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Frank J. ReillyColonists at the Theater - Philadelphia Blended Whisky Ad1947
1947
$11,500
£8,789.43
€10,130.52
CA$16,470.21
A$18,050.85
CHF 9,426.50
MX$216,589.38
NOK 118,365.78
SEK 111,496.17
DKK 75,649.12
About the Item
From a series of historic prints designed as advertisements to promote Philadelphia Blended Whisky.
In the 1940s, the Continental Distilling Corporation commissioned artists Simon Greco, James Bingham, and Edward Everett Henry to create a series of historical images of Philadelphia to promote its Philadelphia Blended Whisky, which it referred to as “The Heritage Whisky.” By highlighting key moments that led to the founding of the country and the city’s cultural heritage in its advertising, the company sought to position Philadelphia Blended Whisky as having a rich and enduring legacy.
The advertising copy links the City of Brotherly Love with “a legendary heritage of hospitality,” which is “one of the proud traditions established by Colonial Philadelphia.” Despite the textual emphasis on hospitality, the corresponding illustrations don’t touch upon the friendly reception or entertainment of guests, nor do they include any imagery of whisky-drinkers. Separated from the advertising copy, it would be difficult to determine the product these images were commissioned to sell. This lack of emphasis on the product in the imagery may in part be due to the fact that the Continental Distilling Corporation also released the illustrations as lithographs, likely with the hope the pictures would be treated as home decor. Some illustrations from the series were later published in Gerald W. Johnson's book Pattern for Liberty: The Story of Old Philadelphia, published by McGraw Hill in 1952. Of the 32 illustrations published in the text, around 20 of the original paintings in its collection are held.
Frank Reilly was a renowned teacher at the Art Students League in New York for more than 19 years, where his classes in drawing, painting and picture making, and color abstraction were immensely popular and well-attended. Reilly later founded his own school, the Frank J. Reilly School of Art, on West 57th Street, where he taught many who would later become highly-successful artists, such as James Bama, Peter Max, and Ron Lesser. Reilly studied with the anatomist George Bridgman at the Art Students League and apprenticed with Dean Cornwell, helping with the artist’s mural projects. Reilly was known for his meticulous and scientific approach to artmaking, which he passed along to his students through his eponymous Reilly Method that emphasized the importance of an organized palette and the use of structural lines to form the foundation of figure drawing.
- Creator:Frank J. Reilly (1906 - 1967)
- Creation Year:1947
- Dimensions:Height: 30 in (76.2 cm)Width: 40 in (101.6 cm)
- Medium:
- Period:
- Condition:
- Gallery Location:Fort Washington, PA
- Reference Number:Seller: 33411stDibs: LU384316786242
Frank J. Reilly
Frank J. Reilly was noted as "the No. 1 art teacher in America." Reilly is known for developing a means of organizing the palette. His value studies and chroma organization are still taught as the primary methods of oil paint organization. Reilly studied with Frank DuMond at the Art Students League of New York. He taught at the Grand Central School of Art, The Art Students League of New York and other art schools as well as establishing his own art school. Reilly was the main influence on George Passantino. He is credited with the mosaic mural in The Bronx High School of Science's front lobby. Reilly's influence continues today through the teaching and art of Michael Aviano and Jack Faragasso as well as their students Jon deMartin and Graydon Parrish. The Legacy of Frank J. Reilly by Jack Faragasso, from LINEA Journal of the Art Students League, Summer 2006, stated that one of the most maligned and misunderstood artist instructors of the Art Students League was the late Frank J. Reilly. Mr. Reilly was a feisty Irish-American endowed with great energy and charisma. He inspired fanatic devotion and loyalty from his students. His classes were always jam-packed morning, afternoon and night. On his off days he would drive to the League's studios in Woodstock, New York to teach landscape and outdoor figure painting. Somehow he found time to do illustrations, write articles on art, conceive and work on murals and do an occasional fine art easel painting. Married but childless, Mr. Reilly regarded his pupils as his family and sought to relate to them as such. He sought to give them the best training possible, and in order to introduce them to the art world, arranged contests with national magazines, paperback publishers, and even Portraits, Inc.
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