Byron Glee Newton (1893-1973)

Artist: Byron Glee Newton (1893-1973) American
Median: Gouache/Watercolor
Artist’s label verso. Signed upper left
Dimensions: 19″ high x 23.5″ inches
Titled: Gathering on the Mountain.
Inscribed ‘(c) M & B Inc, NY’ lower right.
Farhat Art Museum Collection

Byron G. Newton (American, early 20th C. illustrator). From a Stamford, CT. From Norwegian heritage, Byron was born in Chicago , Illinois 1893 and later moved to New York. After serving in World War I, he attended Syracuse University where he served as President of the Illustrator’s Club. He worked for many years as a commercial artist and illustrator. He died in Winter Garden, Florida in 1973.

George Kesslere (1894 – 1979)

Artist: George Kesslere (1894 – 1979) American
Titled: Waiting & Contemplating
Measures: 36×28 inches
Signed : lower left and dated 1915
Farhat Art Museum Collection.

Kesslere was a graduate of Syracuse University in Syracuse, New York, and one of the last students of William Merritt Chase. After graduation, he opened a portrait studio in Syracuse, practicing photography as well as painting, including the collaboration on several mural projects. Asked to become an art editor for the periodical The Debutante, he moved to New York in 1921, closing the Syracuse studio in 1922. By the time The Debutante folded, his reputation as a talented photographer had been established, winning him a large clientele in the city.
In 1923, Kesslere created a series of paintings and pastels, depicting draped nude girls, running in the open air. These works led to his theatrical photography, and he became one of the best bust format photographers of the late 1920s and 1930s. For his portraiture he was awarded recognition by the British Royal Academy of Photography, and on March 26, 1935, Kesslere exhibited 500 of his photographs, paintings, drawings, and etchings in the Patricia Lounge of Loew’s Ziegfeld Theater.

Unknown artist

Artist: Unknown
Orientalist painting of an alleyway in north Africa.
Measures 21.5×17.5 inches
Oil on canvas, signed lower left
Farhat Art Museum Collection

Muriel Branegan Bacon (1909 – 2002)

Artist Muriel Branegan Bacon (1909 – 2002) American
Titled: Bather at Fedala number 16
Measures: 34×26 inches Oil on canvas
Farhat Art Museum Collection.

Painter. Born in Grass Valley, CA on July 16, 1909. Branegan studied at the CSFA under Ray Boynton, continued at the ASL of NYC under Kenneth Hayes Miller and at Académie Julian in Paris. She was a resident of San Francisco and Grass Valley in the 1930s. She later married a man named Bacon and settled in Sausalito. She died in Santa Rosa, CA on Aug. 10, 2002. Exh: Paul Elder Gallery (SF), 1930s; City of Paris

Footnote :
“The harbour, at what is now Mohammédia, was originally named Fédala (فضالة). This name comes from the Arabic words Fadl Allah (فضل الله).”

The painting was originally owned by C. Louis Davis III

Louis Jules Dumoulin (1860 – 1924)

Artist:Louis Jules Dumoulin (1860 – 1924) French painter born in Paris .
Title: ” – Sunset in the Square”
Oil / Board -signed Lower Right
Size: 17″ x 20″ (43.18cm x 50.80cm)
Farhat Art Museum Collection .

Louis Jules Dumoulin :
Student Gervex of Lehmann and Chancel , he travels the world during his career as a painter-traveler (especially the Far East ) and reports of his travels paintings that are exhibited in major museums in Paris ( Musée Guimet , the Quai Branly Museum , the Louvre ). Because of his travels in the Far East he founded of the Société Coloniale des Artistes Français in 1908.[1]
Louis-Jules Dumoulin (1860-1924) est un peintre français, né à Paris. Élève de Gervex, de Lehmann et de Chancel, il parcourt le monde au cours de sa carrière de peintre-voyageur (en particulier l’Extrême-Orient) et rapporte de ses périples des tableaux qui sont exposés dans de grands musées parisiens (Musée Guimet, Musée du Quai Branly, Musée du Louvre). Son œuvre la plus célèbre est sans conteste la toile du Panorama de la Bataille de Waterloo, inscrit depuis juillet 2008 sur la liste indicative de la Belgique à l’Unesco, en qualité d’exemple particulièrement significatif du phénomène des panoramas

Charles Montlevault (c.1835 – 1897)

Artist: Charles Montlevault (c.1835 – 1897)
Title: Two Turkish are men engaged in a religious discussion by the doorway.
Oil/Canvas, signed Lower Right
Size: 15.75” x 12.75″ (40.01cm x 32.39cm)
Farhat Art Museum Collection.

Charles Joly, dit Montlevault fut redecouvert et reconnu en France grace a une retrospective de ses oeuvres lors de l’exposition au Salon d’Automne de la meme annee, Eleve a l’Ecole des Beaux Arts de Lyon il devient commis en soierie pour la maison Arles-Dufour, profession qui l’amene vers des nombreux voyages. Peintre de paysages, il s’inspire de ses sejours en Afrique du Nord, au Moyen Orient mais aussi en France et aux Pays-Bas. Il peint de nombreux panneaux dans les auberges et cafes Lyonnais qu’il frequentait, decorant notamment l’Hotel de la Bombarde (Quartier St Jean), le Cafe Hugon et la Salle de l’Academis du XIXeme siecle (l’actuelle Westminster Bank). Reconnu par ses contemporains, notamment les peintres Jaques Martin et Adolphe Appian, pour ses toils auc couleurs chaudes et aux sujets exotiques, son Oeuvre de paysagiste s’attache aussi a Lyon et a sa region. La touche de Montlevault, souvent rapprochee de celle de Courbet, temoigne de l’emotion de ce peintre devant la Nature, emotion qu’il figea avec talent dans la couleur et la matiere.
Au contraire des autres artists qui semblent avoir interprétez l’Orient d’après les images qui circulaient, c’est grâce à ses fonctions commerciales dans la soierie que Charles Montlevault découvre l’Afrique du Nord et le Proche
Orient.
Il en ramène des motifs d’architecture qu’il réutilise dans plusieurs compositions comme La Grande Place de la mosquée et Port . qui, au gré des campagnes militaires, rend compte de l’architecture par l’intermédiaire de ses lavis et toiles et atteste ainsi d’une étude rigoureuse des monuments algérois.

Gilles 19The century

Artist: Gilles 19The century
Oil on Canvas, measures 17×22 inches
signed lower right Gilles
Farhat Art Museum Collection.

John Califano (1862 – 1946)

John Califano (1862 – 1946) American / Italian
Oil in canvas signed lower left
measures 29.75×39.50 inches
Farhat Art Museum Collection

John Edmund Califano (December 5, 1862 in Rome – June 15, 1946 in Van Nuys), was a student of Domenico Morelli. Califano became a landscape artist, especially noted for his scenes of California and Italy. In 1881, he came to the United States and lived in Chicago until 1908. By 1915, he was in San Francisco and spent the last years of his life in Van Nuys.

Califano exhibited in Naples, Italy in 1880, receiving a gold medal, as well as showing at the Art Institute of Chicago, in 1907; and the National Academy of Design, New York City, 1897-99.

References
Edan Milton Hughes, “Artists in California, 1786-1940”

Nicholas Saleem Macsoud (1884-1972)

Nicholas Saleem Macsoud (1884-1972) Lebanese
Oil on canvas signed lower right
measures 18×14 inches date not given
Believed to be painted in the early of the 20The century
Farhat Art Museum Collection.

 

The Brooklyn Daily Eagle (Brooklyn, New York) 5 July, 1936
B’klyn Artist’s Work Featured At Pocono Show

Nicholas S. Macsoud’s Work Part of Manor Inn Exhibit

Pocono Manor, PA July 4
An exhibition of 21 paintings of Pocono Mountain scenes is being held in the main lounge at the Pocono Manor Inn, featuring the works of Nicholas S. Macsoud of Brooklyn, N.Y.

Included in the exhibition are paintings of Autumn, Winter Wonderland, Studies in Three Seasons, Mountain Laurel, Afternoon Light and Country Road.

Mr. Macsoud studied at the National Academy of Design in New York. He is President of the Brooklyn Society of Painters and Sculptors and a member of the Brooklyn Socity of Miniature Painters and the Salmagundi Club. The original of his painting of the Holy Sepulcher” hangs in the permanent collection of the Brooklyn Museum.

1924 Passport Application:
Born at Zahle, Mt. Lebanon, Syria, March 7, 1884. Immigrated with family November, 1899 to Brooklyn, New York. Naturalized 1913. Purpose: to study and paint in France, Italy, Egypt, Palestine and Syria.

Submitted by Edward P. Bentley, Art Researcher and Collector from Grenville, Michigan

Ernst Weckerling (1877 – 1917)

Artist: Ernst Weckerling (1877 – 1917) German
Measures 13×21.75 inches
Signed lower right and dated 1904
Titled: Caravan through the Algerian Desert.
Oil on canvas
Farhat Art Museum Collection.

The artist Ernst Weckerling was active / lived in Germany.

The Algerian Desert (Arabic: الصحراء الجزائرية) is a located in north-central Africa and is part of the Sahara Desert. The desert occupies more than four-fifths of the Algerian territory. Its expansion starts from the Saharan Atlas, more or less as a stony desert and the farther inland you get the more of a sand dune desert it becomes. In the southwestern parts is the mountain range Tassili n’Ajjer located. This area is a subject of great archaeological interest and was put up on the “World Heritage List” by UNESCO in 1982.[1] The area is known for extreme aridity and extreme heat, as daytime temperatures are commonly between 46 °C (113 °F) and 51 °C (122 °F) during the hottest period of the year in most of the desert. Cities and towns such as Ouargla, Touggourt, Beni Abbes, Adrar, In Salah are among the hottest places on the planet during the height of the summertime. Annual average rainfall is well below 100 mm (3,93 in) in the northernmost part but the center and the southern part receive much less than 50 mm (1,96 in) and are therefore hyper-arid and among the driest places on Earth.

Mariano Fortuny (1838 – 1874)

Mariano Fortuny (1838 – 1874) Spanish
Titled: An Arab warrior smoking a pipe
Medium: watercolor and gouache on blue paper
Measures: 13 1/4 x 9 1/2 inches
Farhat Art Museum Collection.

Mariano José María Bernardo Fortuny y Marsal (June 11, 1838 – November 21, 1874) was a Spanish painter. His brief career encompassed both the Romantic* fascination with Orientalist* themes, and a prescient loosening of brush-stroke and color.

He was born in Reus, a town near Tarragona in the autonomous community of Catalonia in Spain. His father died when Mariano was an infant, and his mother by the time he was 12. Thus, Mariano was raised by his grandfather, a cabinet-maker who taught him to make wax figurines. At the age of 9, at a public competition in his town a local patron, Domingo Soberno, encouraged further study. At the age of 14 years he moved to Barcelona with his grandfather. A sculptor, Domingo Taleru, secured Fortuny a pension to allow him to attend the Academy of Barcelona. There he studied for four years under Claudio Lorenzale, and in March 1857 he gained a scholarship that entitled him to two years of studies in Rome starting in 1858. There he studied drawing and Grand Manner* styles.

In 1859, he was called by the Spanish government to depict the campaigns of the Spanish-Moroccan War. The expedition lasted for only about six months, and he returned to Spain in the summer of 1860.

