Vincent van Gogh self-portraits

May 20, 2013, 1:46 am

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Vincent van Gogh by Henri de Toulouse-Lautrec 1887 pastel on cardboard 54 x 45 cm

This is another revised, updated and enlarged re-post from an earlier post on the self-portraits of Vincent van Gogh.

Van Gogh painted over 30 self-portraits between the years 1886 and 1889. His collection of self-portraits places him among the most prolific self-portraitists of all time. Van Gogh used portrait painting as a method of introspection, a method to make money and a method of developing his skills as an artist.

As Van Gogh struggled to make a living as an artist he became reliant on his brother Theo and the charity of others such as Julien "Père" Tanguy, who ran the paint store that Van Gogh frequented in Paris. With their generosity of money and supplies, Van Gogh continued working as an artist and thought of portrait painting as a practical application of his talent.

In a letter to his brother Theo in July of 1888 he wrote:
“Besides, I think I have spoken the truth, but if I should succeed in replacing in goods the money spent, I should only be doing my duty. And then, something practical I can do is portrait painting.”

In another letter to his brother Theo dated September 16, 1888, Van Gogh writes about a self-portrait he painted and dedicated to his friend and fellow artist Paul Gauguin:
“The third picture this week is a portrait of myself, almost colourless, in ashen tones against a background of pale veronese green. I purposely bought a mirror good enough to enable me to work from my image in default of a model, because if I can manage to paint the colouring of my own head, which is not to be done without some difficulty, I shall likewise be able to paint the heads of other good souls, men and women.” (below)

1888 Self Portrait Dedicated to Paul Gauguin oil on canvas 59.5 x 48.3 cm Arles, September 1888

In addition to Gauguin, Van Gogh also exchanged self-portraits with artist Émile Bernard. After receiving a letter from Bernard and Gauguin with their self-portraits enclosed, Van Gogh responded to Bernard encouraging portrait painting believing that portraits would always be in demand writing the following to Bernard:

“I strongly urge you to study portrait painting, do as many portraits as you can and don't flag. We must win the public over later on by means of the portrait; in my opinion it is the thing of the future.”

1886 Self-Portrait with Cap black chalk 20 x 11 cm Paris, Spring 1886

1886 Self-Portrait with Dark Felt Hat oil on canvas 41.5 x 32.5 cm Paris, Spring 1886

1886 Self-Portrait with Dark Felt Hat at the Easel oil on canvas 46.5 x 38.5 cm Paris, Spring 1886

1886 Self-Portrait with Pipe oil on canvas 46 x 38 cm Paris, Spring 1886

1886 Self-Portrait with Pipe oil on canvas 27 x 19 cm Paris, Spring 1886

1886 Self-Portrait oil on canvas 39.5 x 29.5 cm Paris, Autumn 1886

1886-7 Self Portrait with a Grey Felt Hat oil on cardboard 42 x 34 cm Paris, Winter 1886-7

1887 Two Self-Portraits pencil, pen & ink on paper 31 x 24 cm Paris January-June 1887

1887 Self-Portrait with Pipe and Glass oil on canvas 61 x 50 cm Paris early 1887

1887 Self-Portrait pencil 19 x 21 cm Paris, January-July 1887

1887 Self-Portrait in Grey Felt Hat oil on pasteboard 19 x 14 cm Paris, March-April 1887

1887 Self-Portrait oil on paper 32 x 23 cm Paris, Spring 1887

1887 Self-Portrait oil on pasteboard 19 x 14 cm Spring-Summer 1887

1887 Self-Portrait oil on pasteboard 41 x 33 cm Paris, Spring-Summer 1887

1887 Self-Portrait oil on cardboard 42 x 33.7 cm Paris, Spring 1887

1887 Self-Portrait oil on canvas 41 x 33.5 cm Paris, Summer 1887

1887 Self-Portrait with Straw Hat and Pipe oil on canvas 41.5 x 31.5 cm Paris, Summer 1887

1887 Self-Portrait oil on canvas 42 x 34 cm Paris, Summer 1887

1887 Self-Portrait with Straw Hat oil on canvas 41 x 31 cm Paris, Summer 1887

1887 Self-Portrait oil on canvas 42.5 x 31.5 cm Paris, Summer 1887

1887 Self-Portrait oil on canvas 41 x 33 cm Paris, Summer 1887

1887 Self Portrait with Straw Hat oil on panel 35.5 x 26.7 cm Paris, Summer 1887

1887 Self-Portrait with Straw Hat oil on cardboard 40.5 x 32.5 cm Paris, Summer 1887

1887 Self-Portrait oil on canvas 47 x 35 cm Paris, Autumn 1887

1887 Self-Portrait with a Japanese Print oil on canvas 44 x 35 cm Paris, December 1887

1887-8 Self-Portrait oil on canvas 46.5 x 35.5 cm Paris, Winter 1887-8

1887-8 Self-Portrait with Grey Felt Hat oil on canvas 44 x 37.5 cm Paris, Winter 1887-8

1887-8 Self-Portrait with Straw Hat oil on canvas 40.6 x 31.8 cm Paris, Winter 1887-8

1887 Self-Portrait with Straw Hat oil on pasteboard 19 x 14 cm

1887-8 Self-Portrait oil on canvas 46 x 38 cm

1887-8 Self-Portrait with Felt Hat oil on canvas 44 x 37.5 cm

1888 Self Portrait as an Artist oil on canvas 65.5 x 50.5 cm Paris, early 1888

1888 Self-Portrait with Pipe and Straw Hat oil on canvas 42 x 30 cm Arles, August 1888

1888 Self-Portrait oil on canvas 46 x 39 cm Arles, November-December 1888

1889 Self Portrait with Bandaged Ear oil on canvas 60.5 x 50 cm Arles, January 1889

1889 Self-Portrait with Bandaged Ear oil on canvas 51 x 45 cm Arles, January 1889

1889 Self-Portrait oil on canvas 40 x 31 cm Saint-Rémy, September 1889

1889 Self-Portrait with Palette oil on canvas 57 x 43.5 cm Saint-Rémy, August 1889

1889 Self-Portrait oil on canvas 65 x 54 cm Saint-Rémy September 1889 © Musée d'Orsay, dist.RMN / Patrice Schmidt

1889 Self-Portrait oil on canvas 51 x 45 cm Saint-Rémy September 1889

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E. Mcknight Kauffer – part 1

May 22, 2013, 1:20 am

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Facts on E. McKnight Kauffer from Wikipedia:

Edward McKnight Kauffer (1890 –1954) was an American-born artist noted for his avant-garde graphic design and poster art, especially in Britain. He was born on in 1890, in Great Falls, Montana. By 1910 he had moved to San Francisco working as a bookseller and studying art at the California School of Design from 1910 to 1912. At around this time Professor Joseph McKnight of the University of Utah became aware of Kauffer's work, sponsored him and paid to send him to Paris for further study. In gratitude Kauffer took his sponsor's name as a middle name.

Kauffer stopped in Chicago for six months in 1912-1913 and studied at the Art Institute of Chicago. While there he visited the Armory Show, one of the first major exhibitions to introduce the styles of modernism to American viewers. It seems likely that this had a major impact on Kauffer, who would work in many of the same styles throughout his career. He arrived in Paris in 1913 and studied at the Académie Moderne until 1914. At the beginning of WW1 Kauffer moved to London and remained there for most of his career. He was briefly associated with Robert Bevan’s Cumberland Market Group.

Kauffer may be best known for the 140 posters that he produced for London Underground, and later London Transport, The posters span many styles: many show abstract influences, including futurism, cubism, and vorticism; others evoke impressionist influences such as Japanese woodcuts.He created posters for Shell Oil and other commercial clients, and also illustrated books and book covers. Later he also became interested in textiles, interior design and theatrical design.

He returned to New York City in 1940 at the beginning of WW2 and tried to find work in advertising. He struggled in the more competitive atmosphere there, until he was approached to do a series of posters for American Airlines in 1947. American Airlines remained his primary client until his death in 1954.

This is part 1 of 3-part post on the works of E. McKnight Kauffer:

1915 In Watford

1915 Oxhey Woods published by Underground Electric Railway Company

1915 Reigate published by Underground Electric Railways

1915 The North Downs published by Underground Electric Railways

1916 Self promotional poster artwork in Colour Magazine

1919 Daily Herald poster

1919 The London Group poster

1920 Epping Forest published by Underground Electric Railways

1920 Hainault Forest by Motor Bus published by Underground Electric Railways

1921 Winter Sales are best reached by Underground

1922 Poster for The Westminster Press

1922 Winter Sales are best reached by Underground

1922 Winter Sales version 2

1923 Cover for Commercial Art Magazine

1923 Museum of Natural History poster

1923 Reigate Priory Park By Motor Bus

1923 The Heaths, Surrey No. 178 for London Buses

1923 Advertisement for W. G. Briggs using London Transport poster

1924 Advertisement for Shell

1924 Poster for Eno's Fruit Salt

1924 Winter Sales are best reached by Underground

1925c Shell Aviation Fuel advertisement

1927 Metropolis

1928 BBC Handbook cover

1928 Press advertisement for Chrysler

1928 Press advertisement for Eno's Fruit Salt

1928 Press advertisement for 'Commercial Art'

1929 Cover for The Studio Magazine

1929 Illustration for "Elsie and the Child" by Arnold Bennett

1929 Whitsuntide published by Underground Electric Railways

1930 Illustration from Marina by T.S. Eliot

1930-31c Leaflet for Fortnum & Mason

1931 Illustration for Triumphal March by T.S. Eliot

1931 Play Between 6-12, The Bright Hours published by London Underground

1931 Poster for Shell

1931c Leaflet for Curwen Press

1932 Chiswick Works brochure for London General Omnibus Co. Ltd.

1932 London Underground poster

1932c Stonehenge poster issued by Shell Oil & Petrol

1933 Art Now

1933 BP Ethyl Controls Horse-Power © BP Archive

1933 Book cover

1933 Go Great Western to Cornwall

1933 London Underground poster

1933 Poster for exhibition of own watercolours

1933 Whitsuntide Holiday for London Underground

1934 Book cover design

↧

E. Mcknight Kauffer – part 2

May 24, 2013, 1:21 am

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Edward McKnight Kauffer (1890 –1954) was an American-born artist noted for his avant-garde graphic design and poster art, especially in Britain.

