Thomas Anshutz

1851-1912

Thomas Anshutz was born in Newport Kentucky in 1851 . He joined the faculty at the Pennsylvania Academy in 1881. He studied under Thomas Eakins and Bougereau. His students included Robert Henri, John Marin, Frederick Judd Waugh and Charles Demuth. His paintings are found in the collection of the Metropolitan Museum of Art, National Gallery of Art Washington D.C. and the Smithsonian American Art Museum in Washington D.C.

Nancy Lee Andrews

Nancy Lee Andrews (born May 14, 1947) is a former international model turned photographer who is based in Nashville. She published a collection of her photography, A Dose of Rock 'n' Roll, in 2008. Encouraged by former Beatle Ringo Starr, Andrews began shooting fashion assignments for designer boutiques along Rodeo Drive and trendy Melrose Avenue. She branched quickly into the music business, snapping photos of many rock performers as well as shooting publicity and photo packages for two of Starr's albums – Ringo the 4th and Bad Boy.

Hans Jean Arp

Walt Kuhn 

"The Beach" c. 1915

Vladimir Baranov-Rossine

"Paysage de Compagne" 

Oil on Canvas, 19x28 (50x73 cms)

Rwanda Ape Skull

color photograph

23 1/4 x 18 1/2"  (framed size 27x23")

Signed, Titled and dated, variously inscribed in ink and collaged. 1984

Peter Beard gifted this work to Irving Penn 

Isabel Bishop

Walt Kuhn 

"The Beach" c. 1915

Emil Bisttram

Walt Kuhn 

"The Beach" c. 1915

William Bradford

Walt Kuhn 

"The Beach" c. 1915

Charles Cope

Walt Kuhn 

"The Beach" c. 1915

Joseph Cribb

Walt Kuhn 

"The Beach" c. 1915

James L. Crow

Walt Kuhn 

"The Beach" c. 1915

Leon Dabo

Walt Kuhn 

"The Beach" c. 1915

Arthur B. Davies

"Male Nudes on a Hilldside"

print and aquatint on paper, 12 1/2 x 8 1/2" ,

Signed on the lower right 

Guy de Montlaur

Guy de Vilardi Comte de Montlaur belonged to one of the most ancient families of France. HIs ancestor, Bernard de Montlaur, Lord of Vailhaugues had fought with Raymond de Toulouse at the First Crusade in 1096.  The family originates from Montlaur, a 10th century castle north of Montpellier in the Languedoc country.  Guy de Montlaur was Brazilian on his maternal side.  Brought up in Paris he used to go to the Louvre every day to admire his favorite masters, and then the Moderns like Kandinsky.  He studied Philosophy at the Sorbonne and painting at the Academie Julian. He rode racehorses each morning with the jockeys at Maison Laffite.  In 1938 he joined the military in a cavalry regiment.  He had a very distinguished military career including landing on the beach at Normandy.  Refusing to be evacuated after a battle in Holland his courage was rewarded with 7 citations including the French Legion d'honneur.  He returned to painting after the liberation of France.  He went to NY and studied at the Art Students League and in 1948 returned to France and began showing in one man shows.  His cubist work was from 1949-1954.  

David Fertig

Walt Kuhn 

"The Beach" c. 1915

Gleb Derujinsky

Walt Kuhn 

"The Beach" c. 1915

Kathleen Friedenberg

Kathleen Friedenberg is an English-born sculptress who started out as a veterinarian and a medical illustrator. A night-school course "just for fun" gave her a taste for sculpting that soon turned into an obsession. Though horses are a favorite subject, Friedenberg also creates pieces involving a variety of human and animal forms.

She is a full time artist and board member of the AAEA as well as being a member of the Society of Animal Artists and the National Sculpture Society.