Since the days of Velázquez, there had been a tradition in Spain of memorializing battles and victories in paint; and on the basis of his experiences, Fortuny was commissioned by the city of Barcelona to paint a large canvas diorama of the capture of the camps of Muley-el-Abbas and Muley-el-Hamed by the Spanish army. He began his composition of The battle of Tetuan on a canvas fifteen metres long; but though he worked on and off on it during the next decade, he never finished it.

The greater influence of this travel on Fortuny was his subsequent fascination with the exotic themes of the world of Morocco, painting both individuals and imagined court scenes. He visited Paris in 1868 and shortly afterwards married Cecilia de Madrazo, the daughter of Federico de Madrazo, who would become curator of the Prado Museum in Madrid. Together, they had a son, Mariano Fortuny y Madrazo, who became a well-known fashion and tapestry designer. Another visit to Paris in 1870 was followed by a two years’ stay at Granada, but then he returned to Rome, where he died somewhat suddenly on November 21, 1874 from an attack of tertian ague, or malaria, contracted while painting in the open air at Naples and Portici in the summer of 1874.

Fortuny paintings are colorful, with a vivacious iridescent brushstroke, that at times recalls the softness of Rococo painting but also anticipates impressionist brushwork, Fortuny’s recollection of Morocco is not a costume ball, but a fierce, realistic portrait which includes bare-chested warriors. Richard Muther states:

“his marvellously sensitive eye … discerned the stalls of Moorish carpet-sellers, with little figures swarming, and the rich display of woven stuffs of the East; the weary attitude of old Arabs sitting in the sun; the sombre, brooding faces of strange snake-charmers and magicians. This is no Parisian East…every one here speaks Arabic”.

Fortuny often painted scenes where contemporary life had still not shaken off the epaulets and decorations of ancient traditions such as the ”Burial of a matador” and couples signing marriage contracts (La Vicaria). Each has the dazzle of bric-a-brac[1] ornament, but as in his painting of the ”Judgement of the model”, that painterly decorative air of Rococo and Romanticism was fading into academicism and left to confront the naked reality of the represented object. He inherited Goya’s eye for the paradox of ceremony and reality.

Source:
http://en.wikipedia.org/wiki/Mariano_Fortuny_%28painter%29

* For more in-depth information about these terms and others, see AskART.com Glossaryhttp://www.askart.com/AskART/lists/Art_Definition.aspx

Biography from Museo del Prado
Watercolour was one of the most characteristic modes of artistic expression in the 19th century. Although it was already used by Spanish painters of earlier generations, it reached its high point in Spain with the work of Mariano Fortuny (1838-1874). Fortuny’s prominent position in the international art world of his day resulted in widespread imitation within Spain of all the aspects of this Catalan artist that had brought him fame, particularly his interest in technical experimentation.

While Fortuny used watercolour in the same way as many of his contemporaries, with the aim of capturing his impressions of landscapes and of deftly and rapidly conveying his ideas in an immediate manner, he is most noted for his richly pictorial works on paper in this technique, which reveal close parallels with his finest work on canvas. As a result, collectors and art dealers of the day considered Fortuny’s watercolours as important as his most exquisitely painted and highly prized paintings.

Carlo Polidori

Artist: Carlo Polidori (19th century) Italian.
Title: An Arab merchant, with a lady seated beside
31.10″ x 22.05″ (79cm x 56cm)
Created circle 1890 & signed lower right.
Watercolor / Paper
Farhat Art Museum Collection.

Alfred Barye (1839 – 1882)

Alfred Barye (1839 – 1882)
Title:CAVALIER ARABE “Arab Huntsman on Horseback”
30″ x 24″ x 14″
(76.20cm x 60.96cm x 35.56cm)
Bronze, Signed “Barye”
Farhat Art Museum Collection.

Alfred Barye (1839 – 1882) was born in Paris, France, the son of Antoine Louis Barye the famous Animalier sculptor, on January 21st 1839. Alfred was an accomplished artist and sculptor in his own right, but for his entire career he worked in the shadow of his much better known and more famous father. Alfred apprenticed under the tutelage of his father and expertly learned the art of bronze sand casting at a very young age while working along side his brothers in his father’s studio and foundry. Because of this early first hand knowledge of foundry techniques, his bronze sculptures show a very high degree of detail, workmanship, and finish to them. Many of his earliest works, done as a young man, are small casts of wild animals, which show the strong influence and teachings of his father. His most successful and numerous subjects were the racehorses of the day, but he is known to have modeled many works in the style of his father as well as in a style that is typically his own.

He signed many of his sculptural works Barye or A. Barye, the same signature that was used by his father. This causes as much confusion today as it did during his lifetime and many of Alfred’s models are mistakenly attributed to and sold as his father’s works. After much family disagreement and at the insistence of his father, he began signing his work Alf. Barye, and later A. Barye Fils. It has been suggested but never confirmed that Alfred Barye was responsible for quite a few unauthorized life time casts of his father’s works.

It is a documented fact that Alfred Barye continued casting his father’s models after his father’s death. There have also been some bronze sculptures reported that appear to be those of Antoine Louis Barye but bear the signature Alf. Barye. Through most of his life he was in constant conflict with his father. At times he worked in his father’s studio, and the two artists set aside their difficulties, but there were also times where neither man spoke to each other, sometimes for years.

Although not as dedicated to art as his father, it cannot be disputed that Alfred Barye is a master sculptor in his own right and recently his bronzes are accorded the respect, admiration, and values that they truly deserve.

Alfred Barye exhibited at the Paris Salon in the following years:
In 1864 he exhibited a bronze sculpture of a Racehorse titled Walter Scott.
In 1865 he exhibited several bronze sculptures of racing horses.
In 1866 he exhibited a bronze of a Racehorse and Jockey.
In 1882 he exhibited a bronze figure of an Italian Jester

The life of Alfred Barye is documented in the following books:

Les Animaliers by Jane Horswell (1971)
The Animaliers by James Mackay (1973)
Animals in Bronze by Christopher Payne (1986)
Bronzes of the 19th Century by Pierre Kjellberg (1994)
A Concise History of Bronzes by George Savage (1968)
Dictionnaire des Peintres et Sculpteurs by E. Benezit (1966)
Dictionnaire de Sculpteurs de l’ecole Francaise by Stanaslas Lami (1914)

Eduardo Tojetti (1851 – 1930)

Eduardo Tojetti (1851 – 1930)
Oil on canvas, measures 39.25x 31.5 inches
signed E.Tojetti and dated 1890 lower left
Farhat Art Museum Collection

Eduardo Tojetti was born in Rome, Italy on March 23, 1851. The artist began art studies at an early quite young under the guidance of his father Domenico. The Tojetti family left Rome in 1867, and lost all possessions when their ship wrecked while sailing around the Horn.

Eduardo’s family lived in Guatemala until 1871 and then settled in San Francisco where Eduardo spent the rest of his life. In 1889 he was a partner of W. P. Busch in a fresco and interior decorating business with a studio in the Murphy Building at the corner of Market and Jones. He often collaborated on mural commissions with his father and brother Virgilio.
He died in San Francisco on Nov. 27, 1930.
Exhibitions:
Mechanics’ Institute (SF), 1878, 1895
California State Fair, 1890-92
Collections:
Bohemian Club , Farhat Art Museum
Sources; San Francisco Chronicle, 11-28-1930 (obit) and 3-6-1963; OR; American Art Annual, 1931 (obit).
Source:
Edan Hughes, “Artists in California, 1786-1940”

Collection of Orientalist Photos مختارات من مجموعة صور الإستشراق

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Palestine شيخ فلسطيني

Iran من ايران

Palestine أطفال في ضواحي القدس

Lebanon الزبداني , لبنان

Uzbekistan اوزباكستان

Palestine بائع الخبز في فلسطين

Palestine بدويات من فلسطين

Palestine دروز جبل الكرمل

Palestine شيخ فلسطيني

Palestine طفلة ترتدي الزي التقليدي النساء في مدينة بيت لحم

Iran طهران

Syria قرويات سوريات

Lebanon بيروت

Syria دمشق

Egypt راقصة مصرية

Lebanon زحلة

Syria سوريا

Egypt عائلة مصرية

Syria قرويات سوريات

Egypt من القاهرة

Syria من دمشق

Morocco بائع الماء ,المغرب

Egypt بائع فاكهة مصرى

Palestine من فلسطين

Edwin Longsden Long (1829 – 1891) British

Artist: Edwin Longsden Long (1829 – 1891) British Titled: encampment by the water. Oil on canvas Signed and dated 1886 lower right Farhat Art Museum Collection

 

Edwin Longsden Long, RA (Royal Academy) was an English genre, history, biblical and portrait painter. He was born in Bath, Somerset, the son of E. Long, an artist (from Kelston in Somerset), and was educated at Dr. Viner’s School in Bath. Adopting the profession of a painter, Long came to London and studied in the British Museum. He was subsequently a pupil in the school of James Mathews Leigh in Newman Street London, and practiced first as a portrait artist painting Charles Greville, Lord Ebury and others.

Long made the acquaintance of John Phillip RA, and accompanied him to Spain, where they spent much time. Long was greatly influenced by the paintings of Velasquez and other Spanish masters, and his earlier pictures, such as La Posada'(1864) and Lazarilla and the blind beggar'(1870), were painted under Spanish influence. His first important pictures were The Suppliants'(1872) and The Babylonian marriage market (both subsequently purchased by Thomas Holloway).

In 1874, he visited Egypt and Syria, and subsequently his work took a new direction. He became thoroughly imbued with middle-eastern archaeology and painted Oriental scenes such as The Egyptian Feast (1877) and The Gods and their makers (1878).

Long was elected an associate of the Royal Academy in 1870 and an academician (RA) in 1881. His pictures always attracted attention and his Diana or Christ? (1881) greatly enhanced his reputation at the time. His pictures suited the taste and appealed to the religious sentiment of a large portion of the public, and their popularity was increased by a wide circulation of engravings. He consequently determined to exhibit his next pictures in a separate gallery of his own in Bond Street, London and there in 1883, and the following years, his Anno Domini’and Zeuxis at Crotona met with great commercial success.

Long died from pneumonia resulting from influenza, at his home, “Kelston” in Netherhall Gardens, Hampstead, on 15 May 1891, in his sixty-second year. He was buried in West Hampstead Cemetery. The will signed by him on the day of his death was the subject of a lawsuit, to which his relatives were parties, but the matter in dispute was amicably settled.

Long married a daughter of Dr. William Aiton, by whom he left a family, of whom a son, Maurice Long, was killed in a railway accident at Burgos in Spain on 23 Sep. 1892.

Besides the “Edwin Long” Gallery in Old Bond Street, a number of his pictures was collected together after his death, and formed the nucleus of a gallery of Christian Art, which replaced the works of Gustave Doré in the well-known gallery in New Bond Street.

Long had considerable practice as a portrait painter but his success in that line was not conspicuous, although he obtained high patronage and very large prices. He painted for the Baroness Burdett Coutts (his chief patron) portraits of herself, her friend Mrs. Brown, and Henry Irving. Among other portraits of his latter years were a memorial portrait of the Earl of Iddesleigh, of which he painted a replica for the National Portrait Gallery, portraits of Cardinal Manning (perhaps his best effort in this line), Samuel Cousins, Sir Edmund Henderson and others.

According to art historian Lionel Cust, “In his earlier works Long showed great power and thoroughly deserved his success and popularity”, but added that his later works “suffered from a continual repetition of types which resulted in monotony”.