This is part 2 of 3-part post on the works of E. McKnight Kauffer. For full biographical notes, and for earlier works, see part 1.

1934 Poster for Shell

1934c Imperial Airways "Advantages of Air Travel" brochure

1934c Shell-Mex

1935 Bicycle and Motorcycle Show

1935 You Can be Sure of Shell, Actors Prefer Shell

1935c Quickest way by Air Mail published by the Royal Mail © Royal Mail Group Ltd

1935c Batsford Guide cover

1936 Christmas card design for Eric Gregory

1936 'Morris Officially Approve' Shell Oil advertisement

1936 Poison Gas booklet issued by the Union of Democratic Affairs

1936 'To Visit Britain's Landmarks' advertisement for Shell

1936c Advertisement for BP

1937 Aid to Spain poster

1937 Lubrication by Shell

1937 New Shell Lubricating Oils

1937c Air Mail Routes published by the Royal Mail © Royal Mail Group Ltd

1937 c Post During Lunch Hour published by the Royal Mail © Royal Mail Group Ltd

1937c Outposts of Britain, A Postman in Northern Scotland published by the Royal Mail © Royal Mail Group Ltd

1938 ARP poster

1938 Guide to London

1938 How Bravely Autumn Paints upon the Sky published by London Transport

1939 Summer Shell

1939 Winter Shell

1939c Poster for Shell-Mex & BP art exhibition

1940-43 Book cover design

1941 Advertisement for Container Corporation of America

1941 Book cover design

1942 Book cover design

1942 Circus poster

1942 Greece Fights On

1942 Point Counter Point

1942 Poster for American Airlines

1943 Book cover design

1943 Religious Freedom poster

1944 Book cover design

1944 Cover of Seminar Magazine

1944 Homer - the Annual of the Graphic Arts

1944 Illustrations to Green Mansions by W. H. Hudson:

1945 Book cover design

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E. Mcknight Kauffer – part 3

May 26, 2013, 1:47 am

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Portrait of E. Mcknight Kauffer, London by Carl Van Vechten ©

Edward McKnight Kauffer (1890 –1954) was an American-born artist noted for his avant-garde graphic design and poster art, especially in Britain.

This is part 3of 3-part post on the works of E. McKnight Kauffer. For full biographical notes see part 1. For earlier works, see parts 1 -2 also.

1945 Book cover design

1945 Cover of Seminar Magazine

1946 (reprinted 1951) Illustrations to Edgar Allan Poe:

Edgar Allan Poe

1946 Book cover design

1947 Book cover design

1947c American Airlines to California

1948 American Airlines 'Washington'

1948 American Airlines

1948 Book cover design

1948-53 American Airines Poster 'All Europe'

1948c American Airlines 'San Francisco'

1948c American Airlines 'Sweden'

1949c Pan American poster 'Germany'

1949c Pan American poster 'Mexico'

1950 American Airlines to Chicago

1950 American Airlines 'Mexico'

1950 Book cover design

1950 Sketch - the Annual of the Graphic Arts

1951 Book cover design

1952 Book cover design

1953 Guide to Adelaide "SS Oronsay" Australia to England

1953 Guide to Colombo "SS Oronsay" Australia to England

1953 Illustration from the series Great Ideas of Western Man

1955 Book cover design

1955c Book cover design

1959 Book cover design

1961 Book cover design

Date? India Tyres poster

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Leonardo da Vinci – part 1

May 28, 2013, 1:17 am

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1513c Portrait of a Bearded Man, possibly a Self Portrait chalk on paper

Leonardo da Vinci (1452 – 1519) was born in 1452 near Vinci, Tuscany, Italy. He was apprenticed to the sculptor and painter Andrea del Verrocchio in Florence and in 1478 became an independent master. Around 1483 he moved to Milan to work for the ruling Sforza family as painter, sculptor, engineer and architect.

One Da Vinci’s most famous works, The Last Supper mural, was painted in the refectory of the Monastery of Santa Maria delle Grazie, Milan between 1495 and 1497. He was in Milan until the city was invaded by the French in 1499 and the Sforza family was forced to flee. During his time in Florence, he painted several portraits, but the only one that survives is possibly the most famous of his works, the Mona Lisa, painted between 1503-1505.

Da Vinci returned to Milan in 1506 and remained there until 1513. This was followed by three years based in Rome. In 1517, at the invitation of the French king Francis I, he moved to the Château of Cloux, near Amboise in France, where he died on 2 May 1519.

This is part 1 of a 3-part post on the works of Leonardo da Vinci:

1470-73 Sleeve study for the Annunciation pen & ink on paper 8.5 x 9.5 cm

1472c Annunciation oil on panel 217 x 98 cm

The Annunciation: Generally accepted
Generally thought to be the earliest extant work by Leonardo. The work was traditionally attributed to Verrocchio until 1869. It is now almost universally attributed to Leonardo. Attribution proposed by Liphart, accepted by Bode, Lubke, Muller-Walde, Berenson, Clark, Goldscheider and others.

1470-76 Head of a Woman pen & ink, white heightening on paper 28.2 x 19.9 cm

1472c Profile of a Warrior in Helmet metalpoint on paper 28.5 x 20.7 cm

Silverpoint / Metalpoint

A silverpoint drawing is made by dragging a silver rod or wire across a surface, often prepared with gesso or primer. Silverpoint is one of several types of metalpoint used by scribes, craftsmen and artists since ancient times. Metalpoint styli were used for writing on soft surfaces (wax or bark), ruling and underdrawing on parchment, and drawing on prepared paper and panel supports. For drawing purposes, the essential metals used were lead, tin and silver. The softness of these metals made them effective drawing instruments.

1473 Landscape drawing for Santa Maria della Neve ink on paper 19 x 28.5 cm

1473c The Madonna of the Carnation oil on panel 62 x 47.5 cm

Madonna of the Carnation: Generally accepted
It is generally accepted as a Leonardo, but has some over-painting, possibly by a Flemish artist.

1474-78 Portrait of Ginevra de' Benci oil on wood 38.8 x 36.7 cm

1474-78 Reverse side of the portrait of Ginevra de' Benci oil on wood 38.8 x 36.7 cm

Ginerva de' Benci: Generally accepted
The work was proposed as a Leonardo by Waagen in 1866, and supported by Bode. Early 20th-century scholars were vociferous in their disagreement, but most current critics accept both the authorship and the identity of the sitter.

1475c The Baptism of Christ oil & tempera on panel 151 x 177 cm

The Baptism of Christ: Verrocchio and Leonardo
Painted by Andrea del Verrocchio, with the angel on the left-hand side by Leonardo. It is generally considered that Leonardo also painted much of the background landscape and the torso of Christ. One of Leonardo's earliest extant works. Vasari's statement that the angel on the left is by Leonardo is confirmed by studies by Bode, Seidlitz and Guthman, and accepted by McCurdy, Wasserman and others.

1478 Study Sheet ink on paper 26.6 x 20.2 cm

1478 Study for the Madonna with the Fruit Bowl pen & ink over silverpoint on paper 35.8 x 25.2 cm

1478-80 Automobile metalpoint, pen & brush on paper 27 x 20 cm

1478-80 Studies for a Madonna with a Cat pen & ink over stylus on paper 13.2 x 9.5 cm

1478-80 Studies for a Madonna with a Cat pen & ink on paper 23.2 x 17.5 cm

1478-80 Studies for a Madonna with a Cat pen & ink over chalk on paper 27.4 x 19 cm

1478-80 Study for the Madonna and Child with a Cat pen & ink on paper 28.1 x 19.9 cm

1478-80 Study for the Virgin and Child pen & ink on paper

1478-81 Study for the Adoration of the Magi pen & ink over silverpoint on paper 28.5 x 21.5 cm

1478-82 Annunciation oil on panel 16 x 60 cm

1478c Madonna with a Flower (Madonna Benois) oil on canvas transferred from wood 50 x 32 cm

Madonna Benois: Generally accepted

Most critics believe it coincides with a Madonna mentioned by Leonardo in 1478.