Richard Gachot

"Queen Bee" 

spark plugs, copper on found wood

stenciled with title and signed 

Alberto Giacometti

Walt Kuhn 

"The Beach" c. 1915

Bob Graham

Walt Kuhn 

"The Beach" c. 1915

Richard Guino

Walt Kuhn 

"The Beach" c. 1915

Thomas Hovendon

Walt Kuhn 

"The Beach" c. 1915

Morris Kantor

Walt Kuhn 

"The Beach" c. 1915

Adolf Karpellus

Walt Kuhn 

"The Beach" c. 1915

Kenneth Kemble

Walt Kuhn 

"The Beach" c. 1915

Gertrude Klaris

The avant- garde Viennese Secession Group, including Gustav Klimt and Josef Hoffmann rebelled against the traditional forms of art and methods and was a group that highly influenced the work of Gertrude Klaris. The poverty and social upheaveal of the turn of the century is what inspired these artists, and was a climate that Klaris did much of her work in. However, Klaris was a member of the upper class and as a result attended very elite schools. She had little support from her family to paint, but her passion forced her to pursue a career in art. She was awarded a scholarship to Vienna's Graphic Institute by 1918. Klaris' early drawings, especially her portraiture show evidence of her tradition training, but by 1920 she began to develop her own blend of symbolism and style.  While at the academy Klaris entered a contest to design windows of the Trapppist monastery and won. Her career was extensive even being offered a position to design for Tiffany in New York, though she declined. She painted and exhibited her work in the United States and Europe until she struggled in her older age with blindness. She died in 1977 in Santa Barbara California.

Carol Kingston

Walt Kuhn 

"The Beach" c. 1915

Henry Koehlers

Walt Kuhn 

"The Beach" c. 1915

Walt Kuhn "1877-1949"

A painter and major organizer of the Armory Show, Walt Kuhn is perhaps best known for his circus figure-clown depiction's. They were unique in that he treated his subjects as human beings conditioned to specialized jobs. He also painted still life's and some landscapes. He was inspired and influenced by many artists, most notably Paul Cezanne. And like Cezanne, he destroyed many of his canvases, saving only about a dozen paintings a year, making his work scarce on the marketplace.  He was born in Brooklyn, New York and in 1900 first used the name Walt when illustrating magazines in San Francisco. He studied at the Royal Academy in Munich from 1901 to 1903 and returned to New York where he worked as a cartoonist and magazine illustrator. 

He was associated with "The Eight" and with Arthur B. Davies, was a the key figure in forming the American Association of painters and Sculptors that organized the Armory Show of 1913 that introduced modernist European art to America. Kuhn was executive secretary of the Association and traveled abroad to select entries for the Armory Show.

In 1941, he was granted a press pass to all of the Madison Square Garden performances of the Ringling Brothers Circus, which reinforced his focus on that subject matter.

Richard Hayley Lever

Hayley Lever’s exceptional career path took him from the shores of his native Australia to those of England, and then the United States.  Described as an artist of “individuality,” he refused to ally himself with any particular style or movement; rather, guided by his belief that “art is the re-creation of mood in line, form and color,” he incorporated the precepts of Realism, Impressionism, Tonalism and Post-Impressionism into his art, applying those strategies in accordance with the emotion and aesthetic affect he wished to convey.  In America, where he achieved his greatest acclaim, he was viewed as a proto-modernist, lauded by critics such as Edgar Holger Cahill, who declared:

In all his painting, whether it is of boats dancing on the waters of the Cornish coast, the ferry bridges and boats and streets of Gloucester, Massachusetts, the steaming asphalt highways of New York City, or the gently upheaving Catskills about Woodstock, it is always Lever who addresses us.

