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Andrew LoomisIn The Making, Pet Milk Company Advertisement
About the Item
Pet Milk Company Advertisement
Signed lower center.
As a youngster, William Andrew Loomis loved to draw pictures, but it was a visit to the nearby studio of Howard Chandler Christy that made him decide to seek for himself an artist’s career.
Loomis was born in Syracuse, New York, and grew up in Zanesville, Ohio. At 19, he went to New York to attend the Art Students League, where he studied under George Bridgman and Frank Vincent DuMond.
In 1915, he got a job in Chicago with the art organization of the Charles Daniel Frey; he also attended classes at the Chicago Art Institute. This was interrupted in 1917 when he enlisted in the Army and served 20 months, half of them in France.
After the war, Loomis returned to Chicago to work at the Charles Everett Johnson advertising art studio, then for Bertch and Cooper. He finally opened his own studio as a free-lance artist. Equally at home in either editorial or advertising illustration, Loomis had a long career in both and also painted many twenty-four-sheet poster advertisements.
This broad experience especially qualified him as a teacher at the American Academy of Art in Chicago. Countless other art students who could not study with him personally benefited from his several art books, including Fun With a Pencil, Drawing for All It’s Worth, and Creative Illustration, published by The Viking Press. In 1999 Looms was inducted into the Society of Illustrators’ Hall of Fame.
- Creator:Andrew Loomis (1892 - 1959)
- Dimensions:Height: 30 in (76.2 cm)Width: 20 in (50.8 cm)
- Medium:
- Period:
- Condition:
- Gallery Location:Fort Washington, PA
- Reference Number:1stDibs: LU38431084353
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- ShippingRetrieving quote...Ships From: Fort Washington, PA
- Return PolicyA return for this item may be initiated within 14 days of delivery.
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'Sketching Wisconsin' original oil painting, Signed
By John Steuart Curry
Located in Milwaukee, WI
John Steuart Curry
"Sketching Wisconsin," 1946
oil on canvas
31.13 x 28 inches, canvas
39.75 x 36.75 x 2.5 inches, frame
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John Steuart Curry (1897-1946) was an American regionalist painter active during the Great Depression and into World War II. He was born in Kansas on his family’s farm but went on to study art in Chicago, Paris and New York as young man. In Paris, he was exposed to the work of masters such as Peter Paul Rubens, Eugène Delacroix and Jacques-Louis David. As he matured, his work showed the influence of these masters, especially in his compositional decisions. Like the two other Midwestern regionalist artists that are most often grouped with him, Grant Wood (American, 1891-1942) and Thomas Hart Benton (American, 1889-1975), Curry was interested in representational works containing distinctly American subject matter. This was contrary to the popular art at the time, which was moving closer and closer to abstraction and individual expression.
Sketching Wisconsin is an oil painting completed in 1946, the last year of John Steuart Curry’s life, during which time he was the artist-in-residence at the University of Wisconsin in Madison. The painting is significant in Curry’s body of work both as a very revealing self-portrait, and as a landscape that clearly and sensitively depicts the scenery of southern Wisconsin near Madison. It is also a portrait of the artist’s second wife, Kathleen Gould Curry, and is unique in that it contains a ‘picture within a picture,’ a compositional element that many early painting masters used to draw the eye of the viewer. This particular artwork adds a new twist to this theme: Curry’s wife is creating essentially the same painting the viewer is looking at when viewing Sketching Wisconsin.
The triangular composition of the figures in the foreground immediately brings focus to a younger Curry, whose head penetrates the horizon line and whose gaze looks out towards the viewer. The eye then moves down to Mrs. Curry, who, seated on a folding stool and with her hand raised to paint the canvas on the easel before her, anchors the triangular composition. The shape is repeated in the legs of the stool and the easel. Behind the two figures, stripes of furrowed fields fall away gently down the hillside to a farmstead and small lake below. Beyond the lake, patches of field and forest rise and fall into the distance, and eventually give way to blue hills.
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Sketching Wisconsin’s rural subject also expresses Curry’s populist ideals, that art could be relevant to anyone. This followed the broad educational objectives of UW’s artist-in-residence program. Curry was appointed to his position at the University of Wisconsin in 1937 and was the first person to hold any such position in the country, the purpose of which was to serve as an educational resource to the people of the state. He embraced his role at the University with zeal and not only opened the doors of his campus studio in the School of Agriculture to the community, but also spent a great deal of time traveling around the state of Wisconsin to visit rural artists who could benefit from his expertise. It was during his ten years in the program that Curry was able to put into practice his belief that art should be meaningful to the rural populace. However, during this time he also struggled with public criticism, as the dominant forces of the art market were moving away from representation. Perhaps it was Curry’s desire for public acceptance during the latter part of his career that caused him to portray himself as an Everyman in Sketching Wisconsin.
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