Source:
Wikipedia, “Edwin Long”, http://en.wikipedia.org/wiki/Edwin_Long, 18 January 2013

Agnes Birkman (1871-1955)

Agnes Birkman (1871-1955)
watercolor on board
Measures 10.25″ x 7.5″.inches
Farhat Art Museum Collection

Amedeo Simonetti (1874 – 1922) Italian

Amedeo Simonetti (1874 – 1922) Italian
Title: Rug Dealer
measures 16 x11.5 inches
watercolor on board
Farhat Art Museum Collection

 

Paul B. Pascal (1832 – c. 1903)

Paul B. Pascal (1832 – c. 1903)
Watercolor and gouache on board
measures 20×24 inches
titled: Egypt,Cairo
Farhat Art Museum Collection

 

Alfred Jonniaux (1882 – 1974) American-Belgium

Alfred Jonniaux (1882 – 1974) American / Belgium
Titled: North African Sheikh
Oil on Canvas
Measures 60×40 inches
Farhat Art Museum Collection

Portrait painter. Born in Brussels, Belgium on Nov. 21, 1882. Jonniaux attended Académie des Beaux Arts in Brussels. After serving in the Belgian Army during WWI, he established studios in both London and Paris. In 1930 his portrait of the Queen and King of Belgium established him as the court painter to the Belgian throne. Escaping from Nazi occupied France in 1941, Jonniaux and his wife settled in San Francisco. He also maintained a studio in Washington, DC where he painted such notables as President Roosevelt and Bishop Fulton Sheen. Schooled in the grand academic manner, his palette was tonal and dark with subjects meticulously rendered. Locally, his works were handled by the Hoover Gallery and Gumps. His home in San Francisco was at 1155 Jones Street with a studio at 712 Bay Street. His portraits of prominent people are found in private collections and public buildings throughout the U.S., South America, and Europe. He also painted character types of London and Paris such as charwomen, vendors, etc. Shortly before his death, he returned to his native land where he died on Feb. 4, 1974. Member: Royal Society of Beaux Arts (Brussels). Exh: London’s Royal Society of Portrait Painters, 1924; Salon des Artistes Francais, 1931; Venice Biennale, 1933; Society for Sanity in Art, 1945; SWA, De Young Museum, 1955; Baltimore Museum; Vose Galleries (Boston); Kennedy Galleries (NYC); Smithsonian Inst. Awards: hon. D.F.A., Calvin Coolidge College (Boston), 1958. In: Pentagon, Supreme Court, Capitol (Washington, DC); UC Berkeley; Mills College (Oakland); Northeastern Univ.; Mass. Inst. of Technology; Rockefeller Inst.; Children’s Hospital (Boston); Stanford Univ. Hospital; State House (Boston); Baltimore City Hall; State House (Columbus, OH). Ben; WWAA 1956-70.

Frederick Coffay Yohn (1875-1933) فريدريك كوفاي يوهن

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.

James Kerr-Lawson (1864-1939) جايمس كرلاوسن

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

 

Erik Henningsen ( 1855-1930) اريك هانينغسان

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) ويليام فينسينت كاهيل

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) كارل أوسكار بورغ

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.

Walter Satterlee (1844-1908) والتر ساترلي

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 شيلدون شونبرغ

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.

Evelyn Watherston (1880-1952) إيفيلين واترسن

Oil on canvas / board.
Titled: Yusuf
Measures 24×20 inches
Orientalist Art Collection Farhat Art Museum

Exhibited:
Paris Salon 1950
Royal institute of painters in watercolors London
Royal Society of portrait paintings England
Chase H. West Gallery London
Society of women artists
Farhat Art Museum

Edouard Verschaffelt (1874 – 1955)

Edouard Verschaffelt (1874 – 1955) 
Oil on canvas measures 14×17 inches with an Arabasque style frame. 
Titled Market place in Algeria.
Farhat Art Museum Collection.

Edouard Verschaffelt is a Flemish orientalist painter born in Ghent, Belgium in 1874 and died in Algeria Bou Saada in 1955.
He was a man deeply rooted in Algeria. It will produce a painting of the root, passion and deepening of the Algerian reality, if abused by the exotic orientalist. Edward Verschaffelt took against the foot academic Orientalism, colonial.

Student at the Ecole des Beaux-Arts in Antwerp, it carries with it from the start, the indelible traces of Flemish painting and attraction by impressionism. Arrived in Algeria with his wife, he is the bearer of these two heritages fabulous. That is why it will not fall into the trap of Orientalism smug face of so much sun, splendor and misery of Algeria at the time. Especially since, unlike the other orientalists attracted to North Africa, so doubtful and confused, Edouard Verschaffelt comes in Algeria in 1919 to escape the German occupation of Belgium during the First World War. He settled in the country and immediately feel a fascination for Bou Saada to adopt immediately. Bou Saada was, at the time, the “stronghold” of Dinet which is a notable city even more he converted to Islam, which gives him an extraordinary aura to the Aboriginal population . Edouard Verschaffelt meeting immediately Etienne Dinet.

After the death of his wife, Verschaffelt married an Algerian woman of the tribe of Ouled Sidi Brahim, who appears in multiple tables he spends his life. Verschaffelt will have, so blood ties with Algeria that he will paint the inside until it dies.

Kenneth Newell Avery (1882 – 1949)

Title:The Sentinel
46″ x 36″
(116.84cm x 91.44cm)
Created: 1916
Oil/Canvas
Signed and Dated
Farhat Art Museum Collection.

 

Painter. Born in Bay City, Ml on Nov. 20, 1882. Avery was a pupil of Wm M. Chase in NYC, and of Laurens at Académie Julian in Paris. After spending many years in France, he moved to southern California in 1906. He lived in Pasadena until the late 1930s when he moved to Hemet, CA. Avery died there on Sept. 11, 1949. His specialties were portraits and figure studies. Member: Painters & Sculptors of LA; Calif. Art Club (charter member 1909); Pasadena AA. Exh: Pasadena AA, 1911; Pasadena Art Inst., 1930, 1931; Calif. State Fair, 1930. CD; AAA 1931-33; WWAA 1936-41; PF.

Roger Marcel Limouse (1894 – 1990)

Roger Marcel Limouse (1894 – 1990)
Mediterranean Cityscape
Measures 40×30 (101.60cm x 76.20cm)
oil on canvas signed lower left.
Farhat Art Museum Collection

Roger Limouse was born in Algeria, he studied art under Jean Paul Laurens at the Academie Julian* in Paris. It was at the Academie Julian, that he met and shared a studio with the painter Jules Cavaillès. After completing his tuition, Limouse embarked on a period of travel. He returned to North Africa during the 1930s and then went to France, where he joined Cavaillès, Roland Oudot, Maurice Brianchon, André Planson, Christian Caillard, Raymond Legeuelt, and Kostia Terechkovitch to form the Painters of Poetic Reality, la réalité poétique. This group was really an affiliation of friends and kindred spirits rather than a movement with a manifesto and he exhibited several works with them and took part in a major retrospective exhibition in 1956. He also exhibited at various Salons including des Artistes Francais*, des Independants, d’Automne* and des Tuileries. His work was clearly influenced by the Fauves and to a lesser extent the Cubists, but he was also revered as a painter of interiors. He was greatly influenced by Edouard Vuillard and Pierre Bonnard – one of the greatest painters of such scenes – who spoke of Limouse’s ‘heart, sensuality and intimacy.’ Because of his love of vibrant colour, Roger Limouse has been called the last of the Fauves*. The vintners Nicolas in 1958 exclusively used paintings from Limouse to illustrate their back catalogue of exceptional fine wines. The Museum of Modern Art, Paris has three paintings by Limouse in its permanent collection

Noel Harry Leaver (1889 – 1951)

Noel Harry Leaver (1889 – 1951)
Title:A mosque in Algeria
10″ x 14.25″( 25.40cm x 36.20cm)
Watercolor and pencil/Board.
Farhat Art Museum Collection.

NOEL H. LEAVER
North African Town Scenery with Mosques and People”
Signed ‘NOEL H. LEAVER’ lower left,
watercolor framed with protective glass,
Measures image size: 11 x 18 in. including
frame: 21.5 x 28 in.
Label of ‘Harlow, McDonald & Co.’ New York verso, inscribed in hand ‘Mosques of Arabia’
Farhat Art Museum Collection

Title: An arched entrance to a street.
10″ x 14.25″( 25.40cm x 36.20cm).
Watercolor and pencil/Board.
Farhat Art Museum Collection

Noel Harry Leaver was born in Austwick, Yorkshire in 1889, but is better known as a Burnley artist, the town in which he lived and worked for most of his life. He is most famous as the painter of distinctive North African views or ‘Easterns’, although his work includes a much wider range of landscapes, town views, interiors and even still life. His earlier paintings are softer and looser than his later more accomplished works, but still show his fine understanding of detail and construction. He was particularly known for his treatment of skies. He was one of the youngest ever pupils of the Royal College of Art*, where he began studies at age sixteen. At the RCA he followed the classic training route doing modules in Architecture, Painting Modelling and Design passing first class in all. At the age of 21 he was awarded the College’s full Associateship (ARCA) and as top student won the first of several Travelling Scholarships. He used them to travel to visit Europe and North Africa. It was in this period that he started painting his North African scenes with vivid blue skies, arches and mosques for which he became most known. He also painted English and Continental townscapes and did many paintings of English cathedral cities and castles, including some internal church studies. Other areas were his landscapes, although these are less common in his later work and rarer still are his flower studies. Leaver returned from Italy to England in 1912 to take up the first of his teaching posts at Halifax School of Art where he worked until 1915. After this he taught at the Burnley School of Art up until the mid 1930’s. His earlier works in which he is still developing his style are usually signed in mixed lower & upper case Noel H LEAVER ARCA; these works are from the period 1920-1929. Few works earlier than this are found, and those that are often dated. In later life when his reputation was established he usually signed in capitals NOEL H LEAVER, dropping the ARCA. Works signed like this are most likely post 1929. At least forty-one of his works were exported to the USA via the agents Brown and Bigelow* in Minnesota during his later period of working.

Mazini

Artist Mazini was an Italian artist who lived in Cairo by the turn of the 20th century. Known for his orientalist work of watercolor paintings depicting the Souks in Egypt. This example of his work measures 18×24 watercolor on paper. The painting is very unique in that it is hand carved in the arabic style of the period. This painting is part of the Farhat Art Collection.

 

Hurbert Sattler(1817–1904)هربرت ساتلر

 

The painting of Jerusalem by the Austrian 19th century artist Hurbert Sattler(1817–1904), It is oil on canvas measures 4.5×17.5 inches. It is part of the Farhat Art Museum collection.

Peter Petersen Toft (Danish,1825-1901)

”Mar Saba, Palestine”, 1882
watercolor by Peter Petersen Toft (Danish, 1825-1901)
signed and dated ”P. Toft May ’82” lower left
sight 14.5”h x 10.25”w

Born in Kolding, Denmark on May 2, 1825. Toft was educated in his native land. At age 16 he began his travels aboard a whaler and in 1849 sailed into San Francisco Bay aboard the ship Ohio. After unsuccessfully panning for gold around the Trinity River, he returned to San Francisco where he contributed illustrations to Harper’s.

While in California, he made many painting excursions to Oregon, Washington, and British Columbia. He signed his works in various ways: Tofft, Tufts, Toffts, Toft, and with his monogram, the letter T with a circle drawn around its stem. In 1867 he was in NYC and in 1869 returned to Kolding.

In 1870 he settled in London where he remained until his death on Dec. 17, 1901. His watercolors are rare and historically important. Exh: Mechanics’ Inst. Fair (SF), 1864; SFAA, 1872-1900; Royal Academy, London. In: Oakland Museum; House of Parliament (Victoria, B.C.); Bancroft Library (UC Berkeley); Montana Historical Society; NMAA.