1478c Study of a Child with a Cat pen & ink on paper 20.6 x 14.3 cm

1480-82 Studies for Saint Mary Magdalene pen & ink on paper 13.8 x 8 cm © The Samuel Courtauld Trust, The Courtauld Gallery, London

1480-85 Designs for a Nativity or Adoration of the Christ Child silverpoint, pen & ink 19.3 x 16.2 cm

1480c Lady with a Unicorn pen & ink 95 x 75 cm

1480c Lily chalk & ink on paper 31.4 x 17.7 cm

1480c St. Jerome in the Wilderness oil on panel 103 x 75 cm

1480c Study of Nursing Madonna and Profile Heads

1480c Study of a Dog and a Cat metalpoint on paper

1480c Study of a Man Blowing a Trumpet in Another's Ear - Two Figures in Conversation pen & ink on paper

1480c Virgin and Child with a Cat pen & wash on paper 12.8 x 10.9 cm © Soprintendenza Speciale per il Polo Museale Fiorentino

1481 Adoration of the Magi oil on panel 246 x 243 cm

1481c Linear Perspective Study for The Adoration of the Magi

The Adoration of the Magi: Universally accepted

1481c Study of a Horse and Rider metalpoint on paper 12 x 7.8 cm

1482-83 Cartoon for the Head of the Infant Saint John the Baptist metalpoint, traces of pen, ink & wash heightened with white on paper 16.9 x 14 cm Musée du Louvre, Paris © RMN

1482c Battle between a Rider and a Dragon pen and brush over stylus on paper 13.9 x 19 cm

1483-86 Virgin of the Rocks oil on panel 199 x 122 cm Musée du Louvre, Paris. © RMN - Franck Raux_edited-1

1483c Head of a Girl metalpoint 18.1 x 15.9 cm

1483c Scythed Chariot ink on paper

1485 Drawing of a Flying Machine pen & ink on paper 23 x 16 cm

1485-88 Study with Shields for Foot Soldiers and an Exploding Bomb pen & ink on paper

1485c Drawing of a Flying Machine

1485c Studies of a Dog's Paw metalpoint on paper 14.1 x 10.7 cm © The National Gallery of Scotland, Edinburgh

1485c Study of a Bear's Head metalpoint on paper 7 x 7 cm

1486-87 Portrait of a Young Man (The Musician) oil on panel 44.7 x 32 cm © Veneranda Biblioteca Ambrosiana

Portrait of Young Man: Generally accepted

1487 Cannon Foundry ink on paper

1487-89 Fruit, Vegetables and other Studies pen & ink on paper 23.5 x 17.6 cm

1487-90 Study of the Effect of Light on a Profile Head chalk, pen & ink on paper 20.3 x 14.3 cm

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Leonardo da Vinci – part 2

May 30, 2013, 1:48 am

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This is part 2 of a 3-part post on the works of Leonardo da Vinci (1452-1519). For biographical notes, and for earlier works, see part 1.


1487c Grotesque Profile ink on paper

1488-90 Study of a Woman's Head metalpoint on paper 17.9 x 16.8 cm Musée du Louvre, Paris © RMN

1489-90 Portrait of Cecilia Gallerani (Lady with an Ermine) oil on wood 54.8 x 40.3 cm © Princes Czartoryski Foundation

1489-94 The Ermine as a Symbol of Purity pen & ink & chalk 91 cm dia. © The Fitzwilliam Museum, Cambridge

1490-1504 Torso of a Man in Profile, the Head Squared for Proportion, and Sketches of Two Horsemen pen & ink & chalk over silverpoint 28 x 22.4 cm

1490-91 Madonna Litta tempera on canvas transferred from panel 42 x 33 cm © The State Hermitage Museum, St Petersburg

Madonna Litta: Generally accepted

Thought to be by the hand of Leonardo and a pupil, Marco d'Oggiono.

1490-94 Head of a Man in Profile Facing to the Left pen & ink over chalk 11.7 x 5.2 cm

1490c A Study for an Equestrian Monument metalpoint 18.8 x 15.2 cm

1490c Bust of a Man in Profile with Measurements and Notes ink on paper

1490c Five Caricature Heads ink on paper 18 x 12 cm

1490c La Belle Ferronière oil on panel 63 x 45 cm Musée du Louvre, Paris © RMN

1490c Study of Horses metalpoint on paper 25 x 18.7 cm

1490c Study of Proportion silverpoint on blue paper 21.3 x 15.3 cm

1492 Vitruvian Man pen & ink, watercolour and metalpoint on paper 34.3 x 24.5 cm

1492c Study for a Last Supper chalk, traces of pen & ink on paper 25.9 x 39.4 cm © Soprindendenza Speciale per il Polo Museale Venezia

1494-95 Study for the Last Supper pen & ink on paper 26.6 x 21.4 cm

1495c Study for the Last Supper ink & metalpoint on paper 14.5 x 11.3 cm

1495-97 The Last Supper [pre-restoration] fresco 421 x 90.1 cm

1495-97 The Last Supper [post-restoration] fresco 421 x 90.1 cm

1495c Head of Christ pencil & wash on paper

1495c Heads of an Old Man and a Youth chalk on paper 20.8 x 15 cm

after 1499 The Madonna of the Yarnwinder oil on walnut 48.9 x 36.8 cm © The 10th Duke of Buccleuch and The Trustees of the Buccleuch Living Heritage Trust

1500c Study for Madonna with the Yarnwinder chalk on paper 25.7 x 20.3 cm

1499c The Virgin and Child with Saint Anne and Saint John the Baptist charcoal & chalk on paper 104.6 x 141.5 cm © The National Gallery, London

1500 Isabella d'Este chalk on paper 63 x 46 cm

1500-05 Caricature Head Study of an Old Man chalk on paper 9.8 x 8.2 cm

1500-13 The Virgin and Child with St. Anne oil on wood

1500c Drawing of Drapery chalk on paper

1500c Salvator Mundi oil on panel 65.5 x 45.1 cm

1501-06 Virgin and Child with St. Anne pen & ink on paper

1501-10 Study for the Infant Christ chalk on paper

1501c Study for St. Anne pencil on paper 21.8 x 16.4 cm

1501c Study for the Virgin and Child with St. Anne pen & ink over chalk on paper 26 x 19.7 cm

1502 Study of a Male Head chalk on paper

1503-04 Galloping Rider and other Figures chalk on paper 16.8 x 24 cm

1503-04 Group of riders in the Battle of Anghiari black chalk, white highlights 16 x 19.7 cm

1503-04 Rearing Horse red chalk & pencil 15.3 x 14.2 cm

1503-04 Study of battles on horseback and on foot pen & ink on paper 14.5 x 15.2 cm

1503-04 Study of battles on horseback and on foot pen & ink on paper 16 x 15.2 cm

1503-04 Study of battles on horseback pen & ink on paper

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Leonardo da Vinci – part 3

June 1, 2013, 1:25 am

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≪ Previous: Leonardo da Vinci – part 2

This is part 3 of a 3-part post on the works of Leonardo da Vinci (1452-1519). For biographical notes see part 1. For earlier works see parts 1 - 2 also.

1503-04 Study of horses for the Battle of Anghiari black & red chalk, pen & ink, wash on paper 19.6 x 30.8 cm

1503-05 The Battle of Anghiari (detail) black chalk, pen & ink, watercolour on paper 45.2 x 63.7 cm

1503-05 The Battle of Anghiari (detail) drawing

1505-05 Battle of Anghiari (Tavola Doria) oil on panel 85 x 115 cm

1503-05c Mona Lisa (La Gioconda) oil on panel 77 x53 cm

1503-07 A Grotesque Head chalk

1503-07 Study for Kneeling Leda chalk & pen & ink on paper 12.6 x 10.9 cm

1503-10 Study of St Anne, Mary and the Christ Child charcoal & pen & ink on pape 10 x 8.5 cmr

1503c Head of a Man chalk on paper

1503c Study of St. Anne, Mary, the Christ Child and the Young St. John ink on paper

1504 Study of a Rider (detail) chalk on paper

1504-05 Head Studies metal point, black & red chalk on paper 19.1 x 18.8 cm

1504-05 Head of a Warrior ('The Red Head') red chalk on paper 22.6 x 18.6 cm

1505c Anatomical Studies ink on paper 25.3 x 19.7 cm

1505c Head of Leda chalk & ink on paper 17.7 x 14.7 cm

1505c Old Man with Ivy Wreath and Lion's Head chalk on paper 18.3 x 13.6 cm

1505c Portrait of an Old Man ink on paper

1505c Study of Horses chalk on paper

1506-08 The Virgin of the Rocks oil on panel 189.5 x 120 cm © The National Gallery, London

1506c Star of Bethlehem and other Plants chalk & ink on paper 19.8 x 16 cm

1506c Studies of Legs of Man and the Leg of a Horse chalk & ink on paper 28.5 x 20.5 cm

1506c Study for the Kneeling Leda ink on paper 12.6 x 10.9 cm

1508-10 Study for the Trivulzio Equestrian Monument pen & ink on paper 28 x 19.8 cm

1508-12 The Head of the Virgin in Three-Quarter View Facing Right chalk, charcoal, traces of pen & ink 20.3 x 15.6 cm

1508c Head of a Young Woman with Tousled Hair (Leda) gouache on wood 36.2 x 24.7 cm

1509-10 Anatomical Studies of a Male Shoulder pen & ink on paper 29.2 x 19.8 cm

1509-10 Study of Cardiovascular System and Principal Organs of a Woman

1509-14 Study of Embryos chalk, pen & ink wash on paper 30.5 x 22 cm

1510 Leda oil on panel 130 x 77.5 cm

1510c Leda and the Swan oil on panel 69.5 x 73.7 cm (destroyed)

1510c Leda oil on panel 112 x 86 cm

1530c Leda

1510-11 Anatomical Studies of the Shoulder chalk & pen & ink on paper 28.9 x 19.9 cm

1510-15 St John in the Wilderness (Bacchus) oil on panel transferred to canvas 177 x 115 cm

1510c Head of Saint Anne chalk on paper

1510c Madonna and Child with St. Anne oil on wood 168 x 130 cm

1510c Study for Madonna and Child with St. Anne chalk & wash on paper 23 x 24.5 cm

1513-16 St John the Baptist oil on panel 69 x 57 cm

1513c Study Sheet with Cats, Dragon and other Animals chalk & ink on paper 27.1 x 20.4 cm

1513c Study Sheet with Horses chalk & ink on paper 29.8 x 21.2 cm

1517-18 A Deluge chalk & pen & ink on paper 16.2 x 20.3 cm

1517-18 Equestrian Monument chalk on paper 27.8 x 18.4 cm

Allegory with Wolf and Eagle chalk on paper 17 x 28 cm

Caricature pen & ink on paper

Drapery Study for a Seated Figure brush & grey distemper on grey canvas 26.6 x 23.3 cm

Drapery for a Seated Figure tempera on canvas 18.1 x 23.4 cm

Drapery for a Seated Figure tempera on canvas 31.9 x 21.8 cm

Female Head charcoal & chalk on paper

Flower Study metalpoint, pen & ink on paper 18.3 x 20.1 cm

Various Figure Studies pen & ink on paper 27.8 x 20.8 cm

n.d. A Horseman in Combat with a Griffin silverpoint on paper 8.8 x 13.9 cm

n.d. Drapery Study gouache on canvas

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Frederick Carl Frieseke – part 1

June 3, 2013, 2:07 am

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Biography of Frederick Carl Frieseke courtesy of Shiawassee District Library, Owosso, Michigan © Shiawassee District Library

Frederick Carl Frieseke (1874 – 1939) was born in Owosso, Michigan in 1874 to Herman Carl and Eva (Graham) Frieseke. After graduating from Owosso High School in 1893, Frieseke went on to study art at the Chicago Art Institute for a year. In 1895 he moved to New York to study at the Art Students' League, and in 1898 he moved to Paris where he enrolled at the Academie Julian and was influenced by James A. M. Whistler.

