Mykonos Church Landscape
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Edmund LewandowskiMykonos Church Landscape 1965
1965
About the Item
- Creator:Edmund Lewandowski (1914 - 1998, American)
- Creation Year:1965
- Dimensions:Height: 16 in (40.64 cm)Width: 20 in (50.8 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Miami, FL
- Reference Number:1stDibs: LU38537572102
Edmund Lewandowski
Regarded as a leading American precisionist and exemplary arts educator, Edmund D. Lewandowski once explained that his “overwhelming desire . . . through the years has been to record the beauty of man-made objects and energy of American industry,” a goal he successfully achieved in a career that spanned five decades and numerous locations, including the American Midwest, South, and New England. Born to Polish parents in Milwaukee, Wisconsin, Lewandowski attended the Layton School of Art, studying under regionalist artist Gerrit Sinclair. Inspired by Sinclair’s modern style and urban subjects, Lewandowski’s early paintings reflect a similar approach that would later evolve to industrial themes executed in a hard-edged precisionist manner. His most well-known subjects include chemical plants, shipyards, factories, farms, and oil rigs. Following graduation, Lewandowski worked as a public school teacher and commercial artist while pursuing his painting. His career took a significant step forward when, in 1936, his work caught the eye of the progressive art dealer Edith Halpert, who offered him representation at her celebrated Downtown Gallery in New York City. A key figure in modern art, Halpert encouraged Lewandowski to experiment with Precisionism and to remain in Milwaukee. In 1937, Lewandowski met Charles Sheeler, considered a leader in the American Precisionist movement, whose style would most significantly influence the younger artist’s career. Through his association with the Downtown Gallery and the work he executed for the Federal Art Project between 1936 and 1939, Lewandowski attracted important critical notice and was included in exhibitions at such notable institutions as the Metropolitan Museum of Art, Museum of Modern Art (Magic Realism exhibition), and Art Institute of Chicago during the 1940s alone. At the Downtown Gallery, he exhibited alongside other artists such as Charles Demuth, Georgia O'Keeffe, Ralston Crawford, George Ault, and Niles Spencer. Following military service as an Air Force mapmaker and camouflage artist from 1942–1946, Lewandowski joined the faculty of his alma mater, the Layton School of Art, in 1947. From that time on, he divided his time between creating art and teaching another generation of aspiring artists. His teaching career took him to institutions throughout the United States, including Florida State University. Following his tenure at Florida State, Lewandowski returned to Layton as its director, remaining until 1972. Throughout these years, the artist would create and exhibit works on paper and canvas, as well as execute commissioned large-scale mosaic murals. In 1973, Lewandowski joined the faculty at Winthrop University in Rock Hill, South Carolina, where he would serve as the art department chair until his retirement in 1984. Edmund Lewandowski’s art showcases an exacting technical skill honed in his early training and advanced by his relationship with Sheeler. His ultrarealistic works painted in watercolor, gouache, or oil range from early farmscapes to industrial scenes and marine subjects, a variety that reflects the artist’s constant quest for aesthetic evolution. Today, Lewandowski’s work can be seen at prestigious national museums.
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Early life Vincent DaCosta Smith was born on December 12, 1929, in the Bedford-Stuyvesant[1] neighborhood of Brooklyn, to Beresford Leopole Smith and Louise Etheline Todd. Both were immigrants from Barbados.[2] He was raised in Brownsville, Brooklyn and Smith drew what he saw around him.[citation needed] He attended an integrated school where he studied piano and the alto sax. worked a range of jobs before he became a full-time artist. At 16, he worked for the Lackawanna Railroad repairing tracks. At 17, Smith enlisted in the army and traveled with his brigade for a year.[3] It wasn't until after his time in the army that Smith began to paint and printmaking.[4] At the age of 22, Smith was working in a post office where he grew to be friends with fellow artist Tom Boutis.[1] Art education Tom Boutis took Smith to a Paul Cézanne show at the Museum of Modern Art in 1951. After seeing the Cézanne show, Smith resigned from his position at the post office and began reading extensively about art. He studied at the Art Students League of New York with Reginald Marsh.[citation needed] Later, he began to sit in on classes at the Brooklyn Museum Art School, where the instructors would let him join in on the lessons and the criticisms.[3] After attending classes at the Brooklyn Museum Art School and the Art Students League of New York, he was accepted and received a scholarship to the Skowhegan School of Painting and Sculpture in Maine,[4] where he studied from 1953 to 1956. Beginning in 1954,[5] he started taking official classes at the Brooklyn Museum Art School, and studied painting, etching, and woodblock printmaking.[4] Career Smith was a figurative painter who used abstractions and materiality to make something new.[6] Smith's work depicts the rhythms and intricacies of black life through his prints and paintings.[7] Many of his paintings and prints rely heavily on patterns.[6] According to Ronald Smothers, Vincent D. Smith's work "stood as an expressionistic bridge between the stark figures of Jacob Lawrence and the Cubist and Abstract strains represented by black artists like Romare Bearden and Norman Lewis."[7] Smith has described his own work as "a marriage between Africa and the West."[3] Over his life, he worked in both painting and printmaking. 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His first retrospective was in 1989 at the Schenectady Museum in Schenectady, New York.[2] Solo shows: 1974 - The Portland Museum of Art, Portland, Maine[2] 1974 - Studio Museum in Harlem, New York, New York[2] 1989 - Schenectady Museum (Retrospective 1964-1989), Schenectady, New York Awards and honors This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources in this section. Unsourced material may be challenged and removed. (May 2020) (Learn how and when to remove this template message) 1959 – John Hay Whitney Fellowship, John Hay Whitney Foundation, New York City, New York[8] 1967 – Artist in Residence, Smithsonian Conference Center 1968 – Grant, The American Academy and National Institute of Arts and Letters, New York 1971 – Creative Public Service Award for the Cultural Council Foundation, New York 1973 – National Endowment of the Arts and Humanities Travel Grant, New York 1973-1974 – Childe Hassam Purchase Award, American Academy of Arts and Letters, New York City, New York 1974 – Thomas P. Clarke Prize, National Academy of Design, New York 1981 – Windsor and Newton Award, National Society of Painters in Casein and Acrylic , New York. 1985-1986 – Artist-in-Residence, Kenkeleba House Gallery, New York. Works Below are some selected works: Study for Mural at Boys and Girls High School, 1972, Metropolitan Museum of Art, New York, New York A Moment Supreme, 1972, Metropolitan Museum of Art, New York, New York The Triumph of B.L.S., 1973, Metropolitan Museum of Art, New York, New York Jonkonnu Festival, 1996, Metropolitan Museum of Art, New York, New York Murals Mural for Crotona/Tremont Social Service Center, The Human Resource Administration, New York, New York 1980[1] Mural for Oberia D. Dempsey Multi-Service Center of Central Harlem, New York, New York 1989[1] Publications Print portfolios Impressions: Our World, Volume I (a portfolio of seven etchings - five with aquatint, two with embossing). Emma Amos, Benny Andrews, Vivian Browne, Eldzier Cortor...Category
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