"A Man in His Garden, " Emil Carlsen, Backyard and Barn Impressionist Landscape

View Similar Items

Carl Rudolph Krafft - "Winter Landscape with Stream" Carl Rudolph Krafft, Early 20th Century Landscape

Unknown - Sailing Regatta Under the Golden Gate Bridge - Seascape in Oil on Canvas

Gail Sherman Corbett - Wall Street New York

Ben Fenske - Jess Panda, Sketch

Emil Carlsen - "A Man in His Garden, " Emil Carlsen, Backyard and Barn Impressionist Landscape

Charles Sprague Pearce - "The Riverbank" Charles Sprague Pearce, American Impressionist Boat Sketch

Frederick Judd Waugh - "Risen Moon" Frederick Judd Waugh, Coastal Landscape, Rocky Coast Marine Scene

Roy Andersen - Old High Country Woman

Mary Bradish Titcomb - "Village Green" Mary Bradish Titcomb, Bright American Impressionist Landscape

Paul Cornoyer - Central Park Autumn

Virginia Vaughan - Down River from the Pont Vecchio Bridge, Impressionism , Landscape, Plein Aire,

Katherine O. Baldwin - Koloa, Kauai, Hawaii Lilac Trees Landscape

Want more images or videos?

Request additional images or videos from the seller

1 of 9

Emil Carlsen
"A Man in His Garden, " Emil Carlsen, Backyard and Barn Impressionist Landscape
1893

Name: "A Man in His Garden, " Emil Carlsen, Backyard and Barn Impressionist Landscape
Brand: Emil Carlsen
Rating: 5 (27 reviews)

About the Item

Soren Emil Carlsen (1848 - 1932) A Man in His Garden, 1893 Oil on canvas 28 3/4 x 35 1/2 inches Signed and dated lower right Provenance: The artist [1848-1932] Macbeth Gallery, New York Grand Central Art Galleries, New York Luella May (Ruby) Carlsen (the artist's wife), New York Dines Carlsen (the artist's son), Falls Village, Connecticut Private Collection, Miami, Florida Exhibited: New York, Macbeth Gallery, Summer Exhibition: Painting by American Artists, July - August, 1926, no. 31 (as The Man in the Garden). Houston, Texas, Museum of Fine Arts, Exhibition of Contemporary American Art by Members of the Grand Central Art Galleries, January 13 - 27, 1929 (as The Man in the Garden). Miami Antique Fair, 2013. This work is recorded in the artist's archives recorded by Bill Indursky. Regarded today as one of the more prominent artists of the late 19th Century, Emil Carlsen spent many years as a penniless painter on the fringes of the art world, while he continued developing his still-life painting techniques that would take the rest of the art world several decades to fully appreciate. Some historians have described Carlsen as having a rather uneventful life, and while there may be an absence of the kind of unpredictability and turbulence that make for interesting biographies, Carlsen's life seems, in retrospect, anything but dull. There was something of a bohemian streak in his personality, living in a remarkable number of places during the first many decades of his career. Born Soren Emil Carlsen in Copenhagen around 1853, Carlsen first began his studies at the Royal Danish Academy as a teenager. Yet he was not to remain long there, leaving in 1872, at nineteen years old for America where he settled in Chicago, working for an illustration house to support himself. By 1875, he had saved enough money to travel to both Paris and Copenhagen to paint and study, staying for six months before returning to America, this time to New York. By this time he had already developed a unique love affair with the still life. In New York he befriended fellow painters such as John Francis Murphy; yet the city could not contain him, and after only a year he relocated to Boston, where he developed a life-long friendship with Childe Hassam. Carlsen remained quite poor throughout his time in Boston where he spent the next eight years. Yet his abilities were developing quite rapidly in still life painting, in a style which scholars refer to as "kitchen still lifes." These were still life scenes that often included fish or birds along with pots and pans which gave implied presence of the cook outside the frame, giving them a more human element than most still life subjects. This style very much echoed the work of the Dutch and Spanish Masters of still life, particularly that of Jean Simeon Chardin and, to a lesser degree, Johannes Vermeer. The similarity is not coincidental, as Carlsen spoke and wrote often of the influence of these artists on his own work, and yet he was already beginning to develop the eye for color, light and composition that today we regard as the undeniable Carlsen style. In 1884 Carlsen moved again to Paris, staying for two years. Here, as always he kept a low profile, preferring the mediation of working in the studio to the more social and recreational gathering places of artists and expatriates. In 1887, Carlsen moved to San Francisco, working for the directorship of the San Francisco Art Association School, and in 1891 moved back to New York where he lived until 1901. It is during this period, in the last decade of the nineteenth century that could be regarded as the most formative in terms of the development of the techniques that produced the paintings for which he is most celebrated today. Though still life had been an established genre throughout the century, it was not the easiest genre with an artist could earn a place in salons and was less reliable as a salable work of art. Often encouraged by other artists and would-be patrons to switch over to landscapes and marines to make better money, Carlsen resisted this for many years, remaining stubbornly in his pursuit of the still life. And when one looks at examples of Carlsen's work in this crucial transitory phase, one can tell that he felt himself truly on the verge of something wonderful. Many other artists perhaps felt the still life genre to have exhausted itself; that it offered few possibilities for new ground, and that it was certainly not a genre on which one bases the core of their work. Yet as Carlsen began to move away from the traditional arrangements and elements of still lifes, he became increasingly fascinated by textures like the copper, bronze, brass and silver of pots and bowls and the shadows that their curves and lines produced against shaded backdrops. While the Dutch still life painters had already developed the moody tones of dark pockets and shadows, Carlsen brought out a great range of the emotions that accompany that moodiness. As he progressed, Carlsen managed to decontextualize the objects in his paintings, until they were no longer just brass and copper pots or the pure effects of the colors they radiated, but something in between; where it was no longer the actual use or purpose of an object that mattered in relation to other objects around them or the arbitrariness of their arrangement together, but the very singular existence of the objects themselves, separated from the people and the ordinary use they would have for it, as well as the ordinary light in which they would usually be seen. The dimness of the light only added to the mystery. And yet Carlsen's fascination with surfaces made him often instill his shadows with great textures that played with and complemented the qualities of the objects that seem to glow from the canvas. The effect is that even the 'somber' darkness of the shadows seem to radiate light and color. It was not until the 1910's and 20's that Carlsen began to really benefit financially from his painting, even though he'd already had the respect of his fellow artists all along. Despite his long career and his wide travels, he left few written accounts of his travels, and thus there are many in his biography that historians have tried to reconstruct. His habit of dating some pictures and leaving others blank has also made it difficult to reconstruct the exact progression of his technique from picture to picture. He often abandoned certain traits only to pick them up again before finally discarding them as he honed his style and his eye. The result is evidence of an artistic meditation that progressed with consistency and caution. Carlsen's death in 1932 was at the height of his popularity, and he left behind an admirable body of work in which he had redefined the cerebral and metaphysical effects a still life can have on a viewer. Then he broke the mold. Surviving him was his son Dines who had already become very successful in his own right, developing even further the unique techniques of color, light ands texture in still life from his father.