Source:
Edan Hughes, “Artists in California, 1786-1940”
Oakland Museum; Artists and Illustrators of the Old West (Robert Taft); Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs (Bénézit, E); Artists of the American West (Doris Dawdy); Artists of the American West (Samuels); From Frontier to Fire.

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

Lillian Wertheim Rice ليليان ويرذايم رايس

Lillian Wertheim Rice ,Farhat Art Museum Collection

The painting by Lillian Wertheim Rice is oil on canvas, it measures 36×60 inches. titled “Afternoon Prayer” The artwork is part of the Farhat Art Museum Collection. The artist Lillian W. Rice was born in American in (1841-1917).

George Baer (1895 – 1971) جورج باير

GEORGE BAER Farhat Art Museum Collection

 

THE BAER BROTHERS IN THE INTERNATIONAL EYE

BY C. J. BULLIET

EQUALLY AT HOME in Munich, Paris, North Africa, and their native Chicago, Martin and George Baer have attained an international outlook and ease in painting, difficult apparently, for our American artists to achieve.

Paris is the mighty maelstrom toward which the artists of all the world have gravitated for the past century. The Spaniard, Picasso, becomes as much a Parisian as the Frenchman Matisse, and so does the Italian, Modigliani, and the Dutchman, Van Gogh. The English do not readily assimilate, nor do Americans for instance, Whistler and Sargent. They participate without becoming integrally a part.

Martin and George Baer are violating the rule. Associated with the group that looked to the late Modigliani for leadership, these two Chicago young men have caught the international spirit the spirit that makes contemporary Parisian art the brilliant manifestation of world achievement.

The Baer brothers have evolved something that is recognised in France and America as distinctively “Baer.”

It is easy to trace their idols and enthusiasms Cezanne, El Greco, Cranach, and more lately, Kokoschka. Traces of them all can be discovered in their canvases.

But all such influences are offset by the “Baer” motif the something that is distinctively their own, that springs out of their inner consciousness and is readily recognizable in everything they paint.

Important galleries like the Paris establishment of Durand’Ruel and the Galerie Jeune Peinture, have thought so well of this “Baer” manifestation as to stage exhibitions of their work.

The Baers are the sons of Leopold Baer of Chicago, and it was his faith in them that enabled them to study in the best ateliers of Munich and Paris, and later plunge into the outskirts of the Sahara desert in North Africa, where they did the first series of paintings that brought them into the international eye. It was these canvases that Durand-Ruel exhibited in the spring of 1926, and that were brought later to America, and shown at the Art Institute of Chicago.

Nearly everything the brothers had painted were sold in these two shows, and with the proceeds they went back to the Sahara desert, where they did a second series, accepted by the Galerie Jeune Peinture, Paris, for exhibition in May, 1928, and later brought to America for a transcontinental tour.

The brothers found the Algerians as much to their artistic liking as Gauguin found the Tahitians. They looked upon them with a lively, leavening curiosity, and transferred them quivering to their canvases the dancing girls, swaying to barbaric music; the camel drivers, ready to start for their long journeys across the Sahara; street vendors, beggars, women of the African demi-monde, and even exalted ladies of the Moslem aristocracy. Often they had to use much tact to secure their models, owing to Mohammed’s prohibition, still respected if not always obeyed, against the portraying of the human face and body an offshoot of the old Mosaic commandment against the making of “graven images.”

The Baers had their early training in “Impressionism,” and their work in Munich was expert in the method of the reigning “academy.” It was after they went to Paris and became associated with the young group around Modigliani that they sensed the new freedom. Their German ancestry and their Munich training had given them a Germanic background which they have been wise in not wholly sacrificing in their work persists the idolatry for Cranach, and when they came only recently to see the light as manifested in Kokoschka, this German strain was found to fit.

Still in the early enthusiasm of youth, these brothers give promise of great things. Already their achievement has been notable, and it is gratifying to observe a marked improvement in the 1928 canvases over those of 1926 a loosening up of their technique, and a greater spontaneity in spirit.

The Baers are remarkable in their artistic twinship. Constantly together, they react on each other, and their painting shows twin progress. They resemble, in this respect, those literary brothers, the Goncourts.

Translated from French by Jeanne S. de LaBarthe

Eugène Delacroix (1798 – 1863) أوجين دولاكروا

 

 

Eugene Delacroix Farhat Art Museum Collection

 Ferdinand Victor Eugène Delacroix (26 April 1798 – 13 August 1863) was a French Romantic artist regarded from the outset of his career as the leader of the French Romantic school. Delacroix’s use of expressive brushstrokes and his study of the optical effects of colour profoundly shaped the work of the Impressionists, while his passion for the exotic inspired the artists of the Symbolist movement. A fine lithographer, Delacroix illustrated various works of William Shakespeare, the Scottish writer Sir Walter Scott, and the German writer Johann Wolfgang von Goethe. In contrast to the Neoclassical perfectionism of his chief rival Ingres, Delacroix took for his inspiration the art of Rubens and painters of the Venetian Renaissance, with an attendant emphasis on color and movement rather than clarity of outline and carefully modeled form. Dramatic and romantic content characterized the central themes of his maturity, and led him not to the classical models of Greek and Roman art, but to travel in North Africa, in search of the exotic. Friend and spiritual heir to Théodore Géricault, Delacroix was also inspired by Byron, with whom he shared a strong identification with the “forces of the sublime”, of nature in often violent action. However, Delacroix was given neither to sentimentality nor bombast, and his Romanticism was that of an individualist. In the words of Baudelaire, “Delacroix was passionately in love with passion, but coldly determined to express passion as clearly as possible.”

Donald Teague دونالد تيغ

 

Donald Teague Farhat Art Museum Collection

One of the premier watercolorists of this century, Donald Teague was born in Brooklyn, New York. From 1916 to 1917, he studied under Bridgman and DuMond at the famed Art Students League in New York. After serving in the Navy during WWI, he became the pupil of Norman Wilkinson in London. Upon his return to New York he continued his studies at the Art Students League under the tutelage of Dean Cornwell, who helped Teague begin his long art career as an illustrator in 1921. Because he was the primary illustrator for The Saturday Evening Post, he signed Collier’s illustrations with another name, Edwin Dawes. In the 1920’s, Teague spent several summers on a Colorado ranch. When he moved to California in 1938, he specialized as a Western illustrator until Collier’s ceased publication in 1958. After finishing his career as an illustrator, Teague devoted his entire time to painting. During his lifetime he won international recognition and numerous awards for his paintings, including five First Prizes from the National Academy of Western Art, both the Gold and Silver Medal Honors from the American Watercolor Society, the S.F.B. Morse Gold Medal from the National Academy of Western Art, and two Gold Medals from the Cowboy Artists of America. His work has been exhibited in major museum collections throughout the world, including the Metropolitan Museum of Art, the Royal Watercolour Society, the Tokyo Museum, the Peking National Museum, the Brooklyn Museum, the Museum of Watercolor in Mexico City, Chicago’s Art Institute, the Sydney Museum in Australia, the Virginia Museum of Fine Arts and the National Cowboy Hall of Fame. The uniqueness of Donald Teague’s work lies in his own personality and in his ability to transmit it into a painting, to tell in watercolor what he saw and felt when he discovered the subject of the painting. His watercolors are a kind of realism he calls synthesis, for rarely, if you returned to the spot and the moment where a Teague painting began, could you find the same image as that in the painting.

Adolph Schreyer (1828 – 1899) أدولف شراير

 

Adolf Schreyer Farhat Art Museum Collection

Adolf Schreyer (German, 1828-1899) Best known as a Romantic painter of exotic scenes and battles, Schreyer is also considered by many German art historians as an important forerunner of Realism and Impressionism in that country. Born in Frankfurt, Schreyer first studied at the Städel Institute there. His teacher was Jakob Becker (1810 -1872), himself a noted painter of landscapes and genre works who had trained in Düsseldorf. It was probably at Becker’s urging that Schreyer soon moved to the more progressive academy in Düsseldorf, which at that time attracted artists from all over Europe and the United States. After a period of study at the Academy, Schreyer began his Wanderjahre, which took him throughout Europe during the political ferment of the late 1840s and early 1850s. By 1854, Schreyer was in the Crimean Peninsula, observing and illustrating scenes of the war that had broken out there between Russia and a coalition consisting of Great Britain, France, and Turkey. At the conclusion of the war, immortalized in Tennyson’s poem “The Charge of the Light Brigade,” the artist visited Syria and North Africa where he found the exotic subject matter that became central to many of his later paintings. Settling in Paris in 1862, the artist very soon developed his mature style, reflecting the dominance of such French artists as Eugene Delacroix (1798-1863) and Eugene Fromentin (1820-1876). Schreyer left Paris in 1870 due to the outbreak of the Franco-Prussian War, and returned to Germany where he settled in Cronberg, a summer resort and artists’ colony in the Taunus Mountains outside Frankfurt, actively painting until his death in 1899. The artist was widely recognized and honored during his lifetime, being awarded medals for his paintings at Paris in 1864, 1865 and 1867, and at Munich in 1876.

Charles Constantine Hauffbauerشارلز كوستانتين هوبفاور

Charles Constantine Hauffbauer Farhat Art Museum Collection

 

Hoffbauer was born in Paris in 1875, the son of an Alsatian architect, artist and archaeologist who published Paris through the Ages. He studied at the Ecole des Beaux-Arts under Fernand Cormon and Gustave Moreau, rubbing shoulders with Matisse, Rouault, and Marquet, then won an Honorable Mention in the Salon of 1896 and academic prizes in 1898-99. At the Paris Universal Exposition he won a bronze medal. On a French government traveling scholarship called the Prix National du Salon, Hoffbauer discovered Italy, Greece and Egypt. Then the government purchased Champs de bataille in 1904 (Musée du Luxembourg). On a second scholarship in late 1909, Hoffbauer visited New York where he was greeted by his friend Charles Dana Gibson (1867-1944), the creator of the “Gibson Girl.” Hoffbauer was given two solo shows in 1911 and 1912 at Knoedler’s, where his work would be handled in America In the introduction to the 1912 exhibition catalogue, art writer Arthur Hoeber wrote how the artist “assimilated something of our new world energy and alertness. One feels he has caught the spirit of American progress . . . with not a little of its vitality, for these pictures of our city . . . exude American bigness and bustle, the sense of accomplishment despite great obstacles. . . .” Eventually, Hoffbauer would win the coveted Legion of Honor. One of his largest paintings, Dîner sur le toit, also referred to as Roof Garden, is a nine-foot-wide painting, now in the National Gallery of New South Wales, in Sydney, Australia. At the Paris Salon of 1905, the huge painting was the talk of the town. Several studies are known (Museum of the City of New York, among others). Claude Roger-Marx wrote on it in Chronique des Arts, and Arsène Alexandre praised it in Le Figaro (both on 29 April 1905). The critics raved over the painting’s “luminous beauty,” its “frankness,” and the “escape from tradition.” We see two well-to-do couples in formal attire seated around a table on the roof garden, before skyscrapers and searchlights, an image that captures the excitement of America’s Progressive Era. Hoffbauer served in the French Army as an official war artist during the first world war, won a Croix de Guerre and was the liaison to the American camouflage section. Recommended by the mural painter James Wall Finn, Hoffbauer received a commission in 1935 to paint murals for Battle Abbey, a Confederate memorial in Richmond, Virginia, which were criticized by Thomas Hart Benton for being too conventional. He wondered why a French-born artist had been chosen for the job. Hoffbauer revisited America to accept a commission for a mural (Missouri at War) in the Missouri State Capitol, and was a member of the 1937 Exposition Internationale’s jury. Two years later he became an American citizen, and finally settled in Rockport (Cape Ann) Massachusetts. The Museum of Modern Art in Paris has one of Hoffbauer’s battle scenes and for Memorial Hall in Philadelphia Museum he executed Revolt of the Flemish. The artist died on 26 July 1957 in Boston. Sources: Steen, James T. “The Story of a Painting,” Carnegie Magazine 31/32 (February 1957): 57-59; Charles Hoffbauer (1875-1957). Drawings, Temperas.

