D.C., the Los Angeles County Museum of Art, the Brazil’s Museo de Arte Moderno in San Paolo, the Instituto Nacional de Bellas Artes in Mexico City, and the Philadelphia Museum of Art, among others.

Top Insert Artwork: Carlos Mérida, Untitled, 1925-27, Lithograph, Images of Guatemala Series, 22.8 x 33 cm, San Antonio Museum of Art

Bottom Insert Artwork: Carlos Mérida, “El Ojo del Adivino (The Eye of the Fortune Teller)”, 1984, Oil on Canvas, 105.2 x 90.7 cm, Private Collection

Ego Rodriguez

The Illustrative Work of Ego Rodriguez

Born in Gijón, Spain, in 1976, Ego Rodriguez is a self-taught, freelance graphic designer who has been based in the East End of London for the last twenty years. Born into an artistic family and initially trained by his parents in the arts, he began drawing in sketchbooks at an early age. Rodriguez’s work is currently focused on digital media; but he also creates work in acrylics, inks, mixed media, and watercolor.

Inspired by the fashion illustrations of Antonio López and Stefano Canulli, Rodriguez’s illustrative work is predominately portraiture, done with well-defined aesthetics, clean edges, bold strokes, and contrasting colors, similar in style to the fashion illustrations of René Gruau, one of the best known artists of the haute couture world during the 1940s and 1950s. The central part of Rodriguez’s work has formed around his homoerotic images of male figures and his film world images due to their popularity.

In the beginning of Rodriguez’s art career, commissioned portraits for friends formed the basis of his art. Since then, his current body of work has included postcards, editorial work, logos, websites, wall paintings, and illustrative work for magazines, both online and published. Some of his clients have been Attitude, QX Magazine, Gay Times, and The Advocate. Rodriguez has also contributed work for The Pigeon Hole, an online global book club, and Swide, an online luxury magazine.

Ego Rodriguez’s exhibition entitled “Macho” was featured in 2012 and 2014 in London, and also has been shown at Pride events worldwide.

More images, information on commissions, and contact can be found at the artist’s site: https://www.egorodriguez.com

Frank Duveneck

Paintings by Frank Duveneck

Born in October of 1848 in Covington, Kentucky, Frank Duveneck was an American etcher and painter. He began painting in his early teens and was employed as an assistant to Wilhelm Lamprecht, a graduate of Munich’s Royal Academy who began a mission to decorate churches in the Cincinnati region. In 1869, Duveneck traveled to Munich where he intended to continue his study of church decoration.

After developing an interest in easel painting, Duveneck enrolled in 1870 at the Royal Academy of Fine Arts in Munich, where he studied under painters and illustrators Wilheim Diez and Alexander Strähuber.. Gaining distinction for his work, Duveneck won a prize in 1872 that entitled him to a studio of his own. Some of his best known works were painted during his time in Germany, including his 1872 “Whistling Boy”. one of Duveneck’s first renditions of working-class ruffians, now housed in the Cincinnati Art Museum.

Frank Duveneck’s work of this period are painted in a vigorous style that reveals the influence of Wilhelm Leibi, who was the leader of a group of young German realists guided by French realist Gustave Courbet’s innovative and social-themed work. Duveneck’s early style, with its generally dark colors and expressive brushwork, was a melding of contemporary German practice with his interest in the techniques of the Old Masters, particularly the seventeenth-century Dutch and Flemish painters.

Duveneck returned to Cincinnati in 1873, and, in the following year, exhibited portraits he had painted in Germany. His reputation as an artist in the United States began with a successful 1875 Boston exhibition of his work where his bold and spontaneous style caused a sensation. Despite encouragement to stay in Boston and paint commissioned portraits, Duveneck returned to Germany where he set up a studio in Munich and began to develop a reputation among its American students.