Creator:
Emil Carlsen (1853-1932, American)
Creation Year:
1893
Dimensions:
Height: 38 in (96.52 cm)Width: 45 in (114.3 cm)
Medium:
Canvas,Oil
Movement & Style:
American Impressionist
Period:
1890-1899
Condition:
Gallery Location:
New York, NY
Reference Number:
1stDibs: LU115626156782

Shop All Emil Carlsen

Emil Carlsen

Regarded today as one of the more prominent artists of the late 19th Century, Emil Carlsen spent many years as a penniless painter on the fringes of the art world, while he continued developing his still-life painting techniques that would take the rest of the art world several decades to fully appreciate. Born Soren Emil Carlsen in Copenhagen around 1853, Carlsen first began his studies at the Royal Danish Academy as a teenager. Yet he was not to remain long there, leaving in 1872, at nineteen years old for America where he settled in Chicago, working for an illustration house to support himself. By 1875, he had saved enough money to travel to both Paris and Copenhagen to paint and study, staying for six months before returning to America, this time to New York. By this time he had already developed a unique love affair with the still life. In New York he befriended fellow painters such as John Francis Murphy; yet the city could not contain him, and after only a year he relocated to Boston, where he developed a life-long friendship with Childe Hassam. Carlsen remained quite poor throughout his time in Boston where he spent the next eight years. Yet his abilities were developing quite rapidly in still life painting, in a style which scholars refer to as "kitchen still lifes." These were still life scenes that often included fish or birds along with pots and pans which gave implied presence of the cook outside the frame, giving them a more human element than most still life subjects. This style very much echoed the work of the Dutch and Spanish Masters of still life, particularly that of Jean Simeon Chardin and, to a lesser degree, Johannes Vermeer. The similarity is not coincidental, as Carlsen spoke and wrote often of the influence of these artists on his own work, and yet he was already beginning to develop the eye for color, light and composition that today we regard as the undeniable Carlsen style. It was not until the 1910's and 20's that Carlsen began to really benefit financially from his painting, even though he'd already had the respect of his fellow artists all along. Despite his long career and his wide travels, he left few written accounts of his travels, and thus there are many in his biography that historians have tried to reconstruct. He often abandoned certain traits only to pick them up again before finally discarding them as he honed his style and his eye. The result is evidence of an artistic meditation that progressed with consistency and caution. Carlsen's death in 1932 was at the height of his popularity, and he left behind an admirable body of work in which he had redefined the cerebral and metaphysical effects a still life can have on a viewer.