During these first few years in Paris, Frieseke spent part of his time doing work commissioned by Rodman Wanamaker. He was also commissioned to paint murals for Wanamaker's store in New York and the Shelbourne Hotel in Atlantic City, New Jersey. Wanamaker's interest is credited with providing Frieseke freedom from pursuits other than painting.

In 1906 Frieseke rented the house next door to Claude Monet in Giverny, France for the summer. He and his wife, Sarah Ann O'Bryan, whom he married in 1905, and later their daughter Frances spent their summers there until about 1919. Many of Frieseke's paintings were set in this house or its garden.

Frieseke was increasingly dissatisfied with the formal art forms of his time. In an interview with Clara T. MacChesney, probably in 1912, he considered himself an impressionist and said, "No artist in [the impressionist] school has influenced me except, perhaps, Renoir." His principal concerns were the varied effects of sunlight. As he said himself, "It is sunshine, flowers in sunshine; girls in sunshine; the nude in sunshine, which I have been principally interested in. If I could only reproduce it exactly as I see it I would be satisfied." His subjects were often women seated in sunny gardens or boudoirs. Occasionally he also painted landscapes, still-lifes, and nudes. As he grew older, he painted more of his own life, including his wife and daughter.

Frieseke's paintings won many honours beginning with a silver medal at the St. Louis Exposition in 1904; he also won the gold medal in Munich that same year. The climax in a succession of honours was reached in 1915 when he won the grand prize at the Panama-Pacific Exposition in San Francisco. In 1920 his painting Torn Lingerie won two gold medals and the popular prize at the Chicago Art Institute, based upon the opinions of both other artists and the general public.

1915 Torn Lingerie oil on canvas 131.4 x 131.1 cm

After the First World War, Frieseke purchased a country home in Normandy. He preferred living in France to the United States because of the freedom it offered him. As his grandson Nicholas Kilmer noted, the Friesekes lived in Normandy for two reasons--first the trout fishing was good and second Frieseke was not required "to make a noise like an artist". Frieseke himself said, "I stay on here because I am more free and there are not the Puritanical restrictions which prevail in America . . . .I can paint a nude in my garden or down by the fish pond and not be run out of town." Frieseke, however, continued to consider himself an American and made occasional trips back to the States.

In 1904 the French government purchased his Before the Glass, and it was hung in the Luxembourg Gallery. In 1912, after his first solo exhibition, Wanamaker gave Frieseke's La Toilette to the Metropolitan Museum in New York.

1913 Before Her Appearance (La Toilette) oil on canvas 60 x 59 cm

Many other museums were also to acquire his paintings including The Art Institute of Chicago, The Minneapolis Institute of Arts, The Detroit Institute of Arts, the Corcoran Gallery of Art in Washington, D.C., and the Modern Gallery in Venice, Italy. Two of his paintings have hung in the Shiawassee District Library--Lady With the Sunshade, which was a gift to the city of Owosso in 1926, and Holland 1898. A number of other museums, private individuals, and the Shiawassee Arts Council also have some of his paintings.

After World War I there was a slow but steady decline in Frieseke's popularity. In spite of continuing awards and the acquisition of his paintings by a number of museums, diminishing sales and negative reviews reflected a change in tastes. Critics saw his work as outmoded and overly conservative and Frieseke as a painter of pretty women. It was also during this time that the mood of his paintings became more contemplative, his colours more sombre, and his compositions more static. His style was becoming less French-Impressionist and moving more towards realism.

Frieseke said that "I never compose a picture before Nature, but I paint what I see that is interesting, and which appeals to me at that moment. I put down whatever I see before me. I avoid being conventional as much as possible, for most picture making is conventional. I never change the drawing of a tree, or leave out a bed of flowers. I may not see them, if they do not add to the beauty of the whole." However, his family remembered his wife editing his paintings by removing things from the top of bureaus and tables, which she did not want seen.

Frieseke died August 24, 1939 in Normandy and was buried at Mesnil-sur-Blangy in France.

This is part 1 of a four-part post on the works of Frederick Carl Frieseke:

1898 Horse in a Field watercolour 25.4 x 35.6 cm

1898-99c Paris, Pont Neuf with Barges watercolour 26.7 x 29.2 cm

1899 Misty Morning on the Seine watercolour 21.3 x 30.2 cm

1900-01c Dutch Landscape watercolour 21.6 x 29.8 cm

1900-01c People in the Park oil on panel 17.8 x 22.9 cm

1900c Man Ploughing watercolour 21 x 29.2 cm

1900c Montparnasse Landscape watercolour 30.5 x 20.3 cm

1901 Brittany Landscape oil on canvas 45.7 x 61 cm

1901 Hélène oil on canvas 65.1 x 81.3 cm

1901 Landscape, Le Pouldu, Brittany watercolour 55.9 x 45.7 cm

1901 Luxembourg Gardens oil on canvas 25.7 x 32 cm

1901-02c Study of the Nude in an Interior oil on canvas 73.7 x 91.4 cm

1901c Mist watercolour 30.5 x 40.6 cm

1902 Lady in Pink oil on board 46.3 x 38 cm

1902-03c Woman before a Mirror oil on canvas 81.3 x 65.4 cm

1902c The Yellow Tulip oil on canvas 81.3 x 63.5 cm

1903 Before the Mirror oil on canvas 92.7 x 65.1 cm

1903 Girl in Pink oil on canvas 81.3 x 66 cm

1903 Medora Clark at the Clark Apartment, Paris oil on canvas 81.3 x 64.8 cm

1903 Sleep oil on canvas 88.9 x 114.3 cm

1903-04c Girl Reading oil on canvas 81.3 x 65.4 cm

1904 Ballerina oil on canvas 146 x 97.2 cm

1904 Tea in the Garden oil on canvas 58.7 x 68.9 cm

1904 The Balcony oil on canvas 50.8 x 61 cm

1904 The Green Sash oil on canvas 116.8 x 81.3 cm

1904-07 Woman with a Flower Basket oil on canvas 149.2 x 121 cm

1904c Nasturtiums oil on canvas 81.3 x 66 cm

1905c Lady with a Parasol oil on canvas 81.9 x 64.8 cm

1906 Rest oil on canvas 127 x 177.8 cm

1906-09c Under the Willows oil on canvas

1906c Lunch in Bed oil on wood 40.6 x 50.8 cm

1907-14c The Parasol oil on canvas 82.5 x 82.5 cm

1907c Portrait of Madame Gely oil on board 50.8 x 61 cm

1908 Lady with Parasol oil on canvas 64.8 x 81.3 cm

1908 Reflections oil on canvas 81.3 x 66 cm

1908 Through the Vines oil on canvas 81.3 x 81.3 cm

1908-09c Late October oil on canvas 65.4 x 81.3 cm

1908-09c The Judas Tree oil on canvas 81.3 x 64.8 cm

1908c Grey Day on the River oil on canvas 66 x 81.3 cm

1908c The Japanese Parasol oil on canvas 81.3 x 64.8 cm

1909 Nude Seated at her Dressing Table oil on canvas 162.2 x 131.1 cm

1909 Reflections oil on canvas 81.3 x 68.9 cm

1909-10c On the River oil on canvas 66 x 81.3 cm

1909 Lady Trying On a Hat oil on canvas 162.6 x 129.5 cm

1910 Afternoon - Yellow Room oil on canvas 92.7 x 94 cm

1910 Lady with the Sunshade oil on canvas 81.3 x 81.3 cm

1910-12c In the Garden, Giverny oil on canvas 81.3 x 81.3 cm

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Frederick Carl Frieseke – part 2

June 5, 2013, 1:20 am

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Portrait of Frederick Carl Frieseke by Karl Anderson 1910

Frederick Carl Frieseke (1874 – 1939) was an influential impressionist painter - the Michigan-born artist took up permanent residence in France after first arriving there at the age of 24. Although he travelled back to the United States periodically and sent works to be exhibited in his native country, he is most closely linked with the French art colony of Giverny, home of Claude Monet. Frieseke was viewed as the leader of the last generation of American painters to converge at the famous spot, many of whom used the surrounding landscape as a backdrop for, rather than the primary subject of, their compositions.