After a trip to Venice in 1877, Frank Duveneck opened his own painting school in Munich, which soon drew the attention of studying artists. His students, who would become known as the Duveneck Boys, included such future artists as portrait painter and illustrator John White Alexander, and impressionist landscape painters Theodore Wendel and John H. Twachtman. In 1879 Duveneck and his students traveled to Italy, where they would remain for the next two years spending winters in Florence and summers in Venice.

Duveneck was elected to the Society of American Artists in 1880. Around this time, he became interested in etching and produced several works in this medium which were similar in style to those of James Whistler, whom Duveneck had met in Venice. This collection of works were exhibited in a London exhibition in 1881. After 1880 Duveneck altered his painting style to one of lighter colors and less somber lighting effects, which might have been a response to his stay in Italy.

In March of 1886, Frank Duveneck married Elizabeth Boott, one of his students. They lived at Villa Casteliani in Florence for two years and had one son, Frank Boott Duveneck. After his wife’s 1988 death of pneumonia in Paris, Duveneck made the decision to return in the following year to the United States. He taught painting classes at Cincinnati, New York and Chicago, and frequently traveled to Europe throughout the 1890s. Duveneck became a teacher at the Art Academy of Cincinnati in 1890 and became a regular faculty member in 1900. He was elected into the National Academy of Design in 1905, and became a full Academician in 1906.

Duveneck exhibited his works in a private room at the 1915 Panama-Pacific Exposition held in San Francisco; his works were received with great acclaim, and he was awarded a Special Gold Medal of Honor. Before his death in Cincinnati on January 2, 1919, Frank Duveneck donated a large and important group of his works to the Cincinnati Art Museum, which remains the center for Duveneck studies. His works can be seen at the New York’s Metropolitan Museum of Art, the National Gallery in Washington, DC, Boston’s Museum of Fine Art, and the Smithsonian American Art Museum, among others.

Top Insert Image: J. Land, Portrait of Frank Duveneck, 1877, Detail, Photographic Sepia Print on Cabinet Card, Smithsonian Institution

Middle Insert Image: Frank Duveneck, “Study for ‘The Harem Guard”, 1879, Oil on Canvas, 76.2 x 66 cm, Fine Art Museums of San Francisco

Bottom Insert Image: Frank Duveneck, “Self-Portrait”, 1877, Oil on Canvas, Cincinnati Art Museum

Lynn Leland

Paintings by Lynn Leland

Born in Buffalo, New York in 1937, Lynn Leland studied at the Pratt Institute and Hunter College in New York, and continued his studies at the University of Delaware, where he achieved a Master’s Degree in Art History. After graduation, Leland worked as a dean of students at the New School in Manhattan. Awarded a Fulbright scholarship in 1961 to study in Europe, he attended the University of Fine Arts in Hamburg, where he studied under the Scottish sculptor Eduardo Paolozzi, widely considered as one of the pioneers of pop art.

Active in the art scene of 1960s New York, Leland exhibited his work at the A. M. Sachs Gallery and at the Simon Preston Gallery on the Lower East Side. On the recommendation of Metropolitan Museum of Art curator and historian Henry Geldzahler, Leland’s work was included in the influential exhibition “The Responsive Eye” held at the Museum of Modern Art in 1965. This exhibition of one hundred twenty-five works, employing geometry and theories of perception and color, was organized by MoMA curator William Seitz and became one of the museum’s most popular shows at the time.

Lynn Leland’s work was also included in many group exhibitions, including the Brooklyn Museum Biennial in 1960, the “Optics and Kinetics” exhibition at Ohio University in 1965, “Multiplicity” at Boston’s Institute of Contemporary Art in 1966, and the “Harry Abrams Collection” exhibition in 1966 at the Jewish Museum in New York’s Upper East Side.

Leland’s artwork included abstract color compositions, wood block prints, watercolor paintings, landscape paintings and photography. Based partially on his interest in contemporary musical composition, Leland’s abstract work throughout the 1960s remained focused on the optical effect of ordered grids of colored circles. Becoming disillusioned with the art market by the early 1970s, he stopped entering exhibitions and focused on a career in the art education field..

