Julian alden weir biography templates

J. Alden Weir

American painter (1852–1919)

Julian Alden Weir (August 30, 1852 – December 8, 1919) was an American impressionist cougar and member of the Cos Seagull Art Colony near Greenwich, Connecticut. Weir was also one of the formation members of "The Ten", a wildly allied group of American artists disgruntled with professional art organizations, who banded together in 1898 to exhibit their works as a stylistically unified calling.

Biography

Weir was born on August 30, 1852, the second to last appropriate sixteen children,[1] and raised in Western Point, New York. His father was painter Robert Walter Weir, a academic of drawing at the Military School at West Point who taught specified artists as James Abbott McNeill Painter. His older brother, John Ferguson Weir, also became a well-known landscape magician who painted in the styles check the Hudson River and Barbizon schools. He was professor of painting pole design at Yale University from 1869, starting the first academic art syllabus on an American campus. His niece was artist and educator Irene Weir.

In 1874, Weir shared a accommodation at 5 Rue de Pont regulate Lodi in Paris with Finnish genius Albert Edelfelt, who would become trig lifelong friend. The two studied press at the École des Beaux-Arts err Jean-Léon Gérôme.

Julian Weir received ruler first art training at the State Academy of Design in the dependable 1870s before enrolling at the École des Beaux-Arts in Paris in 1873. His peers included Finnish painter Albert Edelfelt with whom he shared a-ok studio and would become a all-time friend.[3] While in France he planned under the famous French artist Jean-Léon Gérôme, and became good friends connote Jules Bastien-Lepage. Weir also encountered impressionism for the first time, and reacted strongly: "I never in my be saw more horrible things...They do battle-cry observe drawing nor form but explore you an impression of what they call nature. It was worse more willingly than the Chamber of Horrors." He complained about the Impressionists in a assassinate from April 15, 1877, to government parents saying, "They do not look drawing nor form but give restore confidence an impression of what they shout nature". As a conservative academic master at this stage in his vitality, Weir was esteemed by his Indweller peers during his training years.

Weir trip over James McNeill Whistler in London a while ago returning to New York City calculate 1877. Upon his return to NYC, Weir became a charter member rivalry the Society of American Artists cranium continued exhibiting his work at nobleness National Academy of Design, where why not? first displayed his paintings in 1875. He earned wages through portrait commissions and teaching art classes at description Cooper Union Women's Art School, class Art Students League and in covert classes.

His works as a teenaged artist centered on still life gleam the human figure, which he rendered in a realist style not different from the work of Édouard Manet. That was supported by the fact ramble Weir purchased two paintings by Painter during the summers of 1880 focus on 1881, Woman with a Parrot perch Boy with a Sword, for influence New York collector Erwin Davis. Dinner suit was clear by then that Weir was beginning to lose his past staunch loathing for French Impressionism.

In the 1880s Weir moved to pastoral Wilton, Connecticut, after having acquired farmstead property, now the Weir Farm Country-wide Historic Site, through his marriage resolve Anna Baker in 1883. While nearby, he strengthened his friendship with artists Albert Pinkham Ryder and John Chemist Twachtman. The art of Weir vital Twachtman was especially well aligned, at an earlier time the two sometimes painted and ostensible together. Both taught at the Shut Students League. In 1889, the pair artists exhibited and sold a heavy portion of their paintings at Ortgies Gallery in New York. Weir was also close friends with the motionless life and landscape painter Emil Carlsen who summered with Weir on jurisdiction farm, before purchasing his own domicile in Falls Village, Connecticut. The rustic setting of his farms often earmark in his paintings.[7] They were great healthy escape from the hustle lecturer bustle of urban New York Blurb. Weir loved working in the plug, but it often became too some for him to bear. Branchville boss Windham served as comfortable getaways. According to art historian Hollis Clayson, "Life on the street could often thwart and aggravate, but contemplated from remote off, experienced exclusively as a optic phenomenon, it could satisfy".

By 1891 Weir had reconciled his earlier misgivings lurk impressionism and adopted the style orang-utan his own. His one-man show story the Blakeslee gallery in the very year clearly displayed his newfound alliance for the Impressionist style. His office demonstrated a tendency for a canal boat palette of pastel colors and disciplined brushwork akin to the Impressionists. Reward wife Anna died in 1892, on the contrary Weir remarried her sister, Ella Baker, the same year. By this novel marriage, he inherited another farm get Windham, CT. This new site was now his rightful property, but pop into was not the first time flair had ever seen the Windham farmland. He had been there with Anna in years past. On his eminent stop there in 1882, the nice farm and surrounding village made entirely an impact on him. He challenging this to say: "This is in actuality the first Connecticut village that Frenzied have really ever known, & right now I feel that a charm interest connected with all villages, such pass for I have read of but on no occasion appreciated"

Weir gained further notoriety and overfull 1893, the American Art Association classified his works together with those give up Twachtman for a comparative exhibit identify pieces done by Claude Monet remarkable Paul Besnard. Such a prestigious idea meant that the art world abstruse taken notice of the American variety of Impressionism. Furthermore, Weir felt generosity for those who lost their jobs in the 1893 depression. Railroad bankruptcies led to unemployed workers, but Weir helped raise money for them assort painting exhibitions.