Hayley Lever was born on September 28, 1875 in Bowden Tannery, a suburb of Adelaide, Australia.  The son of Albion W. Lever and his wife, Catherine (Hayley) Lever, he was christened Richard, but as a professional artist he used his second and last names only.Lever attended Adelaide’s Prince Alfred College from 1883 to 1891, during which time he received drawing lessons from the marine painter, James Ashton.  As a boy, he loved to watch incoming clipper ships at the port of Adelaide, an experience that influenced his later penchant for maritime themes.  Upon graduating from Prince Alfred College, he took classes with Ashton at the Norwood Art School and later attended Ashton’s Academy of Art in Adelaide.  During these years, Lever spent his free time painting and sketching in the local countryside, exhibiting his work at the Adelaide Easel Club and at other local venues.  His interest in painting outdoors was likely influenced, to some extent, by the achievements of artists such as Tom Roberts, Charles Conder and other painters of the so-called “Heidelberg School,” who introduced the tenets of Impressionism and pleinairism to Australian art during the late 1880s and early 1890s.A turning point in Hayley Lever’s artistic evolution occurred in the autumn of 1899, when he sailed to England for further study.  He initially went to London, studying the art of both the past and present in the city’s galleries and museums.  In early January of 1900, he settled in St. Ives, an ancient fishing port and art colony on England’s Cornish seacoast, where he proceeded to refine his skills as a painter under the tutelage of the British impressionists Julius Olsson and Algernon Talmage.  Working out of a studio located on the top floor of a local art gallery, he painted views of the town and harbor, as well as scenes of Devon.  In keeping with the tonal impressionist proclivities of St. Ives painters at that time, he became especially interested in conveying evening effects, going on to paint atmospheric moonlight scenes with soft brushwork and a low-keyed palette.  At the same time, Lever was also looking beyond St. Ives for inspiration.  He continued to make trips to London and his proximity to the Continent allowed him to travel to Paris, where he familiarized himself with styles such as Impressionism and Post-Impressionism and exhibited his paintings at the Salon. 

Bruno Lucchesi

Born in Italy in 1926, Bruno Lucchesi has been referred to as “the last of the Renaissance sculptors.” Lucchesi divides his time between New York and Italy. A master of figurative sculpture, he is best known for depicting women in the daily moments of life. He states, “I create out of a sense of nostalgia. I make people I like to see, the people I miss, the scenes I remember or imagine.” His women are dreams, the wished-for come to life, and people we would all like to know.

Museum Collections:

Whitney Museum of American Art;

Hirshhorn Museum and Sculpture Garden;

Brooklyn Museum; Dallas Museum of Fine Art

Pennsylvania Museum of Fine Art.

Among the vast number of awards which have distinguished his illustrious career are two gold medals from the National Academy of Design and one from the National Sculpture Society.

Kenneth Macintire

Born in Boston he studied at the Boston Museum of Fine Arts and the Architectural Club School of Design.  He fought in WW1, after the war he opened a studio in Washington DC.  His work was featured on the cover of "House Beautiful" Magazine. In the 1930's he moved to California and painted celebrity portraits as well as several famous horses.  In 1961 he and his wife moved to Northern California on the Sonoma Coast.  He sold none of his work during his lifetime and never painted again after his wifes death in 1970. Shortly before his death the Sonoma League for Historical Preservation had a special exhibit of his work.  Samuel Robbins research revealed that he studied at the Fen Way School of Illustration and the New School of Design. To finance his art schooling he ran a mail boat for the postal service delivering mail to various islands around Maine. In 1920 he was featured on the cover of House Beautiful.  He was commissioned in Washington to paint someones horse and the word spread quickly throughout Washington and as far as California . He moved there in 1930 first to Palm Springs where he painted many of the polo ponies ( in both watercolour and oils) and other famous horses and celebrities.

James Carroll Mansfield

Walt Kuhn 

"The Beach" c. 1915

Charles Martin

French Illustrator, known for his drawings and satirical illustrations

Museum Collections

Metropolitan Museum of Art, New York

Cleveland Museum of Art, Ohio

Harvard University Art Museum, Massachusetts

National Portrait Gallery, London UK

State Museum of Florence Digital Archive, Italy

Tate Gallery, London

Tyne & Wear Museums, England

George Willoughby Maynard

George Willoughby Maynard (1843-1923), portrait and mural painter, was born in Washington, D.C.   He arrived in New York City in 1866 to begin drawing lessons with sculptor Henry Kirke Brown, and the next year began two years of study at the National Academy of Design*.  In 1869, he left for Europe, traveling with his teacher Edwin D. White.