Lynn Leland had a full career as a public school art educator in the New York City public school system, teaching art to junior high school students from the 1970s to 1990s. Upon his retirement, he moved to El Paso, Texas where he continued to pursue his interests in photography and painting, and exhibited his work locally. He was a member of the El Paso Art Association and the Photography Enthusiasts of El Paso. In order to be near his son Kipp Leland’s family, Lynn Leland moved to Helllertown, Pennsylvania, where he later passed away in 2019.

August Sander

August Sander: Portraits from “People of the Twentieth Century”

Born in 1876 in Herdorf, a small village east of Cologne in Rhineland-Palatinate, Germany, August Sander was a photographer, now viewed as a forefather of conceptual art and a pioneering documentarian of human diversity.

Sander spent his time, between 1897 and 1899, as a photographer’s assistant during his military service. In 1901, Sander started working for a photo studio in Linz, Austria, became a partner in 1902, and then the proprietor in 1904. By this time, he already had several exhibitions and purchases of his work by museums. After many successful exhibitions of his work, Sander relocated his studio to Cologne.

In 1911, August Sander began the first series of portraits for what would be his monumental project, “People of the Twentieth Century”, an archived and sustained photographic enterprise of twentieth-century man, These emphatically objective photographs from the years of the Kaisers, the Weimar Republic, the Nazi regime, and the early Federal Republic make up an unprecedented document of both the individual and the collective recent history of the German people.

In 1927, August Sander traveled through Sardinia for three months, where he took hundreds of photographs. A exhibition of his portraits at the Kölnische Kunstverein in 1927 received positive reviews from both critics and the public. This exhibition led to the 1929 publishing of Sander’s “Antlitz der Zeit (Faces of Our Time)”, which included the first sixty portraits from his twentieth-century series and an introduction by German novelist and essayist Alfred Döblin.

Under the rise of the Nazi regime in Germany, Sander’s work and personal life were greatly restrained. In 1934, Sander’s son Erich, a member of the Socialist Workers’ Party, was arrested and sentenced to ten years in prison, where he died shortly before the end of his sentence. The printing blocks for Sander’s “Antlitz der Zeit” were destroyed and unsold copies impounded in 1936 by the authorities, most likely due to the publication’s image of a heterogeneous German society of which the Nazi Party disapproved.

Despite the political situation in Germany between 1933 and 1945, August Sander continued working in his Cologne studio, portraying intellectuals, Jewish citizens, National Socialists, as well as regular people from the street. Many of these commercial portraits were included in his opus ”People of the Twentieth Century” where they became a political statement. Beginning in 1942, Sander started to relocate the most important parts of his negative archive to Kuchhausen, a small village in Westerwald, where he continued both his commercial photographic work and his project wor

Although August Sander’s main studio in Cologne was destroyed in a 1944 bombing raid, tens of thousands of his negatives, which he had left behind in the basement of a former apartment in Cologne, survived the war. In a later 1946 fire, approximately twenty-five thousand negatives were destroyed in the same apartment basement. In 1946, Sander continued his historical archive with a post-war photographic documentation of the bombed city of Cologne in 1946.

Sander sold a portfolio of four-hundred and eight photographs of Cologne, taken between 1920 and 1939, to the Kölnisches State Museum in 1953. These photos would form the 1988 book “Koõin wie es War (Cologne As It Was)””. In 1962 an edition of eighty photographs from the “People of the Twentieth Century” was published as a book entitled “German Mirror: People of the Twentieth Century”. Still working on his project at the age of eighty-eight, August Sander died of a stroke on April 20th in 1964. His body was buried next to his son Erich in Cologne’s Melaten Cemetery.

One of the most ambitious undertakings in the history of photography, the “People of the Twentieth Century” project occupied Sander for some 40 years, from the early 1920s until his death, during which he took portraits of hundreds of German citizens and then categorized them by social type and occupation — from farm laborers to circus performers to prosperous businessmen and aristocrats. Remarkable for their unflinching realism and deft analysis of character and lifestyle, Sander’s individual images stand out as high points of photographic portraiture and collectively propose the idea of the archive as art.