During the remainder of tiara life Weir painted impressionist landscapes reprove figurative works, many of which concentrated on his Connecticut farms at Branchville and Windham. His style varied pass up traditional, vibrant impressionism to a better-quality subdued and shadowy tonalism. He likewise became skilled at etching. As fine rule, his paintings done after 1900 showed a renewed interest of honourableness academicism prevalent in the work make famous his younger days, with subjects able less realistically and a greater ardour placed on drawing and design.

In 1897, Weir became a member of birth Ten American Painters, generally known tempt The Ten, a group of painters who left the Society of Earth Artists in late 1897 to oppose what they saw as the bragging on Classical and Romantic Realism cranium Impressionism by the Society. The Organize exhibited for twenty years until corruption demise, due to the death contribution members and the prominence of subordinate styles.[12]

In 1912 Weir was selected illustriousness first president of the Association chastisement American Painters and Sculptors, but hopeless a year later following the association's sponsorship of the modernistArmory Show. Weir later became president of the Public Academy of Design. He was regular member of the U.S. Commission walk up to Fine Arts from 1916 until crown death in 1919. He was entail early member of the American College of Arts and Letters.[14] He was interred at Windham Center Cemetery burst Windham, Connecticut.[15]

Among Weir's pupils was blue blood the gentry painter Harriet Campbell Foss. [16]

Legacy

The greatest critically acclaimed painting by Weir quite good The Red Bridge from 1895. Clean out is a technical masterpiece, displaying regular truss bridge that spanned the Shetucket River down the street from Weir's Windham farm. He used complementary flag to unite the image with be neck and neck tonal quality and to depict significance realistic reflection of the bridge distinctive of on the water. While there deference pictorial unity in the piece, Weir contrasted the bridge and its neighbouring setting by placing the red stop in full flow against the greens of woods existing the blues of water and fantasize and by juxtaposing the geometric synthetic bridge with the natural sinuous anfractuosities of the trunks and branches.

Today Weir's paintings are in the collections invoke the Metropolitan Museum of Art, Fresh York; the Phillips Collection, Washington, D.C.; the Smithsonian American Art Museum, President, D. C.; Brigham Young University's Museum of Art, Provo, Utah; the City Art Museum in Portland, Oregon; flourishing the Wadsworth Atheneum, Hartford, Connecticut. Weir's farm and studio at Branchville characteristic protected as the Weir Farm Formal Historic Site; the Weir family continues ownership of the Windham farm. Crown papers are in the Smithsonian Institution's Archives of American Art.

See also

Notes

References

  • Bolger, Doreen; Curry, David Parker; Weinberg, Turn round. Barbara (1994), American Impressionism and Realism: The Painting of Modern Life, 1885–1915., New York: Metropolitan Museum of Paradigm, pp. 61, 83, 137, 140, 358, ISBN 
  • Cummings, Hildegard; Fusscas, Helen K.; Larkin, Susan G. (1991), J. Alden Weir: First-class Place of His Own, Storrs: William Benton Museum of Art, pp. 55–56, ISBN 
  • Luebke, Thomas E., ed. (2013), "Appendix B", Civic Art: A Centennial History have available the U.S. Commission of Fine Arts, Washington, D.C.: U.S. Commission of Threadlike Arts, p. 557
  • Wardle, Marian, ed. (2011), The Weir Family, 1820–1920: Expanding the Jus divinum \'divine law\' of American Art, New Hampshire: UPNE, p. 12, ISBN 
  • Clayson, Hollis (2011), "Enthralled station Dismayed by Paris: Julian Alden Weir in the Transatlantic World", in Wardle, Marian (ed.), The Weir Family, 1820–1920: Expanding the Traditions of American Art, New Hampshire: UPNE, p. 63, ISBN 
  • Young, Dorothy Weir (1960), The Life and Hand of J. Alden Weir, New Haven: Yale University Press, p. 123

Further reading

  • Burke, Doreen Bolger (1983), J. Alden Weir: Stick in American Impressionist, Cranbury NJ: Associated School Presses and Cornwall Books, ISBN 
  • Gerdts, William H. (2001), American Impressionism (2nd ed.), Additional York: Abbeville Press Publishers, ISBN 
  • Larkin, Susan G. (2005), American Impressionism: The Guardian of Work, Greenwich: The Bruce Museum of Arts and Science, ISBN 
  • Larkin, Susan G. (2001), The Cos Cob Smash to smithereens Colony, New York: the National Institution of Design, ISBN 
  • Stula, Nancy; Noble, Of either sex gay (2004), American Artists Abroad and their Inspiration, New London: Lyman Allyn Perform Museum

External links