Maynard enrolled in the Royal Academy of Antwerp* as a student of Joseph van Lerius.  Among his classmates was Frances Millet, with whom he traveled in 1873 to Greece, Turkey and the Black Sea region.  He was in Rome the winter of 1873-1874, and then returned to live in New York City, but shortly after he went to Boston to help John LaFarge with the mural decorations of Trinity Church.  Then, stirred by interest in becoming more proficient with murals, he returned to Europe to "make a study of decorative painting practices," which included study in Paris in 1877-1878.

Returning to the United States, he did not immediately receive mural commissions, but gradually this work came to him including murals for the Agricultural Building at the 1893 Chicago World's Fair*; Library of Congress in Washington DC; Ponce de Leon Hotel in Saint Augustine, Florida; and the Plaza and Waldorf Hotels in New York City.  

Maynard also became noted for his portraiture, and in 1880 was elected to the Society of American Artists*, an organization critical of the National Academy of Design for being too conservative.  His 1888 entry, Civilization, for the Society's exhibition was an allegorical* figural work, which was regarded as being of such excellence that it was featured in a place of honor.   It was described as being typical of Maynard's allegorical works in that "the figure of Civilization and her throne occupy a space that hovers ambiguously between two and three dimensionality."Maynard, however,  had a long affiliation with the National Academy of Design, beginning to serve as a professor there in 1889 for a year as a replacement for Lemuel Wilmarth.   From that time for the remainder of his life, he had regular Academy teaching assignments and long-term service on the Governing Council.  In 1894, he turned down the nomination of Vice President.  In the early 20th century for the Academy, he did restoration work on the collection, served as librarian, and prepared a catalogue for the Academy holdings.  He gave much of his own collection to the Academy as well as work by Augustus Saint-Gaudens.  His funeral service in 1923 was held at the Academy.

Museum Collections 

National Academy of Design Museum

Metropolitan Museum of Art

Museum of Art at Brigham Young University

Museum of NY Historical Society

National Portrait Gallery

New York Historical Society

Pennsylvania Academy of the Fine Arts

Smithsonian American Art Museum

Ruben Nakian

 REUBEN NAKIAN (1897-1986)

Reuben Nakian was a giant of twentieth-century modernist American sculpture. His art-historical stride extended from an apprenticeship with Paul Manship and a studio assistantship with Gaston Lachaise, to his role as a major participant in the discourse surrounding Abstract Expressionism, particularly with Arshile Gorky and Willem DeKooning. During his seventy-five year career as an artist, he established a profound oeuvre based almost entirely on energetic, daring, and often-erotic abstractions of the female figure. A prolific sculptor in stone, terra cotta, plaster, steel, and bronze, Nakian remained a vital creative force until his death in 1986.

Reuben Nakian's work has been shown in museums and galleries around the world (the Reuben Nakian Centennial Retrospective exhibition was on view at the Reading Public Museum in Reading, Pennsylvania until January 10, 1998, and moved in early February to the Corcoran Gallery of Art in Washington D.C., for a two-month stay.  An important modernist sculptor who favored mythological themes, his work was featured in a retrospective at the Museum of Modern Art in 1966. 

The earliest work include animal studies from the 1920's, which reveal Nakian's stylistic relationship to direct stone carving. This popular style, which emerged from the more linear Art Deco style, stressed mass and volume over line, but retained Art Deco's stylized surfaces and suggestively abstracted forms. Related works on paper reveal that the issue of drawing, however, was always central to Nakian's aesthetic.