Roger Davis (1898 -1935 ) روجير دايفيس

 

Roger Davis, Farhat Art Museum Collection

Roger Davis
Artist Work: Birth 1898 Death 1935 Lived/Active United States
The painting is oil on Copper.
Size( 9.50×8.50) inchs.
Collection of the Farhat Art Museum.
Title is “the women of morroco” Painted in 1910.

Caleb Arnold Slade كالب أرنولد سلايد

 

Caleb Arnold Slade Faarhat Art Museum Collection

   Caleb Arnold Slade’s paintings hang alongside those of John Singer Sargent at the Isabella Stewart Gardner Museum in Boston. Like Sargent, Slade is known for his scenes in and around Venice, Italy and in France and Arabia, and his brushwork is fluid and confident. Slade was born in Acushnet, Massachusetts in 1882, and he maintained a studio in Truro, Massachusetts near that of Edward Hopper. He studied at Brown University, the Art Students League with Frank Vincent DuMond and at the Academie Julian in Paris with Jean Paul Laurens, Schommer and Bachet (1907). He was a member of the Philadelphia Art Club; Paris Art Association; Allied Artists of London; Grand Rapids Art Club, Michigan; Springfield Illinois Art Club; New Bedford Art Association in Massachusetts, and the Philadelphia Sketch Club. However, because he lived many years abroad his focus was on painting and not on joining clubs or following any one school of thought. He enjoyed paintings harbors, street scenes, and landscapes. During World War I, Slade maintained a studio in France, where painters like Chauncey F. Ryder and other American artists, stayed and painted. He joined the U.S. Army and was in the camouflage unit. After the war he returned to Tunis, North Africa to paint a series which was published in “Scribners” in 1921. He became a proficient portrait painter by 1930, but preferred painting landscapes with figures and biblical subjects. Slade’s work is represented in the permanent collections at the Gardener Museum (Boston); Springfield Art Club; Attleboro Public Library; Free Public Library; Milwaukee Art Museum; Bethany Church, Philadelphia (mural); Paramount Theater, NYC (mural); John Wanamaker.

Auguste Toulmouche( 1829 – 1890 ) أوغست تولمولوش

 

Auguste Toulmouche Farhat Art Museum Collection

Artist Work: Born in the Breton city of Nantes on 21 September 1829, Auguste Toulmouche must have observed great variety in the cultural life of his hometown. Nantes was one of the largest ports in France, and the diversity of people and languages that filled the city was notable. Little is known about the circumstances of Toulmouche’s early years, although his uncle was apparently a sculptor and may have given the boy his first lessons in art. What is known is that Toulmouche was studying design with another local sculptor, Amedeo Rene Menard, beginning in 1841. Three years later, he was learning painting from a portraitist named Biron who also taught in Nantes. With his fundamental art education completed, Toulmouche left for Paris in 1846 at the age of 17. There he entered the independent studio of Charles Gleyre, the Swiss painter later known for his association with the Impressionists who also began their Paris training under his guidance. Gleyre’s atelier offered Toulmouche exactly what he needed—quiet guidance in the traditional French curriculum of learning to draw in front of classical plaster casts before learning to paint from live models. By 1848, he was ready for his Salon debut. The year 1848, however, was less than auspicious for beginning a career in any field other than the military. Revolution swept through Europe, and through France for the third time in fifty years. For a scant four years, France was again a republic, only to revert to an empire when Napoleon III declared himself emperor in 1852. For Toulmouche, this turn of events proved fortunate. At the 1852 Salon, he not only earned a third class medal, but his painting, La Fille, was acquired by the emperor himself. The following year, in 1853, Empress Eugénie was so pleased with Toulmouche’s rendering of a domestic genre scene, The First Step, that she too made a purchase. With success at the Salon and imperial approval of his art, Toulmouche’s reputation was assured. He continued to specialize in depictions of charming domestic scenes of mothers and children or of young women in the throes of various romantic dilemmas. Two works from 1858, both of them exhibited at the Salon of 1859, are typical. In The Lesson, a beautiful young mother reads aloud to her equally appealing daughter from La Fontaine’s fable, The Grasshopper and the Ant; both figures are dressed in exquisitely elegant gowns, and there is a suitably moral lesson being provided. Similarly, in The Prayer, a young boy leans against his mother’s knees as she guides him through bedtime prayers. Behind them, the child’s bed draped in lush white fabric provides a counterpoint to the opulent sky blue moiré of his mother’s skirt. This type of image, sometimes referred to as Costume Painting, found a ready market with both middle class and upper class audiences, and continued to bring Toulmouche professional success and acclaim. In 1861, he won a second class medal at the annual Salon. As a practitioner of Costume Painting, Toulmouche was one of a group of artists who adapted the emotional expressiveness found in earlier history painting to the depiction of romantic narratives based on everyday life. There is clearly a relationship to acting techniques in this imagery as well; Toulmouche’s figures express a range of sentiments through stylized gestures that would have been part of a standard theatrical repertoire. Other artists who are associated with this specialized type of paining include Jules Emile Saintin, Joaquin Pallares y Allustante, and Charles Joseph Frederick Soulacroix. Toulmouche’s role in the history of art was unexpectedly altered in 1862 when he married one of Claude Monet’s cousins just at the moment when Monet’s father was looking for someone to “supervise” his son’s art studies in Paris. Naturally, Toulmouche’s reputation as a successful Salon painter made him the logical choice. When Monet arrived in Paris in November 1862, Toulmouche directed him immediately to Gleyre’s studio, commenting that: “He will teach you to do a picture.” [i] Monet began with a willing spirit, but soon chafed under Gleyre’s insistence that he paint in the idealized Academic style rather than attempt to capture the image as he actually saw it. Nonetheless, it was at Gleyre’s that Monet met Pierre-Auguste Renoir, Alfred Sisley, and Frédéric Bazille, all of whom became his close companions. As for Toulmouche, no doubt he was glad to have placed his recalcitrant cousin where he could study art, while simultaneously keeping peace in the family. During the 1860s, Toulmouche refined his style, and began exploring more complex compositional structures. Works such as The Hesitant Fiancée, 1866, demonstrates a new confidence in the intricate composition of four women who attempt to persuade the reluctant (and gorgeously dressed) bride to overcome her fears. At the beginning of the next decade, in 1870, Toulmouche received the Legion of Honor award, surely a monumental accomplishment for someone from a modest Breton background. Over the next twenty years, Toulmouche’s painting also showed glimmers of influence from cousin Claude. Although remaining a resolutely academic painter, there was nonetheless a lightening of his palette in the 1870s as well as the incorporation of Japanese elements in images like Afternoon Idyll from 1874. It is equally tempting to wonder whether Monet’s theatrically costumed portrait of Camille Doncieux as La Japonaise, 1875-76, wasn’t influenced in part by what critic Emile Zola described as “Toulmouche’s delicious dolls” [délicieuses poupées de Toulmouche”]. Toulmouche’s work was also admired in the United States. Just as in Paris, the modest size of his paintings, coupled with their visual appeal, made them fashionable among American collectors. He even received favorable mention in an otherwise disparaging overview of French art published in Harper’s New Monthly Magazine in 1877. [ii] At the Exposition Universelle in 1878, Toulmouche’s painting was again honored with a third class medal. He died in Paris on 16 October 1890 at age 61. Janet Whitmore, Ph.D.

John Frederick Lewis (1805 – 1876) جون فريدريك لويس

John Frederick Lewis, Farhat Art Museum Collection

Specializing in Oriental and Mediterranean scenes, he was born in London in 1805, the son of landscape painter and engraver John Frederick Lewis (1805 – 1876)

In the early years of his career, Lewis spent much of his time studying and drawing animals along with his friend, Edwin Landseer. In 1827, he moved out of his family’s house and set up his own studio. From then on, he began painting almost exclusively in watercolors. He also switched from animals and sporting subjects to landscapes, interiors and figure studies. In March of 1827, Lewis became an Associate of the Old Water-Colour Society (O.W.C.S.) and was appointed a full member in June of 1829.

In 1829 he accompanied his father to Devonshire and later traveled extensively in Scotland. 1829 marks the beginning of his travels to the Continent by his trip to Spain. In Madrid, he copied paintings of the Prado, and then passed through Toledo to Granada and the Alhambra. There he made many sketches of the Moorish architecture as in his painting titled Courtyard of the Alhambra (c.1834). He then moved on to Seville and made a short trip to Morocco, gaining his first exposure to Islamic life. In 1834 Lewis returned to London for two years during which time Sketches and Drawings of the Alhambra (1835) was published, to be followed in 1836 by Lewis’ Sketches of Spain and Spanish Character.

He left England again in 1837 and did not return for fourteen years. Lewis spent the winter of 1837 in Paris, France, then moving on to Florence, Naples and Rome. He lived and painted in Rome for two years, sending Easter Day at Rome to the O.W.C.S. in 1841. He left Rome for Egypt and presumably spent c. 10 years living in the Middle East and painting scenes of Islamic life.

He returned to London in 1851, got married, and drew on his Middle Eastern experiences for his paintings for the next 25 years. In the late 1850s he exhibited mainly oil paintings. Lewis employed a very precise technique, generally likened to the Pre-Raphaelites which is especially evident in the detailed studies of Eastern decor and in his painting of flowers. In 1859, he was elected Associate to the Royal Academy and became a full member in 1865.

Considered one of the finest Orientalist painters, Lewis’ work is owned by a number of museums in Britain, including the Tate Collection in London and the Birmingham Museum.

Lewis died at his home in the summer of 1876.

Sources:
Wikipedia
angelfire.com
victorianweb.org

Georges Antoine Rochegrosse (1859 – 1938) جورج روشغروس

George Antoine Rochegrosse(1895-1938)Farhat Art Museum Collection

 

Georges Antoine Rochegrosse   (1859 – 1938) was a French historical and decorative painter.

He was born at Versailles and studied in Paris with Jules Joseph Lefebvre and Gustave Clarence Rodolphe Boulanger. His themes are generally historical, and he treated them on a colossal scale and in an emotional naturalistic style, with a distinct revelling in horrible subjects and details. He made his Paris Salon début in 1882 with Vitellis traîné dans les rues de Rome par la populace (Vitellius dragged through the streets of Rome by the people) (1882; Sens). He followed this the year afterwards with Andromaque (1882-3; Musée des Beaux-Arts, Rouen), which won that year’s prestigious Prix du Salon. There followed La Jacquerie (1885; untraced), Le mort de Babylone (The death of Babylon) (1891; untraced), The death of the Emperor Geta (1899; Musée de Picardie, Amiens), and Barbarian ambassadors at the Court of Justinian (1907; untraced), all of which exemplify his strong and spirited but sensational and often brutal painting. In quite another style and beautiful in color is his Le Chevalier aux Fleurs (The Knight of Flowers) (1894; Musée d’Orsay, Paris; RF 898).