More From This Seller

View All

Till the Clouds Roll By 1945 Frank Sinatra Mid Century Modern Hollywood Film WPA

By Richard Whorf

Located in New York, NY

Till the Clouds Roll By 1945 Frank Sinatra Mid Century Modern Hollywood Film WPA TILL THE COULDS ROLL BY (Film Set), oil on canvas, 20 x 24 inches signed “Richard Whorf” lower right and signed and dated on the verso “R. Whorf/ Dec. 21, 1945. Frame by Hendenryk. ABOUT THE PAINTING This painting is from the collection of Barbara and Frank Sinatra, dated December 21, 1945 (just nine days after Frank Sinatra’s 30th birthday), and depicts the Metro-Goldwyn-Mayer Culver City backlot during the filming of Till the Clouds Roll By, the direction of the film having been taking over by Richard Whorf in December 1945. It is not presently clear if Whorf gave the Sinatras this painting as a gift, as the presence of the Dalzell Hatfield Galleries label on the verso indicates the painting may have been sourced there. Frank and Nancy Sinatra acquired a number of works from Dalzell Hatfield Galleries during the 1940’s, or perhaps they framed it for the couple. Sinatra performed “Old Man River’ in the film. Sinatra and June Allyson are depicted in the center of the painting. PROVENANCE From the Estate of Mrs. Nancy Sinatra; Dalzell Hatfield Galleries, Ambassador Hotel, Los Angeles. An image of the Dalzell Hatfield label and the back of the original frame (which we replaced with a stunning Heydenrk frame) are attached. Nancy Sinatra was Fran's first wife. Nancy Rose Barbato was 17 years old when she met Frank Sinatra, an 18-year-old singer from Hoboken, on the Jersey Shore in the summer of 1934. They married in 1939 at Our Lady of Sorrows Church in Jersey City where Frank gave Nancy a recording of a song dedicated to her titled "Our Love" as a wedding present. The young newlyweds lived and worked in New Jersey, where Frank worked as an unknown singing waiter and master of ceremonies at the Rustic Cabin while Nancy worked as a secretary at the American Type Founders. His musical career took off after singing with big band leaders Harry James and Tommy Dorsey...

Category

1940s American Modern Landscape Paintings

Materials

Canvas, Oil

Richard Whorf
Till the Clouds Roll By 1945 Frank Sinatra Mid Century Modern Hollywood Film WPA, 1945

$75,000

"Concert" Early 20th Century WPA Modernism American City Landscape Scene Ashcan

By Michael Loew

Located in New York, NY

"Concert" Early 20th Century WPA Modernism American City Landscape Scene Ashcan The size of the canvas 28 3/4 x 43 1/4 inches. The painting comes directly from the artist's estate. It is signed lower right as well as signed, titled and dated verso. We have available more than two dozen paintings and works on paper from the 1930s - 80s that come directly from the Loew estate. BIO Michael Loew (1907 – 1985) was the son of a New York City baker. After high school, he was an apprentice to a stained-glass maker, and from 1926-1929, he studied at the Art Students League. In 1929, he traveled to Paris, North Africa, Germany, and Italy with a group of artists. When he returned to New York City in 1931, the Great Depression hit Loew unexpectedly, and for the next two years he paid his apartment rent with his paintings. In 1935, he found work with the WPA where he painted murals and partnered up with longtime friend Willem de Kooning in 1939 on a mural for the Hall of Pharmacy at the New York World’s Fair. Their friendship lasted for the rest of their lives. In the mid-30’s he painted in Mexico and the Yucatán documenting the construction of a U.S. Naval airbase on Tinian Island. It was from this airbase that the Enola...

Category

1920s American Modern Figurative Paintings

Materials

Canvas, Oil

Michael Loew
"Concert" Early 20th Century WPA Modernism American City Landscape Scene Ashcan, 1928

$7,500

"Winter" American Modernism WPA Regionalism Landscape Mid-Century Magic Realism

By Dale Nichols

Located in New York, NY

"Winter" American Modernism WPA Regionalism Landscape Mid-Century Magic Realism. 30 x 40 inches. Oil on canvas, c. 1960s, Signed lower right. As we list the painting now, the work is currently being cleaned, restored and a hand carved frame is being built. Additional photos will be uploaded as soon as possible. Our gallery, Helicline Fine Art, just launched our new digital exhibition: American Art: The WPA and Beyond. Three dozen paintings, works on paper and sculptures which are available here on 1stDibs. In person viewings can be arranged by appointment at our midtown Manhattan gallery. Provenance: "Winter" was originally purchased by Stanley Byer. Mr. Byer owned homes in Key West, New York City, and Washington, D.C. He purchased the painting from Dunning Auction in 1984 in Elgin, Illinois. Mr. Byer was related to Abraham Weiss from Florida. Saul Babbin, now deceased was a cousin of Mr. Weiss. I purchased the painting from Joy Babbin, Mr. Babbin's wife, now living in from New Mexico. Dale Nichols (1905 – 1995) Artist, printmaker, illustrator, watercolorist, designer, writer and lecturer, Nichols did paintings that reflected his rural background of Nebraska where he was born in David City, a small town. Although he did much sketching outdoors, most of his paintings were completed in his studio and often included "numerology, magic squares...