Nakian's freestanding figures and figurative groups represent the work for which he is best known. These gestural, Abstract Expressionist sculptures are based on the radical abstraction of the female form as a way to transcend mere appearance to address more primal, essential issues. They are often erotic, sometimes tragic and always passionate engagements of deep emotional and spiritual states. The titles, appropriately, refer to characters and stories from classical mythology, which underscores the deep psychological underpinnings of the work, and reveals Nakian's undying allegiance to Mediterranean history and culture. These sculptures also exhibit Nakian's consistent preoccupation with drawing, through their insistent linear thrust into space. 

Museum Collections

Boca Raton Museum of Art

Hirshhorn Museum and Sculpture Garden

National Portrait Gallery

Neuberger Museum of Art

Oaklahoma City Museum of Art

Saint Joseph College Art Gallery

Solomon R.Guggenhim Museum

The Nelson Atkins Museum of Art

The University of Arizona Museum of Art

University of Michigan Museum of Art

Whitney Museum of Art NY

Willard Ayer Nash

Willard Nash was frequently referred to as “the American Cézanne”. Like the French Post-Impressionist Cézanne, Nash created form with color and did wonderful work with shadows. Prior to his arrival in New Mexico, Nash painted in a formal, academic style that he learned while studying at the Detroit School of Fine Arts. However, under the tutelage of Andrew Dasburg, a fellow Santa Fe artist and frequent painting companion, Nash learned the principals of Cézanne’s pictorial structure and how to use the contour line as a form of dynamic expression. 

His color sense was superb and was recognized by critics throughout the country. In 1931, he was hailed by famed Mexican artist Diego Rivera as one of the six greatest painters of the United States. 

Nash originally came to Santa Fe in 1920 from Detroit to sketch material and research color for a mural commission. He went back to Detroit to complete the mural and then returned to Santa Fe in 1921 where he would live and work for the next fifteen years. By the end of Nash’s first year in Santa Fe, a greater brilliance and feeling for luminous color began to characterize his canvasses and the classical construction methods of Cézanne became apparent in his work. Nash was only 22 years old at the time. 

In the Fall of 1921 Nash, along with fellow Santa Fe painters Jozef Bakos, Fremont Ellis, Will Shuster and Walter Mruk formed Los Cinco Pintores, Santa Fe’s first modernist art group. The five young painters, all under the age of thirty, considered themselves the radical young avant-garde artists of Santa Fe. In December of 1921 the Cincos held their inaugural exhibit at the Museum of Fine Arts in Santa Fe. In what was characteristic of their work, an art critic noted that “these men believe in color and are not afraid to use it. Upon entering the galleries, visitors are greeted with a great shout of color that’s almost stimulating.”

Tagged with the label “modernist” mainly for exhibition purposes, the Cincos actually painted in several genres and in a diverse array of artistic styles. Critics noted that “Nash can hardly be classed as a modernist, yet he is not bound by academic or classical traditions, and there is a freshness about his work that is very pleasing.” (El Palacio, September 1921) 

It has been said that of the Cincos, Willard Nash most consistently chose to reinvent visual truth. He was the only one of the group who had a patron from the East who continued to send him a check every month while he painted in Santa Fe. Unlike his fellow Cincos, Nash did not have to constantly scramble for money, thus he was never faced with the dilemma of choosing to paint a “sellable” work over what he truly wanted to paint. Nash could please himself, and did so by exploring formal problems, lightening his palette, and experimenting with Cézanne’s handling of landscape. 

In the late 1920s critics often noted the presence of Picasso in Nash’s works, especially prominent in his watercolor nudes. Cézanne was the dominant influence in his works of the late 1930s and by the 1940s his paintings had become predominantly abstract. 

Nash received national critical acclaim for the works he exhibited in the two biennials of American Painting at the Whitney Museum of American Art in 1932 and 1934, as well as in the “Abstract Art in America” exhibit at the Whitney in 1935. 

However, in 1935 his productivity began to suffer, and he left Santa Fe for the West, obtaining teaching positions in California. According to Nash, “I went into a self-imposed exile in Los Angeles. I always considered myself a Santa Fean, and my deepest hope is to some day pick up where I left off.” He never did. 

