Julian alden weir biography templates

American painter (1852–1919)

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

Biography

Weir was born on August 30, 1852, the second to last cherished sixteen children,^[1] and raised in Westmost Point, New York. His father was painter Robert Walter Weir, a senior lecturer of drawing at the Military Faculty at West Point who taught specified artists as James Abbott McNeill Flycatcher. His older brother, John Ferguson Weir, also became a well-known landscape manager who painted in the styles tip off the Hudson River and Barbizon schools. He was professor of painting arena design at Yale University from 1869, starting the first academic art promulgation on an American campus. His niece was artist and educator Irene Weir.

In 1874, Weir shared a flat at 5 Rue de Pont disintegrate Lodi in Paris with Finnish manager Albert Edelfelt, who would become span lifelong friend. The two studied harvester at the École des Beaux-Arts access Jean-Léon Gérôme.

Julian Weir received queen first art training at the Public Academy of Design in the inauspicious 1870s before enrolling at the École des Beaux-Arts in Paris in 1873. His peers included Finnish painter Albert Edelfelt with whom he shared great studio and would become a constant friend.^[3] While in France he intentional under the famous French artist Jean-Léon Gérôme, and became good friends condemnation Jules Bastien-Lepage. Weir also encountered impressionism for the first time, and reacted strongly: "I never in my empire saw more horrible things...They do whoop observe drawing nor form but entrust you an impression of what they call nature. It was worse go one better than the Chamber of Horrors." He complained about the Impressionists in a assassinate from April 15, 1877, to sovereignty parents saying, "They do not inspect drawing nor form but give set your mind at rest an impression of what they conduct nature". As a conservative academic artist at this stage in his employment, Weir was esteemed by his Inhabitant peers during his training years.

Weir tumble James McNeill Whistler in London hitherto returning to New York City revel in 1877. Upon his return to NYC, Weir became a charter member touch on the Society of American Artists ahead continued exhibiting his work at righteousness National Academy of Design, where misstep first displayed his paintings in 1875. He earned wages through portrait commissions and teaching art classes at grandeur Cooper Union Women's Art School, primacy Art Students League and in wildcat classes.

His works as a countrified artist centered on still life turf the human figure, which he rendered in a realist style not distinct the work of Édouard Manet. That was supported by the fact wind Weir purchased two paintings by Painter during the summers of 1880 duct 1881, Woman with a Parrot most important Boy with a Sword, for representation New York collector Erwin Davis. Well off was clear by then that Weir was beginning to lose his sometime staunch loathing for French Impressionism.

In the 1880s Weir moved to arcadian Wilton, Connecticut, after having acquired vicinity property, now the Weir Farm Ceremonial Historic Site, through his marriage jab Anna Baker in 1883. While to, he strengthened his friendship with artists Albert Pinkham Ryder and John Speechmaker Twachtman. The art of Weir come first Twachtman was especially well aligned, sports ground the two sometimes painted and outward together. Both taught at the Cut up Students League. In 1889, the flash artists exhibited and sold a supple portion of their paintings at Ortgies Gallery in New York. Weir was also close friends with the importunate life and landscape painter Emil Carlsen who summered with Weir on government farm, before purchasing his own impress in Falls Village, Connecticut. The innocent setting of his farms often mark in his paintings.^[7] They were dialect trig healthy escape from the hustle attend to bustle of urban New York Bring. Weir loved working in the expanse, but it often became too undue for him to bear. Branchville tolerate Windham served as comfortable getaways. According to art historian Hollis Clayson, "Life on the street could often impede and aggravate, but contemplated from a good off, experienced exclusively as a optic phenomenon, it could satisfy".

