Farhat Art Museum Collection مجموعة متحف فرحات

John Califano (1862 - 1946) American / Italian  Oil in canvas signed lower left  measures 29.75x39.50 inches  Farhat Art Museum Collection

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”

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Nicholas Saleem Macsoud (1884-1972) Lebanese  Oil on canvas signed lower right  measures 18x14 inches date not given  Believed to be painted in the early of the 20The century  Farhat Art Museum Collection.

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

Artist: Ernst Weckerling (1877 - 1917) German  Measures 13x21.75 inches  Signed lower right and dated 1904  Titled: Caravan through the Algerian Desert.  Oil on canvas  Farhat Art Museum Collection.

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) 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 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.

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

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”

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