He was elected an Officer of the Legion of Honor in 1892 and received the medal of honor in 1906 for The Red Delight. Rochegrosse also illustrated several books. Some of the drawings for these illustrations are in the Department of Prints and Drawings at the British Museum, London. He lived his final years in Algeria, but returned to Paris where he died and is buried. His wife, Marie Rochegrosse (née Leblond), had died in 1920.

This article incorporates text from an edition of the New International Encyclopedia that is in the public domain

 

Louis Frederic Correard (1815-1858) لويس فريدريك كورياد

 

 

Louis Frederic Correard (1815-1858)1

Louis. F.Correard (1815-1858) 2

 

 

 

 

 

 

 

 

 

 

 

 

In its pursuit of collecting art with nineteenth century Middle Eastern theme, The Farhat Art Museum found itself not only collecting art but also documenting and archiving an important part of the Arab history which mainly was documented by Western artists and photographers. Those paintings and photographic images were the true mirror that reflected the colonizer’s perception of the colonized regions.
The worst among them were the French. They came to North Africa and the Levantine countries with the attitude of disrespect toward the culture, history, and natives. But they also left with a very large number of documented images through art and photography and that is what is called Orientalism.
Among those pieces in the Farhat Collection is an artwork by Louis Frederic Correard (1815-1858) These are two oil on canvas panels measuring 29X21 inches titled,
“Fair Trade”. Of course, the artist, in his work uses the satirical approach to amuse and entertain his collectors who are the French Bourgeois back in Paris. The story tells how the beautiful, young Arab, Algerian adolescent is traded among the French Zouaves soldiers with a basket of eggs, three sheep, a duck, and a goose. The trade between the French Zouave depicts the satisfied older soldier holding the goods in comparison to the younger soldier holding the young, frightened adolescent who clearly has been ripped from her secure comfort of her familial hearth.
This genre was geared for the entertainment and pleasure of the French elite back in Paris. These paintings are also documenting the accurate perception of the French toward the North African people. When the French Army occupied North Africa, specifically Algiers, for over a century, they did not go to Algiers to educate or support the natives in their quest for a better life, but to colonize, enslave, and sexually abuse the young, adolescent Algerian girls. It took the Algerians on million martyr and a century later to be able to free themselves from the barbaric control which the French government and its army had imposed on the natives. Until now the French government has not compensated the Algerians nor issued an apology for their savage and inhumane treatment.

Benezet Dictionairre :-
Louis Frederic Correard
Born in Paris 1815, died in the same city 29 april 1858
he participated in the Frensh Salon of art for the first time in 1849
with the painting Portrait of Mrs. Dupuis-Correard.

Zouaves:-
By 1852, the French Army included three regiments of Zouaves. Each of the three line regiments of Zouaves was allocated to a different province of Algeria, where their depots and peace-time garrisons were located. In 1854 a fourth regiment was added, the Zouaves of the Imperial Guard. The Crimean War was the first service which the regiments saw outside Algeria.
http://en.wikipedia.org/wiki/Zouave

LAURENS, Jules Joseph Augustin جول جوزيف أوغوستين لورينس

 

LAURENS, Jules Joseph Augustin Farhat Art Museum Collection

This panting by the French artist J.A. Laurens titled of the Chinese opera singers, measures 22×18 inches , oil on canvas. It is part of the F.A.M of Orientalist Collection.

LAURENS, Jules Joseph Augustin(1825-1901),  French artist in drawing, painting, and lithography who depicted Oriental and other subjects.
LAURENS, Jules Joseph Augustin, French artist in drawing, painting, and lithography who depicted Oriental and other subjects (b. 26 July 1825 at Carpentras; d. 5 May 1901 at Saint-Didier, Vaucluse). He trained as a pupil of his elder brother, Jean Joseph Bonaventure (1801-90), and then studied at the Beaux-Arts in Paris, where he held his first exhibition in 1840. Chosen almost by chance to accompany X. Hommaire de Hell (q.v.) in his mission to Turkey and Persia (1846-48), Jules Laurens made over a thousand sketches and drawings of sites and costumes; and he drew many portraits on demand for Persian and European personalities in Persia. In his “Nazar-Andaz” (see bibliography), he related his companion’s last days and death at Isfahan (20 August 1848), which was then in a state of political turmoil. He was able to proceed to Tehran, with many difficulties, only with the help of the French ambassador, Comte de Sartiges. From there he sent back to France Hommaire de Hell’s instruments and notes, together with his own drawings. Hundred of the drawings were presented in the Atlas, the fourth volume of the Voyage en Turquie et en Perse…, published by Mme Hommaire de Hell from her husband’s journaland notes. Some lithographs which he made from his drawings were published in the popular periodicals L’Illustration and Tour du Monde (see the latter, 1860, Deuxième Semestre, pp. 17-48, for illustrations to “Voyage en Perse, fragments” by J. Gobineau [q.v.], an excerpt from his Trois ans en Asie).The original watercolors and drawings made in Turkey and Persia were, in part, given to the library of the École des Beaux Arts in Paris.

After his return to France in 1849, Laurens pursued his artistic career in Paris and exhibited paintings and engravings—some with Persian subjects—in almost every exhibition held annually in the Salon de Paris between 1850 and 1891. His vast production not only was seen in Paris (e.g., Les rochers de Vann in theMusée d’Orsay), but also reached many regional museums in France, for example, Campagne de Téhéran (Avignon), L’hiver en Perse (Bagnères), Ruines de palais persan (Carpentras), La mosquée bleue à Tauris (Montpellier), and Village fortifié dans le Khorassan (Toulon). Being a witty and distinguished man, Laurens was very active in Paris literary and artistic salons, where he met many celebrities. At the end of his life, he published La légende des ateliers, in which he recounted some anecdotes from his travels.

Bibliography: Archives. Archives Nationales, Paris, dossier Hommaire de Hell, F/I7/2976/1.

Works. Atlas historique et scientifique, Paris, 1859; = Tome IV of Voyage en Turquie et en Perse exécuté par ordre du gouvernement français pendant les années 1846, 1847 et 1848 par Xavier Hommaire de Hell, Paris, 1856-59. J. Laurens, “ ‘Nazar-endaz’, Episode d’un voyage en Perse,” Revue orientale et algérienne, 1853-54, pp. 342-51; repr. in J. Laurens, La légende des ateliers, Paris, 1901.

Studies. L.-H. Labande, Jules Laurens, Paris, 1910. “Laurens (Jules-Joseph-Augustin)” in E. Bénézit, ed., Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs Bénézit, Paris, 1976, VI, pp. 481-82. A. D. Bitard, “Laurens, Jules Joseph Augustin,” in Dictionnaire et biographie contemporaine française et étrangère, Paris, 1880, p. 780. A. Maureau, “Laurens. Jules-Joseph-Augustin,” in Roman d’Amat et al., ed., Dictionnaire de biographie française XIX, Paris, 2001, pp. 1384-85. G. Vapereau, “Laurens (Joseph-Augustin-Jules),” in Dictionnaire des contemporains, Paris, 1858, p. 933.

(JACQUELINE CALMARD-COMPAS)

Leopold Carl Müller (1834-1892) ليوبولد موللر

 

Leopold Carl Müller, Farhat Art Museum Collection

The painting of a young Bedouin woman is oil on canvas measures 25×30 inches. The painting has been attributed to the Austrian artist Leopold Carl Muller. It is part of the F.A.M. in the orientalist collection.

Leopold Carl Müller (1834-1892) is regarded as a founder of the Austrian school of Orientalist painting. Although a number of artists preceded him, he was interested in the Oriental environment for what he perceived as its special artistic qualities. He introduced Austrian painters to this topic and he inspired a generation of pupils. Müller kept a studio in Cairo and spent a considerable amount of time there; he had to strike a careful balance between his duties as an Academy teacher in Vienna and his stays there in 1880s. Moreover he kept a circle of his friends and pupils in both Cairo and Vienna.

Müller visited Egypt from the 1870s onwards but, due to his modest background, could only do so having already started to establish himself as an artist. From 1875-1876, when he spent a winter in Egypt together with Hans Makart – a contemporary artist and remarkable painter of Austrian historicism – and the German Orientalist painter Franz Lenbach, his career started to take off. Müller was prolific in production, and original in his treatment of Oriental themes with respect to the particular light and colouring of the landscape and scenery. His pictures conveyed an atmosphere of the souk or a Cairo street with the bright, blazing sunlight reflected on walls and sand, and disappearing into hazed horizons.

Paul Pascal (1867 – ) بول باسكال

 

Boris Novikoff 1888-1966 بوريس نوفيكوف

 

Boris Novikoff Farhat Art Museum Collection

 
   Born in Tilflis in the Caucasus, Boris Novicoff attended painting classes at the Leningrad Fine Arts Academy while at the same time pursuing his career as an engineer and naval officer. After fleeing the Russian Revolution, he sought refuge in Lebanon where he became naturalized and was appointed municipal engineer for Beirut, and all this without abandoning his artistic activities. In 1916, his drawings were published in ”L’Illustration”. Later, he organized various exhibitions in Lebanon and abroad. In 1963, he was decorated by the Lebanese Government with the Order National du Cedre for services rendered to the arts.
 
     A neo-realistic painter, Novicoff derives his inspiration from nature _”infinitely rich”_ he says, for nature in his “only master”. Impressed by the picturesque charms of the Lebanon of yesteryear, he gives a nostalgic recreation of the narrow winding alleys of old Beirut enhanced by their stone vaults and arcades that enclose the ancient souks of Bezerkane or Zokak Fayoum. He also pays tribute to the spotless dazzling whiteness of the mountain slopes crowned with their ageless cedars, majestic and monumental; there are, too, the mountain villages lost amidst grove and thicket where stone-built cottages with their red roofs emerge here and there from the brilliant greenery of the underbrush; then there is the sea, the symbol of infinity, which also impressed him deeply_ calm, clear and peaceful or raging with foamy breakers.
     Highly praised by Charles Corm and Amin Rihani, Boris Novicoff succeeded in combining the vividness of colour and light to lend exhilarating life to his great love for Lebanon. 

