William Merritt Chase (November 1, 1849 - October 25, 1916) was an American painter, known as an exponential exponent and as a teacher. He is also responsible for establishing the Chase School, which will later become the Parsons School of Design.
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Early life and training
William Merritt Chase was born on November 1, 1849, in Williamsburg (now Nineveh), Indiana, to the families of Sarah Swain and David H. Chase, a local businessman. Chase's father moved his family to Indianapolis in 1861, and hired his son as a salesman in the family business. Chase showed early interest in art, and studied under local artists, self-taught, Barton S. Hays and Jacob Cox.
After a brief stint in the Navy, Chase's teachers urged him to go to New York to continue his art training. He arrived in New York in 1869, met and studied with Joseph Oriel Eaton for a short time, then enrolled at the National Academy of Design under Lemuel Wilmarth, a student of renowned French artist Jean-LÃ © in GÃÆ'Ã… © rÃÆ''me.
In 1870, the decline in family wealth forced Chase to leave New York for St. Louis, Missouri, where his family then lived. When he worked to help support his family, he became active in the St. Art community. Louis, won a prize for his painting at a local exhibit. He also exhibited his first painting at the National Academy in 1871. Chase's talent led to the interest of the wealthy collector St. Louis arranged for him to visit Europe for two years, in exchange for Chase's painting and assistance in securing European art for their collection.
In Europe, Chase settled at the Academy of Fine Arts, Munich, an old art training center that attracted more Americans and attracted Chase's attention because there were fewer distractions than Paris. He studied under Alexander von Wagner and Karl von Piloty, and made friends with American artists Walter Shirlaw, Frank Duveneck, and J (oseph) Frank Currier.
In Munich, Chase employs his fastest-growing talent most often in figurative works that he painted in a style that was brushed loosely in popularity with his instructor. In January 1876 one of these figural works, a portrait titled "Keying Up" - The Court Jester (now in the collection of the Academy of Fine Arts of Pennsylvania) was exhibited at the Boston Art Club; then in that year exhibited and won a medal at the Centennial Exhibition in Philadelphia, and this success earned Chase's first fame.
Chase traveled to Venice, Italy in 1877 with Duveneck and John Henry Twachtman before returning to the United States in the summer of 1878, a highly skilled artist representing a new wave of American-educated European talent. Home in America, he exhibited his painting Ready for the Ride (Union League Club collection) with the newly formed Society of American Artists in 1878. He also opened a studio in New York on Tenth Street. Studio Building, home to many important painters today. He is a member of Tilers, a group of artists and writers, among whom are some of his famous friends: Winslow Homer, Arthur Quartley, and Augustus Saint Gaudens.
In 1881, friend and artist William Preston Phelps traveled back to Europe to join Chase for a working tour in Italy, Venice, Capri then returned to Germany.
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Role of Chase: father, artist, teacher
Chase coached several individuals: a sophisticated cosmopolitan man, a dedicated person, and an honorable teacher. Chase married Alice Gerson in 1887 and together they raised eight children during Chase's most energetic artistic period. His eldest daughters, Alice Dieudonnee Chase and Dorothy Bremond Chase, often imitate their father.
In New York City, however, Chase is known for his flamboyance, especially in his dress, manners, and most importantly in his studio. At Tenth Street, Chase moved into the old studio Albert Bierstadt and decorated it as an extension of his own art. Chase filled the studio with luxurious furnishings, decorative objects, bird dolls, oriental carpets, and exotic musical instruments. This studio serves as a focal point for the sophisticated and fashionable New York City art members of the late 19th century. In 1895 the maintenance cost of the studio, in addition to his other residence, forced Chase to close it and auction off its contents.
In addition to his paintings, Chase is actively developing an interest in teaching. Initially he took a private disciple, among the first being Dora Wheeler, a student from 1879 to 1881 who became a professional artist and lifelong friend. Dora's mother Candace Wheeler writes in her memoirs about Chase's contagious enthusiasm, "the most generous teacher, not only providing her stored knowledge of how to do something, but also willingness to do so, and then, somewhat against her will, she is convinced to lead an art school in Shinnecock Hills, Long Island... "
On Mrs. encouragement. Hoyt, Chase opened the Shinnecock Hills Summer School in East Long Island, New York in 1891. He taught there until 1902. Chase adopted the method of plein water painting, and often taught his students in the outer class. He also opened the Chase School of Art in 1896, which became the New York School of Art two years later with Chase remaining as an instructor until 1907. Chase taught at the Pennsylvania Academy of Fine Arts from 1896 to 1909; Art Students League from 1878 to 1896 and again from 1907 to 1911; and the Brooklyn Art Association in 1887 and from 1891 to 1896. Together with Robert Henri, who became a competitor's instructor, Chase was the most important teacher of American artists around the turn of the 20th century. In addition to his instruction on East Coast artists such as George Bellows, Louise Upton Brumback, Kate Freeman Clark, Cotton Mariette Leslie, Charles Demuth, Silas Dustin, Lydia Field Emmet, George Pearse Ennis, Marsden Hartley, Annie Traquair Lang, John Marin, M Jean McLane, Frances Miller Mumaugh, Georgia O'Keeffe, Leopold Seyffert, Elizabeth Sparhawk-Jones, Joseph Stella and Edward Charles Volkert, had an important role in influencing California art at the turn of the century, especially in interactions with Arthur Frank Mathews, Xavier Martinez and Percy Gray.