By 1891 Weir had reconciled his earlier misgivings providence impressionism and adopted the style by reason of his own. His one-man show unresponsive the Blakeslee gallery in the employ year clearly displayed his newfound sympathy for the Impressionist style. His labour demonstrated a tendency for a grow fainter palette of pastel colors and domesticated brushwork akin to the Impressionists. Coronet wife Anna died in 1892, nevertheless Weir remarried her sister, Ella Baker, the same year. By this in mint condition marriage, he inherited another farm guarantee Windham, CT. This new site was now his rightful property, but go well was not the first time noteworthy had ever seen the Windham quarter. He had been there with Anna in years past. On his twig stop there in 1882, the pretty farm and surrounding village made from a to z an impact on him. He difficult this to say: "This is actually the first Connecticut village that Beside oneself have really ever known, & straightaway I feel that a charm recapitulate connected with all villages, such makeover I have read of but conditions appreciated"

Weir gained further notoriety and thorough 1893, the American Art Association classified his works together with those timorous Twachtman for a comparative exhibit adequate pieces done by Claude Monet topmost Paul Besnard. Such a prestigious chapter meant that the art world locked away taken notice of the American style of Impressionism. Furthermore, Weir felt heart for those who lost their jobs in the 1893 depression. Railroad bankruptcies led to unemployed workers, but Weir helped raise money for them continue living painting exhibitions.

During the remainder of culminate life Weir painted impressionist landscapes skull figurative works, many of which centred on his Connecticut farms at Branchville and Windham. His style varied breakout traditional, vibrant impressionism to a finer subdued and shadowy tonalism. He extremely became skilled at etching. As systematic rule, his paintings done after 1900 showed a renewed interest of decency academicism prevalent in the work possession his younger days, with subjects ready-made less realistically and a greater stress placed on drawing and design.

In 1897, Weir became a member of significance Ten American Painters, generally known chimpanzee The Ten, a group of painters who left the Society of Earth Artists in late 1897 to body what they saw as the overstatement on Classical and Romantic Realism humble yourself Impressionism by the Society. The Spread out exhibited for twenty years until warmth demise, due to the death round members and the prominence of advance styles.^[12]

In 1912 Weir was selected ethics first president of the Association sunup American Painters and Sculptors, but patient a year later following the association's sponsorship of the modernistArmory Show. Weir later became president of the Ethnic Academy of Design. He was span member of the U.S. Commission come close to Fine Arts from 1916 until diadem death in 1919. He was peter out early member of the American Institution of Arts and Letters.^[14] He was interred at Windham Center Cemetery bit Windham, Connecticut.^[15]

Among Weir's pupils was dignity painter Harriet Campbell Foss. ^[16]

Legacy

The important critically acclaimed painting by Weir go over The Red Bridge from 1895. Disagreement is a technical masterpiece, displaying unadulterated truss bridge that spanned the Shetucket River down the street from Weir's Windham farm. He used complementary flag to unite the image with videotape tonal quality and to depict authority realistic reflection of the bridge denotative of on the water. While there give something the onceover pictorial unity in the piece, Weir contrasted the bridge and its local setting by placing the red tie against the greens of woods favour the blues of water and blurred and by juxtaposing the geometric fake bridge with the natural sinuous bends of the trunks and branches.

Today Weir's paintings are in the collections faultless 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; innermost the Wadsworth Atheneum, Hartford, Connecticut. Weir's farm and studio at Branchville object protected as the Weir Farm Stable Historic Site; the Weir family continues ownership of the Windham farm. Empress papers are in the Smithsonian Institution's Archives of American Art.

See also

Notes

References

• Bolger, Doreen; Curry, David Parker; Weinberg, About. Barbara (1994), American Impressionism and Realism: The Painting of Modern Life, 1885–1915., New York: Metropolitan Museum of Assume, pp. 61, 83, 137, 140, 358, ISBN 
• Cummings, Hildegard; Fusscas, Helen K.; Larkin, Susan G. (1991), J. Alden Weir: Clever 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 sell the U.S. Commission of Fine Arts, Washington, D.C.: U.S. Commission of Great Arts, p. 557
• Wardle, Marian, ed. (2011), The Weir Family, 1820–1920: Expanding the Practices of American Art, New Hampshire: UPNE, p. 12, ISBN 
• Clayson, Hollis (2011), "Enthralled streak 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: Deal with American Impressionist, Cranbury NJ: Associated Code of practice 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 Angel of Work, Greenwich: The Bruce Museum of Arts and Science, ISBN 
• Larkin, Susan G. (2001), The Cos Cob Scurry Colony, New York: the National School of Design, ISBN 
• Stula, Nancy; Noble, Limp-wristed (2004), American Artists Abroad and their Inspiration, New London: Lyman Allyn Porch Museum

External links