 
    بوريس نوفيكوف
 
      تابع بوريس نوفيكوف (من مواليد تفليس في الكوكاز) دروساً في فن الرسم في أكادمية لننغراد للفنون الجميلة ومارس في الوقت نفسه الهندسة وكان ضابطاً في البحرية. أثناء الثورة الروسية , لجأ الى لبنان , حصل على الجنسية اللبنانية وعين مهندسا في بلدية بيروت غير أنه لم يتخلى عن نشاطه الفني . منذ سنة 1916, نشرت رسومه في مجلة  “ايليسترايسون” . في ما بعد , نظم عدة معارض في لبنان وفي الخارج . في سنة 1963, قلدته الحكومة اللبنانية وسام الأرز الوطني وذلك لخدماته التي قدًمها للفن.
      إستقى نوفيكوف , هذا الرسام ذو المذهب الواقعي المولد ينابيع وحيه من الطبيعة التي قال فيها أنها “لا متناهية الغنى” إذ أنها معلمه الوحيد . تأثر بمفاتن لبنان القديم , فأعاد  بحنين خلق أزقة بيروت القديمة الملتوية , المتعلية بالعقود الحجرية حيث كانت تقوم أسواق البزركان القديمة وزقاق فيُوم. لوحاته شهادة إعجاب بالبياض الساطع الناصع الذي تتحلى به قمم الجبال المكللة بالأرز العظيم الجليل الخالد وبالقرى الجبلية الضائعة في الشجيرات حيث تبرز هنا وهناك , من بين الأخضر الساطع , بيوت حجرية صغيرة سقوفها حمراء . أما البحر , رمز اللانهائية , أكان هائجا . صافيا  وهادئا أم على العكس متلاطم الأمواج , مزبدا وثائرا , فإنه شديد التأثير على نفسه.
    إن بوريس نوفيكوف , الذي طالما مدحه كل من شارل القرم وأمين الريحاني , عرف أن يقرن تموج الألوان والأضواء بحبه الكبير للبنان.
لميا شاهين
 
Boris Novikoff 1888-1966
Ne a Tiflis dans le Caucase , Boris Novicoff suit des cours de peinture a l’Academie des Beaux-Arts de Leningrad, et, simultanement fait une carrier d’ingenieur et d’officier de marine. Lors de la Revolution Russe, il se refugie au Liban, obtient la nationalite du pays, et se voit nommer ingenieur de la municipalite de Beyrouth sans toutefois abandoner son activite artistique. Des 1916, ses dessins sont publies dans “L’Illustration”. Plus tard, il organize diverses expositions au Liban et a l’etranger. En 1963, le gouvernement libanais le decire de l’Ordre National du Cedre pour ses services a la cause artistique.
Peintre neo-realiste, Novicoff puise ses sources d’inspiration dans la nature “infiniment riche”_dit-il_ puisqu’elle est son seul “maitre”. Impressionne par le pittoresque et le charme du Liban d’autrefois, il recree avec nostalgie les ruelles tortueuses et sinueuses du vieux Beyrouth, rehaussees de voutes en pierres et renfermant les vieux souks de Bezarkane ou Zokak Fayoum. Il rend homage aussi a la blancheur eclatante et immaculee des cimes couronnees des Cedres Millenaires, grandiose et majestueux, aux villages de montagnes perdus dans les bosquets, ou de petites maisons de pierres aux toits rouges, emergent ca et la de la vegetation d’un vert eclatant. Quant a la mer, symbole de l’infini, elle l’impressionne beaucoup, qu’elle soit calme, limpid et paisible ou au contraire houleuse, ecumante et fougueuse.
Boris Novicoff tant loue par Charles Corm et Amin Rihani a su unir au chatoiement des couleurs et de la lumiere vivifiante, son grand amour pour le Liban.

A.T.Millar ميلار

A.T.Millar Farhat Art Museum Collection

 

 

The painting by A.T.Millar is part of the Farhat Art Museum.The title of the painting : Rue Koleher, Algeria, it measures 9×7. It is part of the orientalist collection. Painter and etcher Addison Thomas Millar was born in Warren, Ohio in 1860, his early studies including work with John Bell, an area artist. Millar must have been a young artist of evident talent, at least from the point of view of the sponsors of the magazine, The Youth’s Companion, for they awarded him prizes for three consecutive years, 1877-1879, when Millar was only in his late teens.Millar moved to Cleveland in 1879 and New York City in 1883. In the former city he studied with DeScott Evans and began painting portraits as well as landscapes. In New York, he worked at the Art Students League, studying etching and painting. Millar was a pupil of landscape painter William M. Chase during 1892 at the Shinnecock School. His exhibitions at this time included Philadelphia, Boston and Chicago galleries, as well as the Society of American Artists and the National Academy of Design.In 1894, Millar studied in Paris under Boldini, Benjamin Constant and Henri Martin, and exhibited at the Salon Champs de Mars. Millar painted in Holland the following summer. In 1895, he studied again with Chase, this time in Spain. Millar was killed in a car accident in 1913. He had resided in New York City, where he exhibited his work at the National Academy of Design.The paintings and etchings of Addison Thomas Millar are represented in the Detroit Institute of Arts; Library of Congress, Washington, D.C.; New York Public Library, New York City; and the Rhode Island School of Design, Providence. He was a member of the Salmagundi Club and Silvermine Artists Guild.Source: Michael David Zellman, 300 Years of American ArtPeter Falk, Who Was Who in American ArtThis biography from the Archives of AskART.

Rudolf Ernst (1854 – 1932) رودلف إرنست

Egyptian woman at the well 18×12 inchs

Farhat Art Museum has acquired an orientalist watercolor painting of an Egyptian woman at the well 18×12 inchs 

http://www.farhatartmuseum.info/

Rudolf Ernst (1854 – 1932)

Best known for Ottoman Empire paintings of elaborately costumed merchants, guards or sentinels and pashas as well as a few portraits from his 1890 travels in Turkey, Rudolf Ernst was a leader of the second generation of the Orientalist movement and the leader of the movement in his native country of Austria. Initially the movement had been focused on life-changing political events such as the liberation of Greece and Napoleon’s march through Algeria. The second generation of painters such as Ernst and his friend, Ludwig Deutsch, were more interested in daily life genre scenes or static figures ‘keeping the peace’.

Because of his use of photography on his travels through Moorish Spain, Morocco, Tunis Constantinople and Egypt, he had detailed records, now of historical value, for the clothing and settings he depicted for his subjects. On these trips he became especially mindful of decoration styles, especially tile making. Among the titles of his paintings are: Harem Guard, The Arab Prince, The Moorish Guard and Elegant Arab Ladies on a Terrace at Sunset.

Rudolf Ernst was born in Vienna, the son of Leopold Ernst, a painter. In 1869, at age 15, he joined the Academy of Fine Arts in Vienna, and five years later went to Rome to study Italian landscape and classical figure painting. In 1876, he moved to Paris and began sixty years of exhibiting his paintings at the Salon des Artistes Francais. In 1877, he had his first exhibit at the Hall of French Artists. At that time, he also began the life-long friendship he had with Ludwig Deutsch, and he eventually became a French citizen.

The next several decades beginning with the 1880s were quite productive for Ernst. Having begun working in the Orientalist manner in 1885, between that year and 1896, he completed four major paintings: The Messanger, (1885) Prayer in the Mosque (1888), Arab Smoking a Waterpipe on a Sofa (1894) and Return from the Tiger Hunt (1896). He also won a bronze medal in the Exposition Universelle in 1889, and in 1890, traveled to Turkey and Egypt.

In 1900, he became a resident of Fontenay-aux-Roses, France, and lived a quiet and somewhat reclusive life away from Paris. Living in a home he decorated in Ottoman style, he continued to be productive, completing at least 20 large-scale Orientalist-theme paintings. In fact, he was so committed to his subject matter that he wore a “tarboosh”, the tasseled cap well known to the people he depicted.

Rudolf Ernst died in 1932 at this home in Fontenay-aux-Roses

Antonio Simonini أنطونيو سيمونيني

This painting is of an Arab Prince and his Soloki dog was created in the early nineteen century by the Italian artist Antonio Simonini is oil on board measures 14×18 inches. It is part of the orientalist art collection in the F.A.M.

   Orientalist Painting by Antonio Simonini , Farhat Art Museum Collection

Gordon H Coutts غوردن كاوتس

The painting by Gordon Coutts is oil on canvas measures 22×28 inches. Farhat Art Museum Collection

 This painting by Gordon H Coutts, is oil on canvas measures 12×14 inchs. It’s believed to be of North Africa.

Gordon H Coutts, Farhat Art Museum collection

Gordon H Coutts, Farhat Art Museum collection

Born in Glasgow, Scotland on Oct. 3, 1868, Gordon Coutts studied art in Glasgow, London, and in Paris at Académie Julian under Lefebvre, Fleury, and Rossi.

After his stay in Paris, he moved to Melbourne, Australia where he was an instructor at the Art Society of New South Wales for several years during the late 1890s. Upon returning to London in 1899, he exhibited at the Royal Academy. In 1902 he and his wife, Alice, moved to San Francisco where he became an active member and exhibitor of the Bohemian Club while maintaining a home across the bay in Piedmont.

An itinerant globe trotter, he traveled to remote places in search of subject matter. During his early period his work embraced Tonalism; whereas, his style later changed to the brighter, colorful palette of Impressionism.

Ill health necessitated his move to a drier climate, and about 1925 he settled in Palm Springs, CA. There he built a French-Moroccan style castle where he remained until his death of tuberculosis on Feb. 21, 1937.

EXHIBITIONS:
Del Monte Art Gallery, 1907-10
Berkeley Art Association, 1908
Bohemian Club, 1909, 1912-14
Alaska-Yukon Expo (Seattle), 1909 (gold medal)
Paris Salon, 1913 (gold medal)
PPIE, 1915 (medal)
Calif. Artists, Golden Gate Park Museum, 1915
Stendahl Gallery (LA), 1925, 1927
Calif. State Fair, 1930 (gold medal).

COLLECTIONS:
Farhat Art Museum
Oakland Museum
De Young Museum
Cleveland Museum
Melbourne Art Gallery
Nat’l Art Gallery (Sydney)
Palm Springs Desert Museum
Henry Gallery (Univ. of Washington)
Source:
Edan Hughes, “Artists in California, 1786-1940″
Dictionary of American Painters, Sculptors & Engravers (Fielding, Mantle); Artists of the American West (Doris Dawdy); Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs (Bénézit, E); Southern California Artists (Nancy Moure); American Art Annual 1909-21; Who’s Who in American Art.

This biography from the Archives of AskART.

Martin Baer مارتن بايير

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The painting of two girls by Martin Baer is oil on canvas measures 36×29 inches. It is part of the Farhat Art Museum in the orientalist collection. In the painting one can see that the older girl on the left of the composition seems that she is showing some signs of pregnancy at an early age.Martin Baer was born in Chicago on January 3, 1894. He attended the Chicago Art Institute from 1910-1914. After graduation, Martin and his brother, George officially opened the Holbein Studios, later known as the Anarchist Studios. The studio closed in 1921, and Baer went to Munich, Germany attending the Academy and studying with M. Heymann.In 1924 Baer went to Paris and met many important artists including Picasso, Soutine and Kremin. Between 1924 and 1940, Baer was based in Paris while taking extended trips to Algeria, Spain, England, Belgium and Holland. In December of 1940, Baer left for New York, and settled in Carmel, California in 1941.

In Carmel, he became one of the Directors of the Carmel Art Association, showing regularly with one-man exhibits at museums in Santa Barbara, Los Angeles and San Diego. Baer also developed a strong friendship with Edward Weston. In December 1947, Baer moved to San Francisco, opening three studios between 1947 and 1961. During this time, he developed friendships with Harry Jacobus, Hayward King, John Langley Howard and Howard Hack. Baer died February 14, 1961 in San Francisco.

His exhibition record includes Galleries Durand-Ruel (Paris 1926), Art Institute of Chicago (1926), Gallerie Jeune Peinture (Paris 1928), Galerie de la Renaissance (Paris 1932), Gallery M. Benezit (Paris 1936), Newhouse Galleries (New York 1928, 1936, 1941) His last one-man show was held at the California Palace of the Legion of Honor (San Francisco 1943). A retrospective entitled “A Memorial Exhibition of Paintings by Martin Baer” was held at the California Palace of the Legion of Honor (San Francisco 1963).

Martin Baer (1894 – 1961)
Titled :Zorah Size: 24” x 18” inches
Oil on canvas signed lower right
Titled: onthe back dated 1927 Martin Baer
Farhat Art Museum Collection.