Although the Nazis confiscated the first publication of Sander’s work, and the majority of his negatives were later destroyed by fire, approximately eighteen hundred portrait negatives for “People of the Twentieth Century” survived, as well as Sander’s notes and plans. Together with the existing vintage prints, they have provided the basis for current reconstruction of Sander’s ambitious project in both book and exhibition form.

Middle Insert Image: August Sander, “Workmen in the Ruhr Region”, 1928, Silver Gelatin Print, August Sander Archive, VG, Bild-Kunst

Kelly Fearing

Kelly Fearing, “The Lifters”, 1944, Etching, 24.3 x 20.9 cm, Blanton Museum of Art, Austin, Texas

Born in Arkansas in 1918, Kelly Fearing was a painter, print maker, and teacher. He studied art at Louisiana Tech University and New York’s Columbia University, where he earned his Master’s Degree in 1950. He relocated to Fort Worth, Texas, in 1943 and joined the Fort Worth Circle, a progressive art colony, mostly young artists, which was active during the 1940s and 1950s.

Though not defined by a specific aesthetic, the Fort Worth Circle was important for moving beyond the realism and agrarian subject matter of American Regionalism, which dominated Texas art in the 1930s and 1940s. Kelly Fearing and his Fort Worth cohorts were the first artists in the state to respond in a significant way to European artists such as Picasso, Braque, Klee, Kandinsky, Modigliani, Ernst, Klee, and Miro.

After teaching from 1945 to 1947 at Texas Wesleyan, Kelly Fearing assumed the Professorship of Art in the Department of Art and Art History at the University of Texas at Austin, where he taught for forty years. A noted art educator, he co-authored several multi-volume art education textbooks from 1960 through the 1980s. As a pioneer in art education in America, Fearing founded The University of Texas Junior Art Project, the first visual arts outreach program of its kind in Texas. He became Professor Emeritus at the University of Texas in 1987 and, after his retirement, continued to work as a professional artist.

Kelly Fearing worked in almost all traditional mediums, with prominence in oil painting and collage work. The work from his Fort Worth years is abstract in form, surrealistic and filled with allegory., characteristics which would remain throughout the body of his work. Fearing’s art has been referred to as magical realist, mystical naturalist and Romantic surrealist.

Kelly Fearing died on March 13, 2011 from congestive heart failure at the age of ninety-two. More than 80 of his prints and drawings are in the Blanton Museum of Art’s permanent collection.

More works by Kelly Fearing can be found at: https://ultrawolvesunderthefullmoon.blog/2015/07/16/six-etchings-by-kelly-fearing-kelly-fearing-was/

Robert Delaunay

Robert Delaunay, “Manège de Cochons”, 1905-1918, Gouache and Watercolor on Paper, 52.5 x 49.8 cm, Private Collection

Born in Paris in April of 1885, Robert Victor Félix Delaunay was one of the earliest completely unrepresentational painters, whose work affected the development of abstract art.. In 1902, after finishing his secondary education, he was apprenticed for two years to study decorative arts with a theatrical designer located at the Impasse Ronsin in the Belleville district of Paris, where he worked on theater sets. At the age of nineteen, Delaunay left Ronsin to focus on his painting and entered six of his works at the 1904 Salon des Indépendants

Delaunay traveled to Brittany, where he was influenced by the Pont-Aven group, symbolist artists inspired by the pure color of Paul Gauguin’s works. The works he painted in Brittany he presented at the 22nd Salon des Indépendants. Between 1905 and 1907 Delaunay became friends with Henri Rousseau and Jean Metzinger, with whom he shared a 1907 exhibition at art dealer Berthe Weill’s gallery. Delaunay, familiar with the color theories of French chemist Michel-Eugéne Chevreul, started painting at this time in a Neo-Impressionist manner influenced by the work of Paul Cézanne.

