Farhat Art Museum Collection مجموعة متحف فرحات

Frederick Coffay Yohn (1875-1933) Oil on canvas Measures 30×20 inches Fruits Vendor / Palestine. Farhat Art Museum Collection

Frederick Coffay Yohn (1875-1933)
Oil on canvas
Measures 30×20 inches
Fruits Vendor / Palestine.
Farhat Art Museum Collection

 

Yohn’s career focused on paintings and
illustrations of military and frontier subjects. His style was set early, and his forte was accuracy of expression. At 23, in 1898, his illustrations were included in part of a touring exhibition “Story of the Revolution,” and Yohn was credited as a star of the show.

The same year the “Hero of Vincennes” was published by Lowell Thomas, and
illustrated by Yohn, F.C. Yohn was designer of a 2-cent stamp issued in 1929
to commemorate the 150th Anniversary of George Rogers Clark’s victory over
the British at Fort Sackville (now Vincennes), Indiana.

A North African market Measures 16 x 21 inches Oil on Canvas Farhat Art Collection

A North African market
Measures 16 x 21 inches
Oil on Canvas
Farhat Art Collection

 

Erik Henningsen ( 1855-1930) important Danish impressionist. Signed lower left dated 1911 and titeled Algier. Measures:15,5 x 21 inch. (39 x 53 cm) Farhat Art Museum Collection

Erik Henningsen ( 1855-1930)
important Danish impressionist. Signed lower left
dated 1911 and titeled Algier.
Measures:15,5 x 21 inch. (39 x 53 cm)
Farhat Art Museum Collection

 

Pupil of A. Hellesen and C.V Nielsen. Educated at the royal Academy of arts in 1873. Henningsen was one of the leading artists in Danish naturalism during the 1880ties. Together with the artists Holger Drachmann and Christian Krohg, Henningsen changed the Romanism in art and chose his motifs and scenes as if he was reporting for a newspaper. Henningen works often depictured grim realism like paupers being thrown our of their homes, trial scenes with murders and other sad situations in the human life. Henningsen wanted to be objective in his works and used great effort to depict each situation as accurate as possible.
This let Henningsen to work with a new point of view that made the audience feel they participated in his works. For example: Flower shop scene seen from the florists point of view. This new angle often caused great debate since the works changed from being a piece of art into a manner of provocation. The works encouraged ideas and action instead of just being something pretty to behold. Henningesen worked primarily in Scandinavia but he also traveled and worked in Germany, Italy, France and the Nederland’s from 1892. Exhibitions: Charlottenborg: 1879-1931. – International Art Exhibition, Wienna:1882. – The world fair in Paris: 1889. – International Art exhibition, Berlin: 1892. – Munich: 1892. – Nord Art Exhibition, Lübech: 1895. – City Hall: 1901. – Glaspalast, Munich: 1909. – Gallery Bergenholz: 1922-1923. – The national gallery of arts, Copenhagen: 1930, 1961. 
Ref. Josephine Rydeng

http://en.wikipedia.org/wiki/Erik_Henningsen

Biography
Erik Henningsen was born on 29 August 1855 in Copenhagen to Frants Ludvig Henningsen (1820–1869), a grocer, and Hilda Charlotte Christine née Schou (1824–1880). He showed an early artistic talent and was articled to decorative painter A. Hellesen. He also took drawing lessons privately with C. V. Nielsen and was admitted to the Royal Danish Academy of Fine Arts in 1873. He graduated in 1877 and won several awards and distinctions, including the Academy’s Annual Medal in 1887 and 1890, the Ancher Prize in 1889, and in 1892 a travel scholarship of DKK 100.
His travels took him to Germany, Italy, France and the Netherlands.
Artistic career.