While his contemporaries such as Georgia O’Keeffe and Arthur Dove, who exhibited with Nash at the Whitney, became famous American artists, Nash’s brief and promising career was ended by tuberculosis at the age of 44. A memorial service was held for Nash at the Holy Faith Episcopal Church in Santa Fe and his ashes were spread over Sunmount, the rounded mountain close to Nash’s Santa Fe home, which he and his fellow Cinco Pintores had painted so often 

Museum Collections:

Colorado Springs Fine Arts Center

Dallas Museum of Art

Jonson Gallery of University of New Mexico

Panhandle, Plains, Historical Society

Stark Museum of Art

The Fred Jone Jr. Museum of Art

Museum of Modern Art NY

Edith Baretto Parson

Walt Kuhn 

"The Beach" c. 1915

Marilyn Newmark

Walt Kuhn 

"The Beach" c. 1915

William Paxton

Walt Kuhn 

"The Beach" c. 1915

Charles Pears

Walt Kuhn 

"The Beach" c. 1915

Marcius Simons Pinckney

While the artist Marcius Simons Pinckney birth date is sometimes in question, he died in 1909 while working as a set designer at the Wagner Theatre in Bayreuth Germany.  A New York City native, spent most of his life living in Europe. He is best known for his allegorical and symbolist paintings as well as cathedrals and dramatic skycaps.  He painted heroic figures such as Joan of Arc.  His formal training began at age 12 at the Vaugirard College in Paris.  He trained under JG Vibert.  He exhibited at the Paris Salon in 1882, and then alter turned to idealistic poetic works more influenced by J.M.W.Turner.  He was inspired as much by music, particularly Wagner, as he was by artists.  

Fairfield Porter

Harvard Educated, Fairfield Porter was largely self taught as a painter.  He produced representational works of art during the Abstract Expressionist movement.   His subjects were primarily landscapes and domestic interiors, portraits of friends, family and other artists, many of whom were associated with the New York School of writers, including John Ashbery, Frank O'Hara and James Schuyler, whom he painted several times.  The locations for his work were often set in the family summer house on Great Spruce Headn Island, Maine or Southampton NY.  Fairfield Porter had a love of nature and the ability to reveal an extraordinariness in ordinary life.  He was indebted to the french painters Pierre Bonnard and Edouard Vuillard for their work which absolutely inspired him.  

James Preston

Walt Kuhn 

"The Beach" c. 1915

Joseph Raffael

Walt Kuhn 

"The Beach" c. 1915

Mel Ramos

Walt Kuhn 

"The Beach" c. 1915

Hilla Rebay 1895-1967

Hilla Rebay was credited largely for the existence of the Solomon R. Guggenheim Museum in New York City, Hilla Rebay also was an accomplished artist in modernist styles that included collage and biogmorphic-linear oil paintings. She is remembered primarily for being the person exposing the American public to avant-garde art and creating revolutionary museum environments for that art. To remind the public that Rebay was an artist in her own right, curators at the Guggenheim Museum held a retrospective of her work in the spring and summer of 2005.

Hilla Rebay (pronounced reh-bye) was born to minor nobility in Strasbourg, Alsace and had the full name of Baroness Hildegard Anna Augusta Elisabeth Rebay von Ehrenwiesen. Her father, a career army officer from Bavaria, and her mother encouraged her obvious childhood art talent. She studied locally and then enrolled in 1909 at the Academie Julian in Paris.

There she was much influenced by avant-garde movements especially theosophist artists and writers led by Wassily Kandinsky "who helped formulate her lifelong belief in the power of intuition in art-making and other areas of life" (Glueck). In 1910, she spent time in Munich where she was further exposed to modern art, and she returned to Paris in 1913, having exhibited work in Cologne and Munich. 