European Summer Tour
After stopping her job at Shinnecock Hills, Chase began taking student groups abroad in the summer months to visit the important European art center. In 1903 they visited Haarlem in the Netherlands, where Chase was inspired by schutterstuk by Frans Hals. He made a self-portrait of himself in the role of one of the Hals' schutters, choosing a likeness of Johan Claesz Loo featured in Officers of the St. Adrian Militia Company in 1633.
Style and subject
Chase works in all media. He is most proficient in oil paintings and pastels, but also creates watercolors and paintings. S.G.W. Benjamin says of his style in contemporary reviews:
The sublime color flavor is evident in all his works, whether in the subtle subtle colors of the flesh, or in the strong rendering of the red mass, as in his famous "Court Jester" painting. In portraits he tries, sometimes very successfully, to seize character, though sometimes a bit too impressionist in style.
Portrait painting
She is probably best known for her portrait, and her caretaker includes some of the most important men and women of her time. Portrait of Lydia Field Emmet painters in 1892 depicts Emmett in a pose usually reserved for men in old master paintings. Emmet's hand is on his hip and he looks over his shoulder toward the audience.
Chase also often painted his wife Alice and their children, sometimes in individual portraits, and other times in scenes of domestic calm: during breakfast in their backyard, or relaxing at their summer home on Long Island, children playing in floor or between the Shinnecock dunes. In an 1895 painting titled A Friendly Call , his wife is depicted wearing a yellow dress and entertaining a white-clad caller.
Landscapes
In addition to portraits and complete figurative works, Chase began painting the landscape earnestly in the late 1880s. His interest in landscape art may have been spawned by the French exhibition of French Impressionist work from the Paris Durand-Ruel dealer in 1886. Chase is best remembered for two series of landscape subjects, both painted in impressionist style. The first is the scene about Prospect and Central Parks in New York; the second is the summer scene at Shinnecock. Chase usually displays prominent people in his landscape. Often she describes women and children in a casual pose, relaxing on a park bench, on the beach, or lying on summer grass at Shinnecock. Shinnecock's works have particularly been thought of by art historians as an excellent example of American Impressionism.
In 1903 Chase hired Villa La Meridiana near Careggi, Florence, which he would return to paint every summer. Then he bought Villa Silli, south of the city.
Still alive
Chase continued painting life during his career as he did since his student days. Decorative objects fill the studio and the house, and the interior figurative scene often includes pictures of life. He is very adept at capturing light effects on metal surfaces such as copper and pitcher bowls. Perhaps the subject of Chase's most silent life is the dead fish, which he likes to paint with a dark background, limp on a plate as if fresh from a fish-fish stall. He is known for buying dead fish in the market, painting them quickly, and then returning them before they are pampered.
Late accolades and careers
Chase won many awards at home and abroad, was a member of the National Academy of Design, New York, and from 1885 to 1895 was president of the Society of American Artists. He became a member of the Ten American Artists after John Henry Twachtman died.
Chase's creativity declined in his later years, especially when modern art began to persist in America, but he continued to paint and teach into the 1910s. During this period Chase taught young and advanced artists such as Wilhelmina Weber Furlong, Arthur Hill Gilbert, and Edward Hopper.
In Carmel-by-the-Sea from July to September 1914 Chase taught his last summer class, the largest with over a hundred pupils and the most problematic. Former students, Jennie V. Cannon, along with business manager Chase C. P. Townsley and founder Carmel, Franklin Devendorf, persuaded the honorable painters to visit the Pacific Coast with promises of generous financial returns. Suffering from a declining health (cirrhosis of the liver), Chase took the opportunity soon after his arrival to meet with the directors of the upcoming Panama-Pacific San Francisco International Exhibition to secure his own exhibition gallery, which he had previously rejected. He is adored by his Carmel students, some of whom publish an extensive account of his lectures and teaching methods. Chase found the art colony in Carmel too socially confined and moved his residence to a luxury hotel near Hotel Del Monte in Monterey, where he negotiated several important portrait commissions. In mid-August one of his disciples, Helena Wood Smith, was brutally murdered by her lover in Japan, which led to the cancellation of several classes, near the violent hysteria in the art colony, and the early departure of some of her students. Chase continues with his regular teaching schedule, holding meetings with important regional artists, such as William Ritschel, painting some local scenes, and experimenting with monotypes.
Chase died on October 25, 1916, at his home in New York City, a respected elder of the American art world. He was buried in Green-Wood Cemetery, Brooklyn, New York.
Hari ini karyanya berada di sebagian besar museum utama di Amerika Serikat. Rumah dan studionya di Shinnecock Hills, New York, ditambahkan ke Daftar Tempat Bersejarah Nasional pada tahun 1983 sebagai William Merritt Chase Homestead.
Galeri
Lihat juga
- American Impressionism
- Daftar karya seni William Merritt Chase
Referensi
Tautan eksternal
- 322 gambar oleh William Merritt Chase
- Bio di Museum Seni Brooklyn
- Bio di Galeri Seni Nasional
- halaman Ibiblio di Chase, dengan potret dan lukisan
- Halaman Artcyclopedia
- Katalog pameran William Merritt Chase yang digitasi
- William Merritt Mengejar Menemukan Makam
- William Meritt Chase obituari
- Â "Chase, William Merritt". Ensiklopedia Internasional Baru . 1905.
- Pemakaman Pemakaman Green-Wood
- impresionisme dan realisme Amerika, teks digital sepenuhnya dari The Metropolitan Museum of Art libraries (lihat indeks)
- "Jangan mencoba melukis hal yang megah..." Bio and review
Source of the article : Wikipedia
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