After returning to Paris in 1908 from a year in military service, Robert Delaunay began painting multiple series of works in a style that used bold colors and was increasingly influenced by abstraction and cubism. These series included the 1909-1911 “The City”, the “Eiffel Tower” executed 1909-1912, and the 1912-1914 “Window” series. Delaunay started to use pure colors again early in 1912 and, at the end of the year, had painted his first two abstract paintings: the 1913 “Circular Forms” series and “The First Disk” series.

In 1910, Delaunay married textile and theater set designer Sonia Terk who, in 1964, would become the first female artist to have a retrospective at the Louvre. Together, with Czech painter and graphic artist František Kupka, they pioneered an offshoot of Cubism called Orphism, which today is seen as a key transition from Cubism into Abstract art. Orphism reintroduced the use of strong color during cubism’s monochromatic phase and was known for its geometric shapes.

In 1911, Robert Delaunay began exhibiting in Germany; he was invited by Vasily Kandinsky to participate in the first Der Blaue Reiter (Blue Rider) exhibition held at Heinrich Thannhauser’s Moderne Galerie in Munich. Delaunay’s first solo major exhibition in Paris was held in 1912 at fashion designer Paul Poiret’s contemporary Galeries Barbazanges. This show, containing forty-six works from his impressionist period to his cubist Eiffel Tower series, gained him recognition as a monumental visionary artist.

During the period from the outbreak of war in 1914 to 1920, Delaunay and his wife spent the years in Spain and Portugal. In 1917 in Madrid, Delaunay met Russian art patron and ballet impresario Serge Diaghliev and designed the stage set for Diaghilev’s production of “Cleopatra”; Sonia Delaunay produced the designs for the porduction’s costumes. Delaunay would later produced illustrations for Chilean post Vicente Hudobro’s work “Tour Eiffel”. Both Robert and Sonia Delaunay exhibited their work from their time in Portugal at a 1920 show in Berlin’s Der Sturm gallery.

In 1921, Robert Delaunay returned to Paris where he continued to work in both figurative and abstract themes, with an 1922 exhibition of his new work at Galerie Paul Guillaume . He would later be introduced to artists in both surrealism and the Dada movement by poets André Breton and Tristan Tzara. In 1924, Delaunay started his “Runner” series of paintings and, in the next year, executed frescoes for the international Exhibition of Decorative Arts in Paris.

Delaunay returned to complete abstraction in 1930 and produce compositions with circular disks and color rhythms, sometimes executed in low relief. For the 1937 Paris International Exhibition, he participated in the design of large panels and colored reliefs to be used in the Aeronautics pavilions. Delaunay’s last works were decorations for the sculpture hall of the 1938 Salon des Tuileries, an annual painting and sculpture exhibition.

Stricken with cancer, Robert Delaunay lost mobility and his health gradually deteriorated. He died from cancer on October 25, 1941 in Montpellier, at the age of fifty-six. In 1952, Delaunay was reburied in Gambais, a commune in north-central France.

Tule Clow

Paintings from the “Postanovka” Series by Tule Clow

Tule Clow was born in Arcata, California, in 1977 and currently lives in St. Petersburg, Russia. She graduated from Bowdoin College in Maine, where she studied drawing under Thomas Cornell, known for his empirical drawings and paintings with themes of social justice. Clow later studied painting at the St. Petersburg Academy of Art from 2012 to 2018. Her work has been exhibited in both London and St. Petersburg galleries.

Between 2014 and 2018, Clow produced her “Copies” series of works, executed inside the Hermitage Museum, which consisted of painted fragmental scenes from the works of Titian, Jacopo Tintoretto, and Paolo Veronese, the three great rival painters of the Italian Renaissance. Her 2016-2018 “Postanovka” series of paintings was the result of her investigation into postanovka, or постановка, the academic Russian art form of using live models in a staged set.

