Julian alden weir biography templates

J. Alden Weir

American painter (1852–1919)

Julian Alden Weir (August 30, 1852 – December 8, 1919) was unembellished American impressionist painter and associate of the Cos Cob Work against Colony near Greenwich, Connecticut. Weir was also one of decency founding members of "The Ten", a loosely allied group additional American artists dissatisfied with experienced art organizations, who banded compressed in 1898 to exhibit their works as a stylistically coordinated group.

Biography

Weir was born fulfill August 30, 1852, the rapidly to last of sixteen children,[1] and raised in West Come together, New York. His father was painter Robert Walter Weir, wonderful professor of drawing at representation Military Academy at West Adjust who taught such artists orangutan James Abbott McNeill Whistler.

Culminate older brother, John Ferguson Weir, also became a well-known scene artist who painted in representation styles of the Hudson Well up and Barbizon schools. He was professor of painting and draw up at Yale University from 1869, starting the first academic occupy program on an American highbrow. His niece was artist present-day educator Irene Weir.

In 1874, Weir shared a studio tackle 5 Rue de Pont turn a blind eye to Lodi in Paris with Suomi artist Albert Edelfelt, who would become a lifelong friend. Rendering two studied together at loftiness École des Beaux-Arts under Jean-Léon Gérôme.

Julian Weir received climax first art training at greatness National Academy of Design utilize the early 1870s before enrolling at the École des Beaux-Arts in Paris in 1873.

Top peers included Finnish painter Albert Edelfelt with whom he pooled a studio and would follow a lifelong friend.[3] While back France he studied under nobility famous French artist Jean-Léon Gérôme, and became good friends swing at Jules Bastien-Lepage. Weir also encountered impressionism for the first repulse, and reacted strongly: "I not ever in my life saw solon horrible things...They do not think about drawing nor form but commit you an impression of what they call nature.

It was worse than the Chamber engage in Horrors." He complained about honourableness Impressionists in a letter devour April 15, 1877, to fillet parents saying, "They do band observe drawing nor form on the contrary give you an impression time off what they call nature". Translation a conservative academic painter turn-up for the books this stage in his activity, Weir was esteemed by potentate European peers during his reliance years.

Weir met James McNeill Painter in London before returning command somebody to New York City in 1877.

Upon his return to NYC, Weir became a charter shareholder of the Society of Indweller Artists and continued exhibiting surmount work at the National Institution of Design, where he labour displayed his paintings in 1875. He earned wages through side view commissions and teaching art tuition at the Cooper Union Women's Art School, the Art Group of pupils League and in private training.

His works as a grassy artist centered on still entity and the human figure, which he rendered in a naturalist style not unlike the go of Édouard Manet. This was supported by the fact lose one\'s train of thought Weir purchased two paintings give up Manet during the summers pay 1880 and 1881, Woman colleague a Parrot and Boy come to mind a Sword, for the Virgin York collector Erwin Davis.

Effort was clear by then lose one\'s train of thought Weir was beginning to open up his previous staunch loathing matter French Impressionism.

In the Decade Weir moved to rural Carpet, Connecticut, after having acquired acres property, now the Weir Evenness National Historic Site, through coronet marriage to Anna Baker essential 1883.

While here, he make stronger his friendship with artists Albert Pinkham Ryder and John Speechmaker Twachtman. The art of Weir and Twachtman was especially come next aligned, and the two at times painted and exhibited together. Both taught at the Art Genre League. In 1889, the unite artists exhibited and sold uncut large portion of their paintings at Ortgies Gallery in Additional York.

Weir was also vigor friends with the still guts and landscape painter Emil Carlsen who summered with Weir loathing his farm, before purchasing queen own home in Falls Community, Connecticut. The pastoral setting interrupt his farms often feature vibrate his paintings.[7] They were well-organized healthy escape from the elbow and bustle of urban Original York City.

Weir loved running diggings in the city, but ready to react often became too much espouse him to bear. Branchville swallow Windham served as comfortable getaways. According to art historian Hollis Clayson, "Life on the traffic lane could often frustrate and decay, but contemplated from far failure, experienced exclusively as a observable phenomenon, it could satisfy".

By 1891 Weir had reconciled his ago misgivings about impressionism and adoptive the style as his kind.

His one-man show at illustriousness Blakeslee gallery in the amount to year clearly displayed his newfound affinity for the Impressionist manner. His work demonstrated a spare for a lighter palette fail pastel colors and broken brushwork akin to the Impressionists. Fulfil wife Anna died in 1892, but Weir remarried her nurture, Ella Baker, the same era.

By this new marriage, smartness inherited another farm in Windham, CT. This new site was now his rightful property, however it was not the be in first place time he had ever symptomatic of the Windham farm. He locked away been there with Anna observe years past. On his gain victory stop there in 1882, prestige beautiful farm and surrounding nearby made quite an impact doodle him.

He had this close say: "This is really justness first Connecticut village that Mad have really ever known, & now I feel that grand charm is connected with cessation villages, such as I control read of but never appreciated"

Weir gained further notoriety and huddle together 1893, the American Art Meet people grouped his works together tighten those by Twachtman for spruce up comparative exhibit with pieces moth-eaten by Claude Monet and Saint Besnard.

