Louis Conrad RosenbergWestern Hills Viaduct Under Construction1931
1931
About the Item
- Creator:Louis Conrad Rosenberg (1890 - 1983, American)
- Creation Year:1931
- Dimensions:Height: 8.5 in (21.59 cm)Width: 15.25 in (38.74 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Fairlawn, OH
- Reference Number:
Louis Conrad Rosenberg
Architect and printmaker, Louis Conrad Rosenberg was born in Portland, Oregon. The recipient of a scholarship awarded by the Architectural Club of Portland, Rosenberg attended the Massachusetts Institute of Technology. Graduating in 1914, Rosenberg was granted a traveling fellowship in architecture and after the war he traveled throughout England, Europe, the Near East and Northern Africa, creating thousands of sketches. Rosenberg began his first experiments in etching while studying at the American Academy in Rome, in 1921, and has given an exhibition there. His prints came to the attention of Muirhead Bone, who looked him up during a visit to New York and suggested that he pursue etching more seriously. Soon after that meeting, Rosenberg entered the school of engraving at the Royal College of Art in London, making 20 distinguished plates in a year and launching his career as a printmaker. On his return to the United States, he took up a teaching position in architectural design at the University of Oregon. Etching for the American Etchers Series, he was commissioned to render the existing sites, new structures and demolitions of the Cleveland Railroad Terminal. In 1930, Rosenberg undertook a similar commission for the Cincinnati Union Terminal that produced some of his finest work. In 1946, he joined the New York architectural firm of Sawyer and York and remained there until retiring. Widely respected for his impeccable drypoint technique, flawless composition and sensitive architectural renderings, Rosenberg was the recipient of many medals and awards. He was an emeritus member of the American Institute of Design and senior fellow in the Royal Society of Painters, Etchers and Engravers. Rosenberg was also a member of the Brooklyn Society of Etchers, Chicago Society of Etchers, Philadelphia Society of Etchers and Engravers Associates and the Chelsea Arts Club, London. Rosenberg received a silver medal from the Printmakers Society of California, 1924.
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- Cincinnati Union Terminal, Perspective From EastBy Louis Conrad RosenbergLocated in Fairlawn, OHCincinnati Union Terminal, Perspective From East Drypoint, 1930-1931 Signed in pencil lower right (see photo) Initialed and dated the the plate above the pencil signature From: Cincinnati Series (8 Plates), this No. 2 Edition: 155, completed May 4, 1931 Delivered to Fellheimer & Wagner, 1931 Louis Conrad Rosenberg 1890-1983 An American architectural etcher and engraver of the 1920's and 1930's era, Louis Conrad Rosenberg first studied at the Massachusetts Institute of Technology...Category
1930s American Modern Landscape Prints
MaterialsDrypoint
- Ontario St. Grading and Temporary RampsBy Louis Conrad RosenbergLocated in Fairlawn, OHOntario St. Grading and Temporary Ramps Drypoint, August 1929 Signed in pencil lower right (see photo) From: The Cleveland Set (23 plates), this being No. 13 Edition: Small A brilliant example of American industrial art. A wonderful, rich impression, with lots of burr and contrasts. Louis Conrad Rosenberg 1890-1983 An American architectural etcher and engraver of the 1920's and 1930's era, Louis Conrad Rosenberg first studied at the Massachusetts Institute of Technology. He then enrolled at the Royal College of Art, London, to study etching techniques under Malcolm Osborne...Category
1920s American Modern Landscape Prints
MaterialsDrypoint
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- Palazzo dell'AngeloBy John Taylor ArmsLocated in Middletown, NYPalazzo dell'Angelo 1931 Etching and drypoint on cream-colored, handmade laid paper with deckle edges, 7 1/4 x 6 3/4 inches (185 x 171 mm), edition of 100, full margins. Signed, dated and numbered "Ed. 100" in pencil, lower margin, second state (of three). Printed by Henry Carling, New York. Extremely minor mat tone and some inky residue in the top right corner, all unobtrusive and well outside of image area. An exquisite impression of this intricate image, with astonishing detail, and all the fine lines printing clearly. The image represents the first print which Arms printed on his own handmade paper. Framed handsomely with archival materials and museum grade glass in a wood gilt frame with a flower and garland motif. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 180; Anderson, American Etchers Abroad 1880-1930; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, p. 116. [Fletcher 233] Born in 1887 in Washington DC, John Taylor Arms studied at Princeton University, and ultimately earned a degree in architecture at the Massachusetts Institute of Technology in 1912. With the outbreak of W.W.I, Arms served as an officer in the United States Navy, and it was during this time that he turned his focus to printmaking, having published his first etching in 1919. His first subjects were the Brooklyn Bridge, near the Navy Yard, and it was during his wartime travel that Arms created a series of extraordinarily detailed etchings based on Gothic cathedrals and churches he visited in France and Italy. He used what was available to him, namely sewing needles and a magnifying glass, to create the incredibly rich and fine detail that his etchings are known for. Upon his return to New York after the war, Arms enjoyed a successful career as a graphic artist, created a series of etchings of American cities, and published Handbook of Print Making and Print Makers (Macmillan, 1934). He served as President of the Society of American Graphic Artists, and in 1933, was made a full member of the National Academy of Design. In its most modern incarnation, Palazzo dell'Angelo was constructed in or around 1570. The building, which has a rich and storied history, was erected upon the ruins of an earlier structure which predates the Gothic period. Some remnants of the earliest features of the residence were most certainly still visible when Arms visited, as they are today. Having a background in architecture, there's no question that Arms was moved by the beauty, history and ingenuity represented in the physical structure. One thing specifically gives away Arms's passion for the architecture, and that is the fact that he focused on the building's Moorish entranceway, balustrade, and two mullioned windows, and not on the curious Gothic era bas-relief of an angel nestled into the facade of the building, after which the structure is named. The sculpture itself doesn't appear in Arms's composition at all, despite the fact that it is the feature of the building that is most famous in its folklore. Arms instead focuses on the oldest portion of the architecture, even documenting some of the remnants of a fresco, and a funerary stele for the freedman Tito Mestrio Logismo, and his wife Mestria Sperata (visible above the water level, to the left of the door, behind the gondola), which was first described in 1436. Among the many notable bits of history regarding the Palazzo, it has been documented that Tintoretto painted frescos of battle scenes on the facade of the building. The paintings have been lost to time and the elements, but not entirely to history. The empty frame...Category
1930s American Modern Figurative Prints
MaterialsEtching, Drypoint
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