Gustave Caillebotte

Paintings by Gustav Caillebotte

French painter and art collector Gustave Caillebotte was born in 1848 in Paris to Céleste Daufresne and Martial Caillebotte, a wealthy textile mill owner. He began drawing and painting at a young age on his family’s estate in Yernes, located south of Paris. Caillebotte studied law, completing his law degree in 1868, and received his law license in 1870. Soon after his graduation, he was drafted to serve in the Franco-Prussian war as a member of the Garde Nationale de la Seine from July of 1870 to March of 1871.

Following the war, Caillebotte decided to pursue an artistic career. He visited the studio of Realist academic-painter Léon Bonnat, who reinforced his decision to take art as a serious career. In 1872, Caillebotte enrolled at the Êcole des Beaux-Arts and studied under Bonnat; however, he spent most of the time painting in his own studio at the family home. Within a short period of time, Caillebotte suffered several losses in his family life: his father died in 1874, his brother Rene in 1876, and his mother died in 1878. The family fortune was divided between the remaining two brothers, Gustave and Martial, both of whom agreed to the sale of the Yerres estate and moved to an apartment in Paris.

Beginning in 1874, Gustave Caillebotte met and befriended several artists who were working outside the influence of the Academie des Beaux-Arts; these artists included Edgar Degas, Claude Monet, Pierre-Augustus Renoir, Camille Pissarro, and Giuseppe De Nittis. Caillebotte made his artistic debut in 1876 at the Second Impressionist Exhibition in Paris, a show that would establish him as an indispensable figure in the group both artistically and financially. This loosely knit group of impressionist, avant-garde artists rejected the academic style of painting and the formality of the official Salon’s traditional exhibition protocols.

Caillebotte’s style, which so outraged the contemporary critics and academics, conversely inspired later artists to use some of his more radical compositional techniques. His paintings often contained highly unusual perspectives, such as viewpoints looking up from below at a slanting floor, and viewpoints gazing down from an indistinctive perch or standing on the edge of an intimate scene. Caillebotte also cropped his protagonists and scenes in an unconventional manner, such as the foreground figures in his 1877 “Rue de Paris; Temps de Pluie” and 1878 “The Painter Under His Parasol” whose lower body portions are beyond the image plane. These innovative techniques became features of future avant-garde artists from Van Gogh to Pablo Picasso.

Caillebotte helped finance and organize the Third Impressionist exhibition, in which he exhibited eight paintings. Included in this show was his best known work, the 1875 “Floor Scrapers”, which had been rejected and deemed vulgar by the official Salon in 1875 for its depiction of common laborers. Caillebotte played a major role as a source of patronage and financial support for artists, such as Monet and Pissarro who were still endeavoring to achieve more widespread success. His family wealth enabled his to pursue his own artistic career and provide support for his artistic friends whose means were limited; it also enabled him to collect their work, often purchased at inflated prices. In 1876 Caillebotte purchased several works by Monet, and also paid the rent for some of his friends’ studios. He was also a major force in convincing the Louvre Museum to purchase Édouard Manet’s 1863 controversial painting “Olympia”, which had caused a scandal at the Salon’s 1865 exhibition for its cold and prosaic treatment of the female nude.

In 1877, Caillebotte was the central organizer of the Third Impressionist Exhibition, which now had become an independent, unofficial and distinctly avant-garde salon. Although an important force in the avant-garde movement, his work did not explore the effects of light as did the other members’ work. Caillebotte was more a Realist in style, more aligned with the early works of Monet, Gustave Courbet and Édouard Manet. He exhibited seventeen paintings at the seventh impressionist exhibition and, along with Monet, refused to participate in the final 1886 exhibition due to tensions between artists.

Gustave Caillebotte relocated to a property in Petit-Gennevilliers, a suburb on the Seine River, in 1881. A former yacht racer, he became active in constructing yachts and spent a majority of his time discussing philosophy, politics, literature and art with his brother Martial and good friend Augustus Renoir. By the early 1890s, Caillebotte was barely painting; he had stopped producing the large canvases for which he was known in the previous decades. In 1894, at the age of forty-five, while working in his home garden, Caillebotte collapsed and died suddenly of a stroke. He is buried at the famous Pere Lachaise Cemetery in southeastern Paris.