A meeting at Bogstaveligheden on 1 March 1882, drawing by Henningsen from 1910
Henningsen became part of the group Bogstaveligheden, a forum for the Realists’ humanitarian ideals about creating a better society through illumination and debate.[1]
In his paintings from the 1880s and 1890s, Henningsen was preoccupied with the rights and living conditions of groups such as the unemployed, women, workers, children and the elderly. Examples are Summum jus, summa injuria. The infantcide (1886, The Hirschsprung Collection and Evicted (1892, Danish National Gallery).
He also depicted the lighter aspects of human life, as in his paintings of street life in Copenhagen.

Henningsen’s mural in the aula of the University of Copenhagen: H. C. Ørsted, the president of the meeting, is speaking. Other people seen in the picture are Christopher Hansteen standing in front of him, and Japetus Steenstrup standing to the left
Towards the turn of the centory Henningsen mainly painted historical scenes. An example is his mural in the banquet hall of the University of Copenhagen’s main building on Vor Frue Plads in Copenhagen. It depicts the banquet at the Scandinavian Scientist Conference held in Roskilde in 1847. It completed a series of murals depicteding the history of the university of which the earlier painting had been created by Vilhelm Marstrand, Carl Bloch and Vilhelm Rosenstand.[2]
During the two first decades of the 20th century he mainly painted genre works from the lives of the bourgoisie.[3]
Illustrations and decorative works.

Tuborg poster. The Thirsty Man, 1900
Henningsen also worked as an illustrator, both for the weekly magazine Ude og Hjemme and books such as Pietro Krohns Peters Jul (1914).
In 1900, the Tuborg Breweries announced a competition for a “decorative advertisement poster” to mark its 25 years jubilee. The first prize, which was rewarded with a sum of DKK 10,000, was taken by Jens Ferdinand Willumsen, but it was ultimately Henningsen’s entry, known as The Thirsty Man, which was put into production by the brewery. It has since obtained iconic status and become one of the most immediately recognizable posters in Denmark.[4]

Selected works.
Morning in Adressekontorets Gaard (1881)
A snowy day at Gammeltorv (1886)
Summum jus, summa injuria. The infantcide (1886, The Hirschsprung Collection)
Break at Efterslægten School (1887)
Parade of the Infantry (1888, Danish National Gallery)
A constitutional celebration in the country (1891)
Woman at the Grøndalshuset (1892)
Evicted (1892, Danish National Gallery)
A wounded worker (1895, Danish National Gallery)
A lecture in the Dagmar Hall, Askov Folk High School (1903, Ribe Art Museum)

William Vincent Cahill (1878 – 1924) Title:Woman with a Mirror Measures 20″ x 16″ (50.80cm x 40.64cm) Mediam Oil/Canvas Signed Lower Left Farhat Art Museum Collection.

William Vincent Cahill (1878 – 1924)
Title:Woman with a Mirror
Measures 20″ x 16″
(50.80cm x 40.64cm)
Mediam Oil/Canvas
Signed Lower Left
Farhat Art Museum Collection.

William Vincent Cahill
Born in Syracuse, New York on April 8, 1878, William Cahill studied at the Art Students League in New York City under Birge Harrison and Howard Pyle, and in Boston under Tarbell and Benson.

In the early years of his career he had a studio in Woodstock, New York, and one in Boston which he shared with John Hubbard Rich. In 1914 he and Rich moved to Los Angeles where they established the School for Illustration & Painting. (By 1917 they had sold the school to J. Francis Smith.)

While in southern California, Cahill taught at his studios in Pasadena, Laguna Beach, and Hollywood. He taught drawing and painting at the University of Kansas during 1918, but by summer of 1919 he was back in his studio in Laguna Beach. In 1920 he and wife, Katharine, moved to San Francisco where he worked as a commercial artist for two years.

His last two years were spent in Chicago where he died of a heart attack on Aug. 11, 1924. An Impressionist, his work includes landscapes and figure studies.