Category

1960s American Modern Landscape Paintings

Materials

Canvas, Oil

Dale Nichols
"Winter" American Modernism WPA Regionalism Landscape Mid-Century Magic Realism, c. 1960s

$95,000

Landscape American Hungarian European Modernism 1938 Realism Long Island WPA era

By Stephen Csoka

Located in New York, NY

Landscape American Hungarian European Modernism 1938 Realism Long Island WPA era. The canvas measures 18” x 20". The artist signed the stretcher as well as the canvas. The scene depicts a spots in New York where Queens borders with Nassau county, Rosedale, which abuts the Five Towns. The border runs through Hook Creek, another painting we are currently offering. Stephen (Istvan) Csoka was born in Gárdony, Hungary on January 2, 1897 and died in New York in 1989. He is best remembered as a painter and etcher of portraits, nudes, landscapes, genre, and horses. Csoka studied at the Budapest Royal Academy of Art and his memberships include Associate of the National Academy of Design in New York City; the Society of American Etchers in Brooklyn, NY; the Society of Brooklyn Artists; and the Hungarian Etchers Association. Csoka's exhibitions and awards include a medal at the Barcelona International Exhibition in 1929; a prize at the City of Budapest Exhibit in 1930; prizes at the Society of American Etchers in 1942 and 1945; prizes at the Library of Congress in 1944 and 1946; a prize at the Society of Brooklyn Artists in 1944; a prize at the Philadelphia Watercolor Club in 1945; the Corcoran Gallery of Art in 1945; the Carnegie Institute in 1943, 1944, and 1945; the Art Institute of Chicago in 1944; the Los Angeles Museum of Art in 1945; the National Academy of Design from 1940 through 1945; one-artist shows at the Contemporary Artists in 1940, 1943, and 1945; and the Minneapolis State Fair in 1943. *Stephen continued to recieve awards and exhibit his work throughout his life. In 1997, Hofstra Museum sponsored a Retrospective/Centennial exhibition in honor of his birth. Collections representing Csoka's work are the Metropolitan Museum of Art, New York, NY; the Brooklyn Museum, Brooklyn, NY; the Museum of Fine Arts, Boston, MA; the British Museum, London, England; the Bezalel National Museum, Jerusalem, Israel; the Butler Institute of American Art, Youngstown, Ohio; Whistler House Museum of Art, Lowell, MA; the Cleveland Museum of Art, Cleveland, OH; Columbus Museum of Art, Columbus, OH; the Sheldon Swope Art Museum, Terre Haute, IN; the Mobile Museum of Art, Mobile, AL; the Frederick R. Weisman Art Museum, Minneapolis, MN; the Museum of New Mexico, Santa Fe, NM; the Budapest Museum of Fine Arts, Budapest, Hungary; Hungarian National Gallery, Budapest, Hungary, the Museum of the City of Budapest, Budapest, Hungary; the Library of Congress, Washington, DC; Carnegie Museums of Pittsburgh, Pittsburgh, PA; the Chrysler Museum of Art, Norfolk, VA; Georgia Museum of Art, Athens, GA; Hofstra Museum, Hofstra University, Hempstead, NY; Holocaust Museum, Glen Cove, NY; National Academy of Art, New York, NY; New Orleans Museum of Art, New Orleans, LA; New York Historical Society, New York, NY;New York Public Library, New York, NY; National Gallery of Art, Washington, DC; Peabody Museum, Cambridge, MA; Pennsylvania Academy of the Fine Arts, Philadelphia, PA; Reading Public Museum, Reading, PA; Livingston Arts Center, Mount Morris, NY; Ball State Teachers College, Muncie, IN; City College, New York, NY; Fashion Institute of Technology, New York, NY; Hungarian Consulate, New York, NY; Hungarian Heritage, New Brunswick, NJ; Hunter College, New York, NY; IBM Collections; Princeton Print Club...

Category

1930s Realist Landscape Paintings

Materials

Canvas, Oil

Stephen Csoka
Landscape American Hungarian European Modernism 1938 Realism Long Island WPA era, 1938

$26,000

UNION SQUARE Depression Era Oil Painting WPA Realism American