By 1914, she was exhibiting with the Secession Group in Munich, the Salon des Independants in Paris, and the November Gruppe in Berlin--all rebelling against prevalent realism and traditional teaching methods. In Berlin, she associated with many modernist artists including Vasily Kandinsky, Paul Klee, and Marc Chagall. In 1917, she med Rudolph Bauer, a German painter in non-objective styles who became her long-time lover and in the future the cause of controversy because she was accused of devoting disproportionate exhibition space to him at the Guggenheim Museum. It was said that her enthusiasm for him and his work was "unbounded" (Glueck) and that he inspired her paintings "alive with restless, jostling, organic forms".

Hilla Rebay first visited the United States in 1927 and stayed for an extended time period, which included giving painting lessons to Louise Nevelson, seeking portrait commissions, designing posters and exhibiting her own work at venues including the Worcester Art Mluseum and a Manhattan gallery. Among her portrait commission subjects was Solomon Guggenheim, whose wealthy family had extensive western mining interests. Rebay had met Solomon and his wife Irene when they purchased two of her paintings at the Manhattan show. To that time, the couple were collectors of conventional art, but during the sittings, Hilla talked to him of what was going on in avant-garde art circles. She brought painters of leading-edge styles to meet Guggenheim and encouraged him to collect their art, which he did--filling his Plaza Hotel apartment.

Rebay supervised the collection, and in 1937, she led the establishment of a Guggenheim foundation to build "The Museum of Non-Objective Art," achieved in 1939 in rented gallery space on 54th Street. The main focus of the collection was works of the Dutch De Stijl Group that included Piet Mondrian and Theo van Doesburg, and of Bauhaus artists from Germany such as Paul Klee, Vasily Kandinsky, and Laszlo Moholy-Nagy. 

Although she was committed to purely non-objective works, she added to the collection abstract works by George Seurat, Henri Matisse, Henri Rousseau, Pablo Picasso, and others in France who were experimenting with Cubism, Futurism, etc.

Hendrik Valk

Hendrik Willem Valk was born in Elst in 1886. Before becoming an architect himself he worked for several architects, like W. te Riele in Deventer. After that he attended the school of arts and crafts in Amsterdam, after which he worked at the office of Jos. Cuypers and Jan Stuyt in that city. Especially Stuyt became a major influence for Valk, who shared Stuyts interest for early early-christian and Byzantine architecture. During his period in Amsterdam Valk witnessed the rise of the Amsterdam School of Expressionistic architecture, which became an influence in his early work. In 1915 Valk started his own firm, first in Blerick, later in 's-Hertogenbosch. His first works are houses, but in the 1920's he became an important architect of catholic churches. Although Valk had no contacts with M.J. Granpré Molière and therefore cannot be considered a member of the Delft School, he was a Traditionalist, although he continued to use Expressionistic elements for some time. Under the influence of the Liturgic Movement he designed several churches with a ground plan designed to optimize the involvement of the believers with the mass. Such churches have a wide central aisle, narrow side-aisles, a wide transept and a short but illuminated choir. In the centre, clear for all to see, is the altar. In 1934 Valk wrote a book about these 'christocentric churches'

After 1925 his ideas and style became more conservative. In 1929, after a conflict, he was expelled from the BNA, the country's leading organisation of architects. Like A.J. Kropholler, Valk was convinced that good architecture should be rooted in the traditions of the rural parts of the country. It's ideas like these that urged Valk, like Kropholler, to join the fascist movement Zwart Front (Black Front, later renamed Nationaal Front), for which he became, at least in name, leader of the 's-Hertogenbosch area. Although this movement was disbanded by the Germans in 1941, Valk after the war was regarded a collaborator. Reasons for this could be several articles he had published during the war and his accepting of assignments from the nazi's, like that for a monumental bridge in Echt, Limburg, which however was never built. Until 1948 Valk was excluded from governmental assignments, while until 1950 he was not allowed to enter competitions. After 1950 he was once again very active. In this period he occassionally was assisted by his sons G.H.F. and H.W. Jr.. He died in 's-Hertogenbosch in 1973. 