Exhibitions:
Salmagundi Club, 1912 (prize); Woman’s Clubhouse (Hollywood), 1914; PPIE, 1915; Long Beach Public Library, 1916; SFAA, 1916; LACMA, 1917 (solo); Calif. Art Club, 1917-20; Sacramento Expo, 1917 (bronze medal), 1918 (silver medal); Painters & Sculptors of So. Calif., 1921; Laguna Beach AA annuals; AIC, 1924 (memorial); Cannell & Chaffin Gallery (LA), 1925 (memorial.

Collections:
Los Angeles County Museum of Art
Orange County (CA) Museum.
Source:
Edan Hughes, “Artists in California, 1786-1940″
Impressionism, The Calif. View; Southern California Artists (Nancy Moure); Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs (Bénézit, E); Dictionary of American Painters, Sculptors & Engravers (Fielding, Mantle); Art in California (R. L. Bernier, 1916); Death record; American Art Annual 1919-24; Chicago Tribune, 8-13-1924 (obituary).

Carl Oscar Borg (1879 – 1947) Title:”Souvenir Du Cairo” Measures: 17.50″ x 23″ (44.45cm x 58.42cm) Mediam: Watercolor/Paper Farhat Art Museum Collection

Carl Oscar Borg (1879 – 1947)
Title:”Souvenir Du Cairo”
Measures: 17.50″ x 23″
(44.45cm x 58.42cm)
Mediam: Watercolor/Paper
Farhat Art Museum Collection

Carl Oscar Borg, protégé of Phoebe Hearst, friend of personalities like Edward Borein, Thomas Moran and Charles M. Russell, could create any subject in any medium, and do it well. He was most successful and highly regarded during his lifetime, receiving numerous awards and medals.

In the annals of American art history, Carl Oscar Borg belongs to the group of artists including Joseph Sharp, E. Martin Hennings, Walter Ufer, Victor Higgins, and Oscar Berninghaus. Borg belongs also to the group of American artists who came to California at the turn of the century to record the California landscape—artists like Marion and Elmer Wachtel, Hanson Puthuff, and William Wendt who taught him painting techniques. Borg’s works are included in many major museum, university, and private collection throughout the United States.

Borg succeeded in preserving America’s cultural heritage by documenting the customs and religious ceremonies of the Native Americans that had been shared with him. He felt a kinship with the West and the people who introduced him to it. He used paint, canvas and brushes to express the unique qualities he found in New Mexico, Arizona and California. He captured the grandeur of this unusual scenery, which is emphasized by atmosphere, light, color and expanse.

Carl Oscar Borg was born into a poor family in Dals-Grinstad, Sweden on March 3, 1879. As soon as he could hold a pencil he started copying pictures from books. He had neither the vocabulary nor the concepts to articulate a philosophy, but he yearned to be a great artist. Borg apprenticed to a house painter at age 15, then moved to London and became assistant to portrait and marine painter George Johansen. He began painting during that time.

In 1901, he sailed for the U.S. and worked as a house and furniture painter in the East. It was not the life he had dreamt about, and at the urging of his friends he headed for California. Carl Oscar Borg discovered Santa Barbara in 1903 as he made his way from San Francisco to Los Angeles. California provided the opportunity, support, and the spiritual environments, which permitted his talents to unfold, and his genius to develop. He enjoyed sailing out to the Channel Islands and often camped out weeks at the time to paint.

Under the patronage of Phoebe Hearst, who recognized Borg’s talent, he was able to return to Europe to study art. It was also Mrs. Hearst who made arrangements with the Department of the Interior for Borg to live with the Native Americans. Borg wrote: “The inhabitants of these great solitudes, these limitless horizons, this wilderness of color and form, are marked by an Arcadian simplicity, by a dignity and reserve that I am sure would be hard to find among any other living peoples…” And every summer, while residing in California, Borg would return to the desert to spend time with his many intimate friends among the Indians.

He taught art at the California Art Institute in Los Angeles, and at the Santa Barbara School of the Arts. He was the first art director for major Hollywood studios and worked with Sam Goldwyn, Douglas Fairbanks and Cecil B. DeMille.