For full biographical notes on Frieseke, and for earlier works, see part 1 also. This is part 2 of a 4-part post on the works of Frederick Carl Frieseke:

1910c Lady in Rose oil on canvas 86.4 x 86.4 cm

1910c Le Pouldu Landscape oil on canvas 45.8 x 60.8 cm © Frances Frieske Kilmer Family Trust

1910c The Birdcage 78.7 x 78.7 cm © Frances Frieske Kilmer Family Trust

1910c The Garden Parasol (study) oil on canvas 48.3 x 58.4 cm

1910c The Garden Parasol oil on canvas 144.8 x 194.6 cm © Frances Frieske Kilmer Family Trust

1910c The Garden Umbrella 81.3 x 81.3 cm © Frances Frieske Kilmer Family Trust

1910c The Open Window oil on canvas 130.8 x 101.6 cm

1910c The Yellow Room oil on canvas 81.3 x 81 cm

1911 Garden in June oil on canvas 63.8 x 81.9 cm

1911 The Kitchen Door oil on canvas 81.3 x 66 cm

1911 Woman with a Mirror oil on canvas 81 x 81.3 cm

1911-12 Yellow Tulips oil on canvas 80.6 x 80.6 cm

1911c Breakfast in the Garden oil on canvas 66 x 89.2 cm

1911c Lilies oil on canvas 65.4 x 81.6 cm

1911c Two Young Women in a Garden oil on canvas 81.3 x 64.8 cm

1911c Yellow and Blue oil on canvas 80 x 64.8 cm

1912 Hollyhocks oil on canvas 87.6 x 87.6 cm

1912 Lady on a Gold Couch oil on canvas 96.5 x 127 cm

1912 Summer Reading oil on canvas 91.4 x 91.4 cm

1912 The Flower Garden oil on canvas 32.2 x 34.2 cm

1912 The House in Giverny oil on wood 27 x 35 cm © Colección Carmen Thyssen-Bornemisza en depósito en el Museo Thyssen-Bornemisza

1912 Woman at a Dressing Table oil on board 24.1 x 29.8 cm

1912-13c Blue Interior oil on canvas 81.3 x 81.3 cm

1912-13c Foxgloves oil on canvas 66 x 81.3 cm

1912-14c Woman in a Doorway oil on board 34.3 x 26.7 cm

1912c Lady in a Garden oil on canvas 81 x 65.4 cm

1912c On the Balcony oil on canvas

1912c The Blue Garden

1912c Woman before a Mirror oil on canvas 92.7 x 73.7 cm

1913 On the Beach, Corsica oil on panel 26 x 34.9 cm

1913 On the Dunes oil on canvas 81.3 x 66 cm

1913 Venus au Soleil oil on canvas 41.3 x 50.8 cm

1913c Beach in Corsica oil on panel 26 x 34.9 cm

1913c Cherry Blossoms oil on canvas 78.7 x 63.5 cm

1914c Cherry Blossoms oil on canvas 82.5 x 66.7 cm copy

1913c Garden Mirror oil on canvas 63.5 x 81.3 cm

1913c Hollyhocks oil on canvas 64 x 81.3 cm

1913c In the Doorway (Good Morning) oil on canvas 81.3 x 66 cm

1913c On the Beach in Corsica oil on canvas 40.6 x 50.8 cm

1913c The Robe oil on canvas 81.3 x 63.5 cm

1913c Venus in the Sunlight oil on canvas 97.8 x 130.5 cm

1914 Summer oil on canvas 114.3 x 146.7 cm

1914 Sunbath oil on canvas 73.3 x 91.4 cm

1914 Woman Seated in a Garden oil on canvas 66 x 81.3 cm

1914 Woman in an Interior oil on canvas 50.8 x 61 cm

1914c In the Boudoir oil on canvas 64.7 x 80.6 cm © Frances Frieske Kilmer Family Trust

1914c On the Bank oil on canvas 102.9 x 146 cm

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Frederick Carl Frieseke – part 3

June 7, 2013, 11:43 am

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Self-Portrait 1901 watercolour 33 x 25.4 cm

Frederick Carl Frieseke (1874 – 1939) was an influential impressionist painter - the Michigan-born artist took up permanent residence in France after first arriving there at the age of 24. Although he travelled back to the United States periodically and sent works to be exhibited in his native country, he is most closely linked with the French art colony of Giverny, home of Claude Monet. Frieseke was viewed as the leader of the last generation of American painters to converge at the famous spot, many of whom used the surrounding landscape as a backdrop for, rather than the primary subject of, their compositions.

For full biographical notes on Frieseke see part 1. For earlier works see parts 1 - 2 also. This is part 3 of a 4-part post on the works of Frederick Carl Frieseke:

1914c Sun and Wind oil on canvas 81.6 x 65.4 cm

1914c The Hour of Tea oil on canvas 95.6 x 141.3 cm

1914c Two Women on the Grass oil on board 45.7 x 59.4 cm

1914c Woman in Boudoir oil on canvas 48.7 x 61 cm

1915 Memories oil on canvas 131.5 x 130.3 cm

1915 On the Bank oil on canvas 102.8 x 146 cm

1915 The Mother oil on canvas 99.1 x 99.1 cm

1915c Baby in Pram oil on canvas 66 x 81.3 cm

1915 The Rose Peignoir oil on canvas 81.9 x 81.3 cm

1915 Unravelling Silk oil on canvas 81.9 x 82.2 cm

1915c Frances (study) oil on cardboard 30.5 x 30.5 cm

1915c Hill at Giverny oil on canvas 66 x 81.3 cm

1915c Nude on the Beach

1915c Sewing in the Garden

1915c Sunspots oil on canvas 73 x 92.7 cm

1915c The Garden

1915c The Hammock (study) oil on board 29.8 x 37.5 cm

1915c The Hammock oil on canvas 99 x 132.1 cm

1915c The Window oil on canvas 101.6 x 101.6 cm

1916 Under the Awning oil on canvas 101 x 152.4 cm

1916c Sewing in the Garden oil on canvas 80 x 80 cm

1917 The Blue Gown oil on canvas 99.1 x 152.4 cm

1917-19 The Gold Locket oil on board 74.9 x 74.9 cm

1918c Girl in Blue oil on canvas 81.3 x 81.3 cm

1917c By the Cradle oil on canvas 45.7 x 66 cm

1917c Girl with Earrings (study) oil on cardboard 25.4 x 35.6 cm

1917c Girl with Earrings oil on canvas 81.3 x 81.3 cm

1917c Peace oil on canvas 101.6 x 152.7 cm

1917c Rest oil on canvas 66 x 81.3 cm

1917c Woman Tying Her Shoe oil on canvas 34.9 x 26.7 cm

1918 At the Dressing Table oil on canvas 81.3 x 81.3 cm

1918 Summer Morning oil on canvas 81.3 x 64.8 cm

1918 The Green Chair oil on board 73.7 x 59.7 cm

1919c The Old Fashioned Gown oil on canvas 81.3 x 64.8 cm

1920 Nude in Window oil on canvas 91.4 x 71.1 cm

1920 Seated Nude oil on canvas 99.1 x 132.4 cm

1920-21 The Crinoline oil on canvas 50.2 x 61 cm

1920c Nude Behind Red Curtains oil on canvas 64.1 x 81.3 cm

1921 Fishing in the Swamp watercolour 19.7 x 24.8 cm

1921 Hoeing, Jacksonville watercolour 19 x 24.1 cm

1921 Mahdah oil on canvas 81.3 x 81.3 cm

1921 Night, Orange Grove watercolour 18.4 x 25.7 cm

↧

Frederick Carl Frieseke – part 4

June 9, 2013, 1:37 am

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Frederick Carl Frieseke (1874 – 1939) was an influential impressionist painter - the Michigan-born artist took up permanent residence in France after first arriving there at the age of 24. Although he travelled back to the United States periodically and sent works to be exhibited in his native country, he is most closely linked with the French art colony of Giverny, home of Claude Monet. Frieseke was viewed as the leader of the last generation of American painters to converge at the famous spot, many of whom used the surrounding landscape as a backdrop for, rather than the primary subject, of their compositions.

For full biographical notes on Frieseke see part 1. For earlier works see parts 1 - 3 also. This is part 4 of a 4-part post on the works of Frederick Carl Frieseke:

1921 Plantation House, Jacksonville watercolour 20.3 x 25.4 cm

1921 The Pirogue watercolour 19.4 x 26 cm

1921 Woman Seated in a Park with Basket oil on canvas 73 x 92.1 cm

1922 Child Knitting oil on canvas 61 x 50.2 cm

1922 Normandy Girl oil on canvas 81.3 x 81.3 cm

1923 Spring no. 5 oil on canvas 66 x 81.3 cm

1923 The Fountain oil on canvas 50.8 x 61 cm

1924 Apple Blossoms oil on canvas 66 x 81.3 cm

1924 Blue Curtains oil on canvas 91.4 x 91.4 cm

1924 Blue Gown oil on canvas 94 x 94 cm

1924 Closed Blinds oil on canvas 81.3 x 81.3 cm

1924c Frances oil on canvas 81.3 x 66 cm

1925 Nude no. 3 oil on canvas 81.3 x 81.3 cm

1925c Woman at a Piano oil on canvas 96.5 x 78.7 cm

1926 Portrait of Jane Belo oil on canvas 132.1 x 96.5 cm

1926 The Practice Hour oil on canvas 66 x 81.3 cm

1926 Youth oil on canvas 127.5 x 152.6 cm

1928 Child at the Piano oil on canvas 91.4 x 91.4 cm

1928 Flower Study (Pansies) watercolour 22.9 x 30.5 cm

1928 Girl Breakfasting watercolour 38.1 x 50.8 cm

1930 Portrait of a Woman with Cactus oil on canvas 91.4 x 71.1 cm

1930c Pensive Model oil on canvas 81.3 x 81.3 cm

1930c Portrait of a Woman (with Cactus) (study) oil on board 61 x 50.8 cm

1930c Russian Model oil on canvas 61 x 50.8 cm

1931 Samaden, Village against Mist watercolour & oil 22.9 x 30.5 cm

1931 Winter Landscape oil on canvas 50.8 x 61 cm

1931c Night Scene, Samaden oil on canvas 50.8 x 61 cm

1931c Samadan Landscape oil on canvas 66 x 81.3 cm

1933c Silhouette oil on canvas 92.4 x 73.3 cm

1934 The Little Salon (study) watercolour 30.5 x 22.9 cm

1935 Blue Girl Reading oil on canvas 134.6 x 96.5 cm

1937c Bird in a Cage oil on canvas 50.8 x 61 cm

Note: I do have dates for remainder of these artworks, so they will be out of date sequence:

By the River oil on canvas 64.5 x 80.5 cm

Dressing oil on board 28.6 x 24.1 cm

Embroidery oil on canvas 81.3 x 81.3 cm

In the Boudoir oil on canvas

In the Morning Room oil on canvas 81.3 x 65.4 cm

Lady in a Hammock oil on board 29.8 x 37.5 cm

Nude oil on board 38.1 x 36.8 cm

On the River oil on canvas 65.4 x 81.3 cm

On the River, Giverny oil on canvas 70.5 x 81.3 cm

Sadie in the Window oil on board 14.5 x 19.5 cm

Self-Portrait oil on canvas 73.7 x 91.4 cm

The Bridge, Giverny oil on canvas 65.1 x 81.3 cm

The Garden Pool oil on canvas 64.8 x 81.3 cm

The Library oil on canvas 49.5 x 61 cm

Woman Seated by a Fireplace oil on canvas 50.2 x 61 cm

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Ludwig Hohlwein – part 1

June 11, 2013, 1:35 am

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Ludwig Hohlwein photo Anton Sahm

Ludwig Hohlwein (1874 - 1949), born in Wiesbaden, Berchtesgaden in 1874 was a German poster artist. He was trained and practiced as an architect until 1906 when he switched to poster design.

Hohlwein was born in the Rhine-Main region of Germany, though he and his work are associated with Munich and Bavaria in southern Germany. There were two schools of ‘Gebrauchsgrafik’ (Advertising Art) in Germany at the time, North and South. Hohlwein's high tonal contrasts and a network of interlocking shapes made his work instantly recognisable.

Poster historian Alain Weill has commented that "Hohlwein was the most prolific and brilliant German posterist of the 20th century... Beginning with his first efforts, Hohlwein found his style with disconcerting facility. It would vary little for the next forty years. The drawing was perfect from the start, nothing seemed alien to him, and in any case, nothing posed a problem for him. His figures are full of touches of colour and a play of light and shade that brings them out of their background and gives them substance"

Hohlwein's most artistically important phase was before World War II in the years 1912-1925. A large variety of his best posters dates to this period. He developed his own distinct style with sharply defined forms, bright colours and a good portion of humour. By 1925, he had already designed 3000 different advertisements.

This is part 1 of a 5-part post on the works of Ludwig Hohlwein:

1905 Jugend magazine illustration

1907 Hermann Scherrer Sporting Tailor

1908 Confection Kehl

1908 Hermann Scherrer sportswear

1908 Lottery Exhibition

1908 Löwenbräu

1909 China Cotton Importers

1909 Ruder Regatta

1909 Stuhr's Caviar

1909 Wilhelm Mozer

1910 Academy for Aviation

1910 Germany in Brussels book cover

1910 Munich Zoo

1910 Parfumerie Tochtermann

1910 Richard Strauss Week, Munich

1912 Dog Exhibition, Frankfurt

1912 Munich Zoo

1912 Visit the Zoo

1913 Bavaria Floral Day Combatting Tuberculosis

1913 Gloves

1913 Intimes Theatre, Munich

1913 Pelikan Artists Paint

1913 The Poster

1914 Electricity Exhibition

1914 Kitty Starling German-American Eccentric-Dancer

1914 Kitty Starling the London Darling

1914c Kitty Starling

1914 Mercedes

1914 Red Cross

1915 postcard

1917 Otto Madlener

1918 Poster Exhibition, Munich

1918c People's Charity for German Prisoners of War

1919 "Lu" Boston Waltz music sheet

1919 Reichold and Lang Lithographic Art Institution

1920 Riquet Chocolates

1920 Riqúet Mammoth Cocoa

1920-23 Join Us - Steel Helmet Youth

1920

1921 Soldier Remembrance Day

1921 Trieste Sample Fair

1921 Yama the Deity of Death colour

1921 Yama the Deity of Death monochrome

1922 Art in Print

Carnival 1922

1924 A.D.A.C. General German Automobile Club

1925 Deutscher Runflug Air Competition

1925 Everything for Studio and Office

1925 Riquetta Chocolate

1925 Stocking House, Wiesbaden

1926 Askania - All Makes of Gas Stove

1926 Book Cover

1926 Casanova Cigarettes

1926 Foldable Cartons - Dezel & Naumann

1926 Frass Pipe Tobacco

1926 Gaba for Smokers

1926 Panther boots

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Ludwig Hohlwein - part 2

June 13, 2013, 6:49 am

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Ludwig Hohlwein 1949 photo Agentur Schirner

Ludwig Hohlwein (1874 - 1949) born in Wiesbaden, Berchtesgaden in 1874 was a German poster artist. He was trained and practiced as an architect until 1906 when he switched to poster design.

This is part 2 of a 5-part post on the works of Ludwig Hohlwein. For more biographical notes see part 1 also.

1926 Persil

1926 Rough Print Posters

1926 Stuart Webbs 'Das Rattenloch' Film Poster

1926 Tekrum Macaroon Products

1926 Turkish Pillowcases

1926 Victoria Bicycles

1926 Wellsense Sickles

1930 The Rhine

1930c Germany wants to see you

1933 Christmas Exhibition

1933-34 Donate to the Fight Against Hunger and Cold/Winter Relief Organization of the German People

1935 Franziskaner Beer

1935 Munich Summerfest

1936 Olympic Games

1936 Olympic Winter Games

1938 Calendar

1942 You are helping the enemy!

1948 Doornkaat from Kornsaat

Note: I'm afraid I do not have dates for works in the remainder of these posts, and the works are listed alphabetically.

A.D.A.C. General German Automobile Club.JPG

A.G.A. General Representation AutoHoffmann, Munich

Adler Bicycles

Adler Typewriters

Artistic Federation 'Tsar' art exhibition

Artist's Play "Broccaccio"

Arts and Crafts House Gebrueder Wollweber

Atlas Vegetable Oils

'Auf der Kanzel Knussert' Book Cover Design

'Bavaria' Thomas Cook & Son

Bavarian Aircraft Works, Munich

Bavarian Equestrian Society

Bears Brewery

Berchtesgaden

Berlin Zoo

Bernhard Borft Architect

Blooker's Cocoa

Bock Beer

Book Cover 'Never Awakened to the Light'

Book Cover

Bulgarian Hero Cigarettes

Burger-Kehl & Co

Busch Binoculars etc

Café Odeon and Billiard Academy

Carl Maur Men's Clothing

Carl Stiller Jr. Shoes

Casanova Cigarettes 'Gipsy'

Casanova Cigarettes 'Jutschi 38'

Casanova Cigarettes

Castle Brewery Moos 1567

Cigar Package

Claus Hinrich Tobacconist

Cognac and Liquers Macholl, Munich

Crying for Sauer's Prams

Crystal Palace, Munich

Danzig-Hamburg-South America Steamship

Der Altmann Sports Socks

Divinia cosmetics

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Ludwig Hohlwein - part 3

June 15, 2013, 5:28 am

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Ludwig Hohlwein (1874 - 1949) born in Wiesbaden, Berchtesgaden in 1874 was a German poster artist. He was trained and practiced as an architect until 1906 when he switched to poster design.

This is part 3 of a 5-part post on the works of Ludwig Hohlwein. For more biographical notes see part 1.

DKW Sport

Dora Menzier - The Beauty of the Body

Electricity in the Household Exhibition

Endurance, Power and Energy - Kola Dallmann Dallkolat

Erich Brewery 1730

Ernemann Binoculars

Ernemann Kinoptikon Projectors

Ernemann Kinox projectors

Ernte 23 tobacco

Estra Transformers

F. Wolff & Son cosmetics

Feima Coffee Substitute

Ferro-Magnetic Posters

Flying Machine Works - Gustav Otto, Munich

Franck Coffee

Franck Special Coffee

Friemann Coffee

Gerasch Pleasure

Germany - Summer on the Rhine

Goldseal Hats

Good Print Advertising

Gramophone

Greenland Ice Cream

Guta Stockings

Hackerbräu beer

Hadstein's timetables

Hand Cream

Hat Protection

Hemann Tietz, Munich

Hercules Beer

Hermann Scherrer Sporting and Ladies Tailor, Munich

Herrmann Hoffmann, Berlin - Clothing for Hunting

Hohlwein Cigarettes

Hunting Exhibition, Berlin

International Importing Fair

Jgeha Chocolates

Karnatzki Chocolate

Katheriner Wine

Kurpfalz Reisling

Küenzlen Wines

Kwannon Cigarettes

L. Wolff Cigars

Leather wax

Leibniz-Keks Biscuits

LEW Electricity Works

Linoleum Wax

Löwenbräu

M. Paul cigarettes

M.A.N. Egineering Works, Nuremberg - Motor PFLVGE

M.A.N. Engineering Works - Sliding Platforms

M.A.N. Engineering Works - Waste Heat Reclaimer

M.A.N. Engineering Works - Bridges

M.A.N. Engineering Works - Cranes

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Ludwig Hohlwein - part 4

June 17, 2013, 5:21 am

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Ludwig Hohlwein (1874 - 1949) born in Wiesbaden, Berchtesgaden in 1874 was a German poster artist. He was trained and practiced as an architect until 1906 when he switched to poster design.