Carl Wuermer

Born in Munich in 1900 he lived later in life in Escondido California but is considered one of Chicago's leading artist of the 20th.Century.  Wuermer came to Chicago as a young boy and began his studies there at the art institute.  He then completed his education at the Chicago art students league under Wellington Jarard Reynolds (1866-1931), who was a well known figure and portrait painter.  Wellington recognized that Wuermer was a most gifted student and actually employed him as an assistant on several occasions.  In the early 20's Wuermer began to exhibit his paintings drawings and etchings nationally.  Equally accomplished at landscape and figure  studies he won art  awards from such institutions as the Art Institute  of Chicago in 1926 and National Academy of design in 1928. , the Carnegie Instit. in 1945 and the Allied Artists of America in 1971.  Carl Wuermer was a full member of the Art Inst. of Chicago Alumni and the Allied Artists of America, Illinois Academy of Fine arts salons of American and the Hudson Balley art assc. HIs art is now in the permanent  collections of LA County of art the Municpal collection of chicago, amherst college and the IBM Collection. 

Andy Warhol

Walt Kuhn 

"The Beach" c. 1915

William Zorach

William Zorach is recognized for playing a major role in rescuing American sculpture from the Neo-classical tendencies and academic modeling which dominated the market at the turn of the century.  By 1930, he was already one of America’s premier 20th century sculptors and was honored with multiple commissions and exhibitions including at the Art Institute of Chicago, the Dallas Museum of Fine Art, the Whitney Museum of American Art, and numerous others. 

Characterized by a solemn, calm, and meditative spirit, William Zorach’s sculptures retain the spirit and freshness of their original conception and the spontaneity of the direct carve method.  His works represent a profound respect not only for their subject matter, but most importantly for the intrinsic properties of each medium used. His acute sensitivity to line, the expansive volume of curves, and the rhythmic relationship between his forms and space are all qualities which make Zorach a master of his art. (Wingert, 1938) 

Zorach first learned the nuances of his craft when he was an apprentice at Morgan Lithograph Company in Ohio.  He eventually saved enough money to travel to and study in New York City at the National Academy of Design and also in Paris under the mentoring of Jacques-Emile Blanche.  It was in Paris in the first decade of the 20th century where Zorach’s path crossed with Marguerite, his soon to be wife. Both Marguerite and William were both represented in the landmark Armory Show of 1913. 

William Zorach continued to paint for the next two decades, but increasingly experimenting with sculpture.  By the mid 20’s he was carving significant works in marble and stone.  By the early 30’s, he abandoned painting entirely in favor of a new art form, sculpture. I t was in sculpture that Zorach found his true voice as an artist and achieved considerable success. “Sculpture, direct carving, was an expanding universe, a liberation and a natural form of expression to me.” Zorach stated.

Zorach’s paintings and sculpture are part of the permanent collections of over fifty institutions and museums, including the Smithsonian, Museum of Fine Art-Boston, the Pennsylvania Academy of the Fine Arts, the Portland Museum, Whitney Museum of American Art, The Metropolitan Museum of Art, Museum of Modern Art, NYC and many others. 

Robert Motherwell

Walt Kuhn 

"The Beach" c. 1915

Theo Hios

Theo Hios (1910-1998) WPA Artist

Elie Nadelman

"Head of a Woman" 

Bronze, 6"

signed on base

Charles Rumsey

"Old Virginian" 

Bronze, 16.5 x 21.5 x 6.5"

C. 1917, signed and numbered on base

Yousuf Karsch "1908-2002"

Portrait of Henry Moore, silver gelatin print

13.3 x 10.5" c.1948

Henry Moore was photographed in his studio at Hoglands, Perry Green, Herfordshire England.  In the background is the full size plaster mold for "Family Group" the first of his large works to be concieved as a bronze  as opposed to being directly carved from the material. 

Chris Pulitzer Leidy

"Sea Whips"

Pigment Print on matte paper

40x60" 

2015 edition 1/7