For twenty years Borg made his way as an artist in the West, but the West began to resemble the rest of America. Carl Oscar Borg did not like the changes. But the automobile, railroad and the movies did support him as an artist. The Santa Fe Railroad hung his paintings along with other prominent artist’s work in their offices to attract the interest and attention of the tourists. Touring Topics, the AAA’s publication, featured one of Borg’s Grand Canyon paintings on the cover. Borg had a special place in his heart for the Grand Canyon. He wished to have his ashes be given to the wind of the Canyon.

But times were changing. Many of his friends in California had died. Borg saw the growing popularity of modern art. It was clear that these artists were fighting a losing battle. Borg returned to Sweden in 1934 and again in 1938. He painted people and scenes of Sweden, and successfully exhibited his paintings of the American Southwest. Although he was an American citizen, he could not return to the United States until after the war. Borg was very homesick for California, and could not wait to get back. He wrote to his friend Edwin Gledhill that he could not spend another winter in Sweden.

He returned to Santa Barbara in September of 1945. Many of his friends had died, and he was estranged from the world that had evolved there. But he was at peace with himself. On May 8, 1947, Borg was painting in his studio, as he did every day. That evening, he walked to his favorite restaurant to enjoy his favorite food. He was stricken with a massive heart attack and died in the ambulance on the way to the hospital. As he requested, his ashes were given to the wind of the Grand Canyon.

Artist:.Walter Satterlee (1844-1908) American Medium: Watercolor on paper Artwork measures: 13 1/4 x 19 inches Year: c1890 Farhat Art Museum Collection.

Artist:.Walter Satterlee (1844-1908) American Medium: Watercolor on paper
Artwork measures: 13 1/4 x 19 inches
Year: c1890
Farhat Art Museum Collection.

 

The artist W. Satterlee was primarily known for his genre paintings, though he also painted portraits and landscapes and did illustration. 
He was a pupil of the National Academy of Design in New York and was also in Paris as a student of Leon Bonnat.
He was elected an Associate Member of the National Academy in 1879, and in 1886 he received the Clarke Prize. Satterlee was also a member of the American Water Color Society. 
Among his works are ‘Contemplation’ owned by Smith College, “Autum”, “The Cronies”, and “The Fortune Teller”. 
He died May 28, 1906, in New York City.

Sheldon C. Schoneberg (American, b. 1926), Desert Landscape with Figures and Camel, oil on canvas, signed lower right, canvas 87.5″h x 48.25″w inches Farhat Art Museum Collection.

Sheldon C. Schoneberg (American, b. 1926),
Desert Landscape with Figures and Camel,
oil on canvas,
signed lower right,
canvas 87.5″h x 48.25″w inches
Farhat Art Museum Collection.

SHELDON SCHONEBERG: Born in Chicago, Illinois in 1926. Formal art training began at the Chouinard Art Institute, Los Angeles, and continued at University of Southern California (B.F.A. Cum Laude, M.F.A. 1951), U.C.L.A., Academia di Bell Arti, Rome, Italy, and Universidad Michocana, Morelia, Mexico. He holds the academic rank of Full Professor, University of New York, New Paltz, and University of Maine, Gorham. One-man exhibitions include Galerie “Seine38,” Paris, France, Harrison Galleries, Vancouver, B.C.Canada, Galerie Du Carlton, Cannes, France, Universita Popolare Di Padova, Italy, Kunsthandle Monet, Amsterdam, The Netherlands,Gallery Hawaii, Honolulu, Hawaii, Triton Museum of Art, Santa Clara, Ca., Intercontinental Artist Guild. Freeport, Grand Bahamas Island, Galerie Del Cisne, Madrid, Spain, Fisk University Art Museum, Nashville, Tennessee, Anne Frank House Gallery Amsterdam, Brooks Memorial Art Museum, Memphis, Tennessee, Galerie Modern Nordisk Kunst, Gothenburg, Sweden, and others throughout the United States.

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