This is part 4 of a 5-part post on the works of Ludwig Hohlwein. For more biographical notes see part 1.

M.A.N. Engineering Works - Cranes

M.A.N. Engineering Works Fume Extraction Systems

M.A.N. Engineering Works - Hydraulic Iron

M.A.N. Engineering Works - Iron Buildings

M.A.N. Engineering Works Nuremberg - Gas Machines

M.A.N. Engineering Works - Power Buses

M.A.N. Engineering Works - Steam Turbines

M.A.N. Engineering Works - Tandem Steam Engine

M.A.N. Engineering Works - Tank Cars

Mandruck Printing

Marco Polo Tea

Marine Concert

Mea Magneto, Stuttgart

Mercedes

Miko Cosmetics

Monopol the Sickle (Italian)

Mönschshof Brew

Munich and the Bavarian Highlands

Munich Chamber Orchestra

Munich Racing Club

Munich Zoological Garden

My PFAFF - sewing machines

Nightingale Shock - Only Existing Recording of the Nightingale

Only Future of Offset Printing

Otto Landauer

Our Little Son Rheingold

Parfum Klarybella

Passage Scheussel, Comfort Arts and Crafts, Munich

Patronats Beer

Persil

Peruvian Cotton Carders

Postcard for Ludendorff fund for disabled veterans

Postcard

Precision Camera Feinak

Preysing Bank

Prinz braces

Prof. de Jaegers Wool Underwear

Prometheus Electrical Koch & Heiz Apparatus

Riquet 1745 Chocolate

Riquet Mammoth Cocoa

Riquet Mocha Chocolate

Riquet Sudana Chocolate

Riquet Tea


Riquet Tea

Riquet Tea

Rosenthal Cover Artist

Rosenthal Pocelain Exhibition

S. Gutmann Office Furniture

Secures Your Home

Senior Convention cigars

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Ludwig Hohlwein - part 5

June 19, 2013, 6:19 am

≫ Next: William Keith

≪ Previous: Ludwig Hohlwein - part 4

Ludwig Hohlwein (1874 - 1949) born in Wiesbaden, Berchtesgaden in 1874 was a German poster artist. He was trained and practiced as an architect until 1906 when he switched to poster design.

This is part 5 of a 5-part post on the works of Ludwig Hohlwein. For more biographical notes see part 1.

Sheet Music 'Kussi Kussi'

Solvolith

Spaten-Bräu beer, Munich

Sprengel Chocolate

Spring in Wiesbaden

Stuart Webbs - German Film Poster

Stuart Webbs - The Camera Obscura

Sulima Cigarettes

Summer in Germany

Tattersall Univesity

Terranova

Teutonenbräu beer

The Bodensee

The Flask - Hanft's Original

The Good Tight Cigar and Cigarette

The Indian Tomb

The Miracle

The Mountain City

The Offset Printing Fachmann Selects

The Reliable RTS Double Head Receiver

The Vicar of Kirchfeld

The Week - Animals as Builders

The Week - India of Today

The Western Front film poster

The World Conquerer film poster

Ticket Agency

Torpedo Small Typewriters

Travel Clothing

Trix and Alomino Cigars

Turf book cover

Umbrella poster

Upper Coutry Hats

Victoria Motorcycles

Warrior's Home Sites in Wurttemberg

Wolff & Co shotgun cartridges

World Congress for Leisure and Recreation

Wulco Chick Feed

Wulco Poultry Feed

Yelowstone-Park

Yoigsländer Hunting Riflescopes

Zeiss Riflescopes and Hunting Glasses

Zündapp Motorcycles for Everyone

Note: I do not have titles for the remaining posters, and my German wasn't up to translating the meaning.

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William Keith

June 21, 2013, 4:58 am

≫ Next: Western / Cowboy Film Posters - part 1

≪ Previous: Ludwig Hohlwein - part 5

Biographical notes on William Keith from Wikipedia:

William Keith (1838 – 1911) was a Scottish-American painter famous for his California landscapes. He is associated with Tonalism and the American Barbizon school. Although most of his career was spent in California, he started out in New York, made two extended study trips to Europe, and had a studio in Boston in 1871-72 and one in New York in 1880.

Keith was born in 1838 in Aberdeen, Scotland and emigrated to New York with his family in 1850. He apprenticed with a wood engraver and later worked for Harper Brothers publishers. He may first have visited California in 1858 on assignment, but also visited Scotland that same year, and worked at the London Daily News.

In 1859 he moved to San Francisco where he worked for an engraver before setting up his own engraving shop with a partner. He first studied painting with Samuel Brookes in 1863, and took watercolour lesons from his wife, Elizabeth Emerson, whom he married in 1864. In 1868, Keith gave up engraving to pursue painting full time, encouraged by having received a commission from a steamship company to paint landscapes along the Columbia River.

In 1869, the Keiths left for Dusseldorf, Germany where William studied with Albert Flamm and Andreas Achenbach, although he did not enroll at the Royal Academy. More influential on his style of painting were the French Barbizon painters who emphasized mood and emotion over the dramatized realism of the German romantic painters. Leaving Europe, the Keiths spent the winter of 1871-72 painting in the Boston studio of William Hahn. The Barbizon and other "modern French" paintings had become popular on the east coast, and Keith's canvases received critical acclaim at exhibitions in Boston and New York.

After returning to San Francisco in 1872, Keith joined the Bohemian Club and started exhibiting his work there. He met naturalist John Muir that same year and the two became lifelong friends. Muir led the painter into seldom-visited landscapes around California, especially in his beloved Sierra Nevada and Yosemite. During the 1870s, Keith completed several eight by ten foot paintings of High Sierra views, which were thought to rival the monumental canvases of Thomas Hill, the other renowned California landscape painter of the era.

Elizabeth Keith died in 1882, and the next year William married Mary McHenry a pioneering female law school graduate. The couple soon left for Munich where Keith studied portrait painting for two years. Returning to California, the Keiths settled in Berkeley although William maintained a studio in San Francisco, commuting each day on the ferry. The studio burned in the earthquake and fire of 1906, and Keith is said to have lost as many as 2000 paintings.

After a trip to Alaska in 1887, Keith mounted a show at the Bohemian Club he titled Dreams of Alaska. These paintings were not literal translations of the views he sketched on location, but rather "fantasies of a poetical nature" as the catalogue from the show reported. Following his second trip to Europe, Keith's style of painting had become even looser and more evocative under influence of the French landscapists. By the 1890s, he had pushed this "suggestive" approach to capturing the landscape into the realm of tonalism, perhaps partially influenced by George Innes who painted in Keith's studio for several weeks in 1891. The two also painted together in Monterey and Yosemite, and both were Swedenborgians, which probably drove their search for the spiritual truths of the landscape that lay behind its surface appearances. Paintings made during the last two decades of Keith's life tend to be smaller, darker, and moodier than his brighter and more evenly lighted early work.

Keith exhibited widely from the 1870s until his death in 1911, including participation in international expositions, museum shows, and solo shows in London and at the Macbeth Gallery in New York. He received numerous awards for his work. Four years after his death, Keith was honoured with an entire room devoted to his paintings at the Panama-Pacific International Exposition.

1865 Wooded Landscape pen & ink, brush & wash, chinese white on paper 22.7 x 30.4 cm

1869 San Anselmo Valley Near San Rafael oil on canvas 61 x 92.1 cm

1869 Sunrise, Columbia River oil on canvas 61 x 91.4 cm

1870 A Broadside of Mount Tamalpais oil on canvas 78.7 x 119.7 cm

1872 Yosemite, Sentinel Rock oil on canvas

1874 Bay Area Landscape oil on canvas 35.6 x 50 8 cm

1874 Mount Lyell, California Sierra oil on canvas 41.3 x 64.1 cm

1875 Yosemite Valley oil on canvas 102.9 x 184.1 cm

1875-1880 Yosemite Valley oil on canvas 61.6 x 87 cm

1876 Pastoral Landscape oil on canvas 35.6 x 53.3 cm

1876 Upper Kern River

1877c Sunset on Mount Diablo (Marin Sunset) oil on canvas 100.7 x 151.5 cm

1878 An Autumnal Sunset on the Russian River Evening Glow oil on canvas 91.4 x 152.4 cm

1878 Headwaters of the American River

1878 Headwaters of the San Juaquin River oil on canvas 101.6 x 182.9 cm

1878 Mount Tamalpias from Lagunitas Creek oil on canvas 76.8 x 64.1 cm

1878c Donner Lake oil on canvas 61 x 38 cm

1879 Mountain Landscape with Cattle oil on canvas 76.2 x 127 cm

1879c Mount Shasta and Castle Lake oil on canvas 72 x 120 cm

1880 Approaching Storm oil on canvas 76.2 x 127 cm

1880-83c Sand Dunes and Fog, San Francisco oil on canvas 38.7 x 64.1 cm

1881 Mount Hood from Hood River oil on canvas 101.6 x 182.9 cm

1881 White Mountains and Conway Meadows, New Hampshire oil on canvas 76.2 x 127 cm

1882 Santa Barbara Hills oil on canvas 39.4 x 70.2 cm

1882c Pastoral Hillside Scene oil on canvas 63.5 x 94 cm

1883 Santa Barbara Mission oil on canvas 40.6 x 66 cm

1886 St. Michael's Cathedral, Sitka oil on board 40.6 x 61 cm

1890s After California Rain oil on canvas 76.2 x 101.6 cm

1890s mid Mount Shasta from Strawberry Valley oil on canvas

1891 The Glory of the Heavens oil on canvas

1893 Spring Landscape (Spring in Marin County)

1896 Discovery of San Francisco Bay oil on canvas 101.6 x 129.5 cm

1896 Sunset Glow on Mt Tamalpais oil on canvas 130.2 x 221.6 cm

1899 After the Storm oil on canvas 90.2 x 151.1 cm

1899 In the Valley oil on board 50.8 x 66 cm

1900-05 High Sierra Canyon oil on canvas 61 x 76 cm

1901 Majestic California oil on canvas 76.2 x 101.6 cm

1901 Stream Through the Valley oil on canvas 76.2 x 101.6 cm

1905c Carmel by the Sea oil on canvas 54.1 x 100 cm

1908 California Ranch oil on canvas 221.6 x 128 cm

1908c Hetch Hetchy Side Canyon oil on canvas 55.9 x 71.1 cm

Approaching Storm oil on canvas 91.4 x 153.4 cm

Dark November (Pastorale) oil on canvas 55.9 x 81.3 cm

Landscape oil on canvas 89.2 x 151.1 cm

Landscape with Mount Shasta oil on canvas 76.2 x 96.5 cm

n.d. Marin Sunset

n.d. Mount Ritter (Crown of the Sierras) oil on canvas

n.d. Berkeley Oaks oil on canvas 25.1 x 40.3 cm

n.d. Breaking of the Storm oil on canvas 75.9 x 101.9 cm

n.d. Cattle Watering at a Pond with a Shepherd Nearby oil on canvas 51.4 x 76.8 cm