Source:
The information is provided from Fred Vassar, Lecturer in Art History, Southern Oregon University

Note from Fred Vassar:
While the vast majority of the information in the Martin Baer biography was taken from the Memorial Exhibition held at the California Palace of the Legion of Honor, several references in the biography were in fact taken from the exhibit “Martin Baer (1894-1961) Early Drawings and Works on Paper”, put on by the Schneider Museum of Art, Ashland, Oregon 1997. These are the references to Anarchist Studios, study with M. Heymann, Picasso, being one of the Directors of the Carmel Art Association, friendship with Edward Weston and friendships it the California art community.
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Martin Baer attended the School of the Art Institute of Chicago, 1910-1914; Munich
Staatsakademie, Munich, 1921-1924.

Solo Exhibitions: Gallerie M. Benezit, Paris, 1936; Newhouse Galleries, New York, 1936, 1941; The Gordon Beer Art Galleries, Detroit, 1937; Dayton Art Institute, Ohio, 1937; Norfolk Museum of Arts and Sciences, Virginia, 1937; Santa Barbara Museum of Art, 1942; Francis Taylor Galleries, Los Angeles, 1942; The Fine Arts Gallery of San Diego, 1942-1943; California Palace of the Legion of Honor, 1943, 1963; Carmel Art Association, California, 1943; North Point Gallery, Oakland, 1979; The Oakland Museum, 1979.

Public Collections: The Oakland Museum.

Literature: Thomas Albright, “Art in the San Francisco Bay Area, 1945-1980″; “The Art of California, Selected Works from the Collection of The Oakland Museum”; Susan Landauer, The San Francisco School of Abstract Expressionism.

Source:
David J Carlson, Carlson Gallery, California. Carlson’s specialty is Post-World War II California artists, and he is preparing a catalogue for a 2004 traveling exhibition of these artists to several California museums.
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Note: According to “Who Was Who in American Art” by Peter Falk, the birth date of Martin Baer is reported by reputable sources as both 1895 and 1894. Edan Hughes in both editions of his book, “Artists in California, 1786-1940″ gives the date as 1894 as do the sources in the above biography and Thomas Albright in “Art in the San Francisco Bay Area”. However, Falk lists the date as 1895 because those are the dates provided when the artist was living to the publication “Who’s Who in American Art”, 1947 and 1959. (And the website of the National Gallery of Art gives the birth date as 1893).

We list 1894 as the birth date because of the number of scholars who have that date (see above), because we find only one reference to 1893, and because the birth date of Martin’s brother, George Baer, is listed as 1895 in both Hughes (first edition) and “Who Was Who” in 1940. There are no references to these brothers being twins.

This biography from the Archives of AskART

Following is text from an essay by C.J. Bulliet in a 1931 publication of the Art Institute of Chicago, Year File Archives, titled The Art of Martin Baer, George Baer.

Martin Baer was born in Chicago on January 3, 1894. He attended the Chicago Art Institute from 1910-1914. After graduation, Martin and his brother, George officially opened the Holbein Studios, later known as the Anarchist Studios. The studio closed in 1921, and Baer went to Munich, Germany attending the Academy and studying with M. Heymann.

In 1924 Baer went to Paris and met many important artists including Picasso, Soutine and Kremin. Between 1924 and 1940, Baer was based in Paris while taking extended trips to Algeria, Spain, England, Belgium and Holland. In December of 1940, Baer left for New York, and settled in Carmel, California in 1941.

In Carmel, he became one of the Directors of the Carmel Art Association, showing regularly with one-man exhibits at museums in Santa Barbara, Los Angeles and San Diego. Baer also developed a strong friendship with Edward Weston. In December 1947, Baer moved to San Francisco, opening three studios between 1947 and 1961. During this time, he developed friendships with Harry Jacobus, Hayward King, John Langley Howard and Howard Hack. Baer died February 14, 1961 in San Francisco.

His exhibition record includes Galleries Durand-Ruel (Paris 1926), Art Institute of Chicago (1926), Gallerie Jeune Peinture (Paris 1928), Galerie de la Renaissance (Paris 1932), Gallery M. Benezit (Paris 1936), Newhouse Galleries (New York 1928, 1936, 1941) His last one-man show was held at the California Palace of the Legion of Honor (San Francisco 1943). A retrospective entitled “A Memorial Exhibition of Paintings by Martin Baer” was held at the California Palace of the Legion of Honor (San Francisco 1963).

Source:
The information is provided from Fred Vassar, Lecturer in Art History, Southern Oregon University

Note from Fred Vassar:
While the vast majority of the information in the Martin Baer biography was taken from the Memorial Exhibition held at the California Palace of the Legion of Honor, several references in the biography were in fact taken from the exhibit “Martin Baer (1894-1961) Early Drawings and Works on Paper”, put on by the Schneider Museum of Art, Ashland, Oregon 1997. These are the references to Anarchist Studios, study with M. Heymann, Picasso, being one of the Directors of the Carmel Art Association, friendship with Edward Weston and friendships it the California art community.
THE BAER BROTHERS IN THE INTERNATIONAL EYE

BY C. J. BULLIET

EQUALLY AT HOME in Munich, Paris, North Africa, and their native Chicago, Martin and George Baer have attained an international outlook and ease in painting, difficult apparently, for our American artists to achieve.

Paris is the mighty maelstrom toward which the artists of all the world have gravitated for the past century. The Spaniard, Picasso, becomes as much a Parisian as the Frenchman Matisse, and so does the Italian, Modigliani, and the Dutchman, Van Gogh. The English do not readily assimilate, nor do Americans for instance, Whistler and Sargent. They participate without becoming integrally a part.

Martin and George Baer are violating the rule. Associated with the group that looked to the late Modigliani for leadership, these two Chicago young men have caught the international spirit the spirit that makes contemporary Parisian art the brilliant manifestation of world achievement.

The Baer brothers have evolved something that is recognised in France and America as distinctively “Baer.”

It is easy to trace their idols and enthusiasms Cezanne, El Greco, Cranach, and more lately, Kokoschka. Traces of them all can be discovered in their canvases.

But all such influences are offset by the “Baer” motif the something that is distinctively their own, that springs out of their inner consciousness and is readily recognizable in everything they paint.

Important galleries like the Paris establishment of Durand’Ruel and the Galerie Jeune Peinture, have thought so well of this “Baer” manifestation as to stage exhibitions of their work.

The Baers are the sons of Leopold Baer of Chicago, and it was his faith in them that enabled them to study in the best ateliers of Munich and Paris, and later plunge into the outskirts of the Sahara desert in North Africa, where they did the first series of paintings that brought them into the international eye. It was these canvases that Durand-Ruel exhibited in the spring of 1926, and that were brought later to America, and shown at the Art Institute of Chicago.

Nearly everything the brothers had painted were sold in these two shows, and with the proceeds they went back to the Sahara desert, where they did a second series, accepted by the Galerie Jeune Peinture, Paris, for exhibition in May, 1928, and later brought to America for a transcontinental tour.

The brothers found the Algerians as much to their artistic liking as Gauguin found the Tahitians. They looked upon them with a lively, leavening curiosity, and transferred them quivering to their canvases the dancing girls, swaying to barbaric music; the camel drivers, ready to start for their long journeys across the Sahara; street vendors, beggars, women of the African demi-monde, and even exalted ladies of the Moslem aristocracy. Often they had to use much tact to secure their models, owing to Mohammed’s prohibition, still respected if not always obeyed, against the portraying of the human face and body an offshoot of the old Mosaic commandment against the making of “graven images.”

The Baers had their early training in “Impressionism,” and their work in Munich was expert in the method of the reigning “academy.” It was after they went to Paris and became associated with the young group around Modigliani that they sensed the new freedom. Their German ancestry and their Munich training had given them a Germanic background which they have been wise in not wholly sacrificing in their work persists the idolatry for Cranach, and when they came only recently to see the light as manifested in Kokoschka, this German strain was found to fit.

Still in the early enthusiasm of youth, these brothers give promise of great things. Already their achievement has been notable, and it is gratifying to observe a marked improvement in the 1928 canvases over those of 1926 a loosening up of their technique, and a greater spontaneity in spirit.

The Baers are remarkable in their artistic twinship. Constantly together, they react on each other, and their painting shows twin progress. They resemble, in this respect, those literary brothers, the Goncourts.

Translated from French by Jeanne S. de LaBarthe

Ludwig Neu (1897 – 1980) لادوينغ نيو

The painting of veiled North African woman by Ludwig Neu is oil on canvas, it measures 26×20, the painting is part of the Farhat Art Museum in the Orientalist collection. Born in Munich 1897, Luis Neu made few trips to north Africa, Egypt and Caucasus, some of the works that Ludwig has painted are depicting the daily life of the people in North African. like morocco, Tunisia and Algiers. little is known about the artist in the English reference books. What we at the Farhat Art Museum are able to gather about the artist Ludwig is, that he lived in Argentina and dead in 1980. He was a painter and a Lithographer . He exhibited in the following Museums ( Mus.: Buenos Aires, Sao Paulo, Rio de Janeiro, Frankfurt/M. (Steeled), Hamburg (Kunsthalle), Cologne (Wallraf-Richartz-Mus.). The artist is also listed et.al., Lit.: Thieme-Becker, Bénézit, Vollmer, Rump, Der Neue Rump, Bruhns et.al.

Anna M. R. Brewster أنا بروستر

 

 

The painting by Anna M. R. Brewster is oil on canvas measures 25×12 inches . The painting depicts an Egyptian by the Nile is part of the F.A.M in the Orientalist collection. The painting was painting in the early twenties. .

Born in Germantown, Pennsylvania, Anna Brewster was the daughter of noted marine and landscape painter, William Trost Richards whose reputation eclipsed hers. However, she earned a prestigious reputation as an active professional artist for fifty-five years. Her early work reflected the tight detailing of her father’s style, but as she learned to paint faster, her canvases became looser and looser in style, and many have a warm tonality and atmosphere.

She learned painting technique from her father and by age fourteen was exhibiting at the National Academy in New York City. In 1888, she studied at the Cowles Art School in Boston under Dennis Bunker and later studied in New York with John LaFarge and William Merritt Chase. She studied in Paris at the Academy Julian and then made her home in England for nine years. She also painted throughout Europe, Egypt, Palestine, and North Africa.

She married William Tenney Brewster, professor at Barnard College, and in 1910, the couple settled in Scarsdale, New York, where she founded the Scarsdale Art Association. The couple spent their summers at a family cottage in Matunuck, Rhode Island and traveled together extensively in Europe and North Africa. On these trips, she did numerous oil and watercolor sketches, which she converted into large canvases.

After her death in 1952, her husband compiled four volumes of her sketches. In addition to museums, many of her works are in the collection of the Scarsdale Public Library and the Scarsdale Women’s Club.

Source:
Charlotte Rubinstein, “American Women Artists”
Peter Falk, “Who Was Who in American Art”
Stephanie Strass, “American Women Artists”
Paul Sternberg, Sr., “Art by American Women”
This biography from the Archives of AskART

John Jay Baumgartner جون جاي بومغارتنر

Painter. Born in Milwaukee, WI on Jan. 24, 1865. Baumgartner was a self-taught painter. He settled in San Francisco in 1894 and for over 50 years was an active member of the local art scene.

Painting in oil, tempera, and watercolor, his subjects were primarily landscapes and pastoral scenes with figures. He died in San Francisco on Oct. 18, 1946.

Member: Bohemian Club; SFAA. Exh: Milwaukee Expo, 1892 (gold medal); SFAA, 1900; Society for Sanity in Art, CPLH, 1940, 1945.

 

Orientalist Paintings From The Farhat Art Museum Collection