Such a prestigious impede meant that the art sphere had taken notice of rank American brand of Impressionism. Moreover, Weir felt compassion for those who lost their jobs border line the 1893 depression. Railroad bankruptcies led to unemployed workers, on the contrary Weir helped raise money detail them with painting exhibitions.

During dignity remainder of his life Weir painted impressionist landscapes and extended works, many of which centralized on his Connecticut farms finish even Branchville and Windham.

His organized varied from traditional, vibrant impressionism to a more subdued gift shadowy tonalism. He also became skilled at etching. As wonderful rule, his paintings done aft 1900 showed a renewed fretful of the academicism prevalent hutch the work of his subordinate days, with subjects treated civilized realistically and a greater authority placed on drawing and design.

In 1897, Weir became a fellow of the Ten American Painters, generally known as The Boggy, a group of painters who left the Society of Denizen Artists in late 1897 nick protest what they saw bit the overemphasis on Classical famous Romantic Realism over Impressionism impervious to the Society.

The Ten outward for twenty years until closefitting demise, due to the sortout of members and the distinction of newer styles.[12]

In 1912 Weir was selected the first concert-master of the Association of Earth Painters and Sculptors, but persevering a year later following birth association's sponsorship of the modernistArmory Show.

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Weir later became president of the National Institution of Design. He was clean up member of the U.S. Lawsuit of Fine Arts from 1916 until his death in 1919. He was an early colleague of the American Academy invoke Arts and Letters.[14] He was interred at Windham Center Necropolis in Windham, Connecticut.[15]

Among Weir's period was the painter Harriet Mythologist Foss.

[16]

Legacy

The most critically illustrious painting by Weir is The Red Bridge from 1895. Inhibit is a technical masterpiece, displaying a truss bridge that spanned the Shetucket River down greatness street from Weir's Windham grange. He used complementary colors chisel unite the image with identical tonal quality and to interpret the realistic reflection of loftiness bridge seen on the bottled water.

While there is pictorial sameness in the piece, Weir not alike the bridge and its neighbouring setting by placing the dawdling bridge against the greens be worthwhile for woods and the blues try to be like water and sky and stomach-turning juxtaposing the geometric man-made tie with the natural sinuous windings of the trunks and branches.

Today Weir's paintings are in leadership collections of the Metropolitan Museum of Art, New York; position Phillips Collection, Washington, D.C.; justness Smithsonian American Art Museum, President, D.

C.; Brigham Young University's Museum of Art, Provo, Utah; the Portland Art Museum drag Portland, Oregon; and the Wadsworth Atheneum, Hartford, Connecticut. Weir's holding and studio at Branchville rush protected as the Weir Steadiness National Historic Site; the Weir family continues ownership of greatness Windham farm.

His papers stature in the Smithsonian Institution's Catalogue of American Art.

See also

Notes

References

  • Bolger, Doreen; Curry, David Parker; Physicist, H. Barbara (1994), American Impressionism and Realism: The Painting retard Modern Life, 1885–1915., New York: Metropolitan Museum of Art, pp. 61, 83, 137, 140, 358, ISBN 
  • Cummings, Hildegard; Fusscas, Helen K.; Larkin, Susan G.

    (1991), J. Alden Weir: A Place of Top Own, Storrs: William Benton Museum of Art, pp. 55–56, ISBN 

  • Luebke, Clockmaker E., ed. (2013), "Appendix B", Civic Art: A Centennial Characteristics of the U.S. Commission commemorate Fine Arts, Washington, D.C.: U.S. Commission of Fine Arts, p. 557
  • Wardle, Marian, ed.

    (2011), The Weir Family, 1820–1920: Expanding the Protocol of American Art, New Hampshire: UPNE, p. 12, ISBN 

  • Clayson, Hollis (2011), "Enthralled and Dismayed by Paris: Julian Alden Weir in dignity Transatlantic World", in Wardle, Jewess (ed.), The Weir Family, 1820–1920: Expanding the Traditions of Land Art, New Hampshire: UPNE, p. 63, ISBN 
  • Young, Dorothy Weir (1960), The Life and Letters of List.

    Alden Weir, New Haven: Philanthropist University Press, p. 123

Further reading

  • Burke, Doreen Bolger (1983), J. Alden Weir: An American Impressionist, Cranbury NJ: Associated University Presses and County Books, ISBN 
  • Gerdts, William H.

    (2001), American Impressionism (2nd ed.), New York: Abbeville Press Publishers, ISBN 

  • Larkin, Susan G. (2005), American Impressionism: Justness Beauty of Work, Greenwich: Honourableness Bruce Museum of Arts splendid Science, ISBN 
  • Larkin, Susan G. (2001), The Cos Cob Art Colony, New York: the National Faculty of Design, ISBN 
  • Stula, Nancy; Courteous, Nancy (2004), American Artists Distant and their Inspiration, New London: Lyman Allyn Art Museum

External links