n.d. Cows Grazing in a Clearing oil on board (cigar box) 12.7 x 17.8 cm

n.d. Early Morning on the Farm oil on canvas 73.3 x 123.8 cm

n.d. Evening oil on canvas 75.9 x 101.13

n.d. Hilegas Meadows oil on canvas 50.8 x 76.2 cm

n.d. In the Birch Woods, Damariscotta, Maine oil on canvas 35.6 x 27.9 cm

n.d. River at Evening oil on canvas 75.9 x 101.9 cm

n.d. Springtime oil on board 35.6 x 50.2 cm

n.d. Under the Oaks oil on canvas 73.7 x 101.9 cm

n.d. Wetlands at Sunset oil on canvas 50.8 x 76.2 cm

n.d. Wooded Landscape oil on canvas 30.6 x 36.3 cm

n.d. Yosemite Falls oil on canvas 61 x 45.7 cm

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Western / Cowboy Film Posters - part 1

June 23, 2013, 5:41 am

≫ Next: Western / Cowboy Film Posters - part 2

≪ Previous: William Keith

1918 Cupid's Round Up

From Wikipedia:

The American Film Institute defines Western films as those "set in the American West that embody the spirit, the struggle and the demise of the new frontier.” The term Western, used to describe a narrative film genre, appears to have originated with a July 1912 article in Motion Picture World Magazine.Most of the characteristics of Western films were part of 19th century popular Western fiction and were firmly in place before film became a popular art form. Western films commonly feature as their protagonists stock characters such as cowboys, gunslingers, and bounty hunters, often depicted as semi-nomadic wanderers who wear Stetson hats, bandannas, spurs, and buckskins, use revolvers or rifles as everyday tools of survival, and ride between dusty towns and cattle ranches on trusty steeds.

Western films were enormously popular in the silent era. However, with the advent of sound in 1927-28 the major Hollywood studios rapidly abandoned Westerns, leaving the genre to smaller studios and producers, who churned out countless low-budget features and serials in the 1930s. By the late 1930s the Western film was widely regarded as a 'pulp' genre in Hollywood, but its popularity was dramatically revived in 1939 by such major studio productions as Dodge City starring Errol Flynn, Jesse James with Tyrone Power in the title role, Union Pacific with Joel McCrea, Destry Rides Again featuring James Stewart in his first western, supported by Marlene Dietrich, and perhaps most notably, the release of John Ford's landmark Western adventure Stagecoach, which became one of the biggest hits of the year released though United Artists, and made John Wayne a mainstream screen star in the wake of a decade of headlining B westerns.

Early Westerns were mostly filmed in the studio, just like other early Hollywood films, but when location shooting became more common from the 1930s, producers of Westerns used desolate corners of Arizona, California, Colorado, Kansas, Montana, Nevada, New Mexico, Oklahoma, Texas, Utah, or Wyoming. Productions were also filmed on location at movie ranches.

Often, the vast landscape becomes more than a vivid backdrop; it becomes a character in the film. After the early 1950s, various wide screen formats such as cinemascope (1953) and VistaVision used the expanded width of the screen to display spectacular Western landscapes. John Ford’s use of Monument Valley as an expressive landscape in his films from Stagecoachto Cheyenne Autumn "present us with a mythic vision of the plains and deserts of the American West, embodied most memorably in Monument Valley, with its buttes and mesas that tower above the men on horseback, whether they be settlers, soldiers, or Native Americans".

This is part 1 of a 2-part post on Western / Cowboy film posters:

1919 A Debtor to the Law

1919 When a Woman Strikes

1923 The Covered Wagon

1924 "The Passing of Wolf MacLean"

1925 "The Cowboy Musketeer"

1926 The Great K & A Train Robbery

1926 War Paint

1928 King Cowboy

1928 The Wagon Show

1928 Under the Tonto Rim

1929 Outlawed

1930 "The Dawn Trail"

1931 "Border Law"

1931 Desert Vengeance

1932 "Texas Cyclone"

1932 "Destry Rides Again"

1932 "The Fighting Fool"

1933 "Man of Action"

1933 Riders of Destiny

1933 "Sagebrush Trail"

1933 "Diamond Trail"

1933 The Telegraph Trail

1933 "Unknown Valley"

1934 "Blue Steel"

1934 "Randy Rides Alone"

1934 "Terror of the Plains"

1934 "The Man from Utah"

1934 "The Star Packer"

1934 "The Trail Beyond"

1934 "West of the Divide"

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Western / Cowboy Film Posters - part 2

June 25, 2013, 8:14 am

≫ Next: Eric Ravilious – part 1

≪ Previous: Western / Cowboy Film Posters - part 1

This is part 2 of a 2-part post on Western / Cowboy film posters. For notes on Westerns, and for earlier posters, see part 1 also.

1934 "When a Man Sees Red"

1935 "Paradise Canyon"

1935 Rainbow Valley

1935 The Dawn Rider

1935 "The Law of the 45's"

1935 "Westward Ho"

1936 "Hopalong Cassidy Returns"

1936 "King of the Pecos"

1936 "The Lawless Nineties"

1936 The Oregon Trail

1936 "Winds of the Wasteland"

1937 Arizona Days

1937 Git Along Little Dogies

1937 Reckless Ranger

1937 "Thunder Trail"

1938 Bar 20 Justice

1938 "Man's Country"

1938 Pals of the Saddle

1938 Western Jamboree

1939 Dodge City

1939 Jesse James

1939 The New Frontier

1939 Stagecoach

1943 Wagon Tracks West

1946 Under Nevada Skies

1949 Sheriff of Wichita

1950 Winchester '73

1952 "High Noon"

1959 "Rio Bravo"

1964 A Fistful of Dollars

1966 "The Good, the Bad and the Ugly"

1973 High Plains Drifter

1976 The Outlaw Josey Wales

1992 Unforgiven

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Eric Ravilious – part 1

June 27, 2013, 5:39 am

≫ Next: Eric Ravilious – part 2

≪ Previous: Western / Cowboy Film Posters - part 2

Eric Ravilious in 1939 photo by Serge Chermayeff

This is another revised and updated post on artists I have previously featured. This replaces an earlier post from April 2010 on Eric Ravilious.

Eric Ravilious (1903 – 1942) was an English painter, wood-engraver and designer. He was educated at Eastbourne School of Art and then at the Royal College of Art (1922–5), where he was taught by Paul Nash and became close friends with Edward Bawden. His early works included the refectory mural (destr. 1940) in Morley College, London, and wood engravings in the tradition of Bewick for the Golden Cockerel, Curwen and Nonesuch presses.

In the 1930s he began painting larger compositions in a wider range of colour, and this led him to use lithography. Ravilious also produced designs for Wedgwood, including the celebration mug (1936) for the coronation of King Edward VIII, which was withdrawn and revised for the coronations of George VI and Elizabeth II; the Alphabet mug (1937); the Afternoon Tea (1937), Travel (1938) and Garden Implements (1939) china sets; and the Boat Race Day cup (1938). He also designed glass for Stuart Crystal (1934), furniture for Dunbar Hay (1936) and graphic work for advertisements for London Transport and others.

Despite his success as a designer, Ravilious concentrated increasingly on watercolours. His landscapes and rural interiors often featured the downland and coast of southern England; haunting and lyrical, these works show a world in suspense and often feature chalk hill figures, and empty rooms (e.g. Farmhouse Bedroom, 1939; London, V&A).

In 1939 he became a War Artist. He died in 1942 while observing a sea rescue mission.

This is part 1 of a 3-part post on the works of Eric Ravilious. Parts 1-2 show a chronology of his works other than ceramic designs – part 3 will show ceramic designs.

1930sc Tirzah Garwood and Charlotte Bawden in Brick House, Great Bardfield watercolour 44.2 x 55 cm © Towner Art Gallery, Eastbourne, East Sussex, UK © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

1934 Woodcut Advertisement in Wine & Food magazine, printed by Curwen Press

A ceramic plate by Wedgwood from my own collection

High Street

In 1938 Ravilious created a set of 24 lithographs of shops, which were found on the British High Street of that time, for Country Life books. These prints formed a book for children printed by the Curwen Press. Unfortunately, only 2000 books were printed because it’s printing plates were destroyed during the blitz but as a result High Street has become one of the most highly sought after artists books of the time.