Following his death, Caillebotte’s estate, in keeping with his will, attempted to make a generous donation of his large collection of paintings, which contained both his and other artists’ works, to the French State. The 1894 donation spurred controversy, which emphasized the still prevalent French Academy’s resistance to avant-garde art and artists. Academy officials, with the artist Jean-Leon Gerome in the lead, attempted to prevent the transfer of the works by the Impressionists and the important Post-Impressionists, such as Paul Cézanne, to the French National Museum.

These impressionist works had been consistently refused admission to the official Salons through the years; and the art establishment continued to oppose acceptance of what they referred to as unhealthy art. Only a portion of the works in the collection, of which only two were by Caillebotte, were ultimately accepted. In 1911, nearly thirty works from Caillebotte’s collection were purchased by Albert C. Barnes, an American physician, businessman, and art collector; these works form the core of the extensive collection of Modernist works at the Barnes Foundation in Philadelphia, Pennsylvania.

Until the 1950s, when Caillebotte family members began selling works from their private collection, including paintings by Caillebotte as well as works by other artists he had acquired, Caillebotte’s work was for the most part forgotten. Most of these works from the private collections were eventually purchased by Albert Barnes in 1954 and added to the Barnes Foundation. With the purchase of Caillebotte’s 1877 “Paris Street, Rainy Day” by the Art Institute of Chicago in 1964, the work of Caillebotte was brought again to the attention of collectors and the public.

Tope Insert Image: Gustave Caillebotte, “Self Portrait”, 1892, Oil on Canvas, 40.5 x 32.5 cm, Musée d’Orsay, Paris

Second Insert Image: Gustave Caillebotte, “The Orange Trees”, 1878, Oil on Canvas, 154.9 x 116.8 cm, Museum of Fine Arts, Houston

Third Insert Image: Gustave Caillebotte, “Balcony, Boulevard Haussmann”, 1880, Oil on Canvas, 69 x 62 cm, Museo Thyssen-Bornemisza, Madird

Bottom Insert Image: gustave Caillebotte, “Self Portrait in the Park at Yerres”, 1875-1878, Oil on Canvas, 64 x 48 cm, Van Gogh Museum, Amsterdam

Robert Littleford

Robert Littleford, “Acrobat”, 2019

Robert Littleford is an illustrator and designer. He studied at the Royal College of Art in London, where he earned his Master’s Degree in Illustration. Littleford’s work is mainly figurative and naive in style; his figures usually appear without facial definition and with extremities undefined. The influences on his work include the figurative, populist style of painter Fernand Leger, the pop art of David Hockney, and the ethnographical works of Henri Rousseau.

Littleford has exhibited his work at solo and group shows in London, New York, and Los Angeles. His paintings and illustrations have appeared in publications and advertisements, including The Wall Street Journal, Vogue, Conde Nast Traveller, National Geographic, and the Toronto Globe and Mail. Littleford has also created designs for both textiles and tshirts for such clients as Neiman Marcus, Harrods, Jeff Banks, and Paul Smith.

Robert Littleford is the designer and illustrator for “Adventure Walk Maps”, a city map series for London, Paris, Rome, and New York, among others. He was the illustrator for Bruce Bromley’s poetry book, “The Life in the Sky Comes Down: Essays, Stories, Essay/Story”, which examines life in New York after the Twin Towers fell. Littleford also illustrated Philip Dundas’s novel “Daniel, at Sea”, an old man’s life story from Franco’s Spain to the eastern coast of the United States. He is the author and illustrator of “The Yellow Coyote”.

“Drawing is the spiritual heart of many processes in art, from architecture and design to painting and sculpture. In a world increasingly dominated by digital representation, my practice seeks to explore and raise the profile of the importance of the human connection and fascination with the hand-drawn.’ —Robert Littleford

The artist’s site is located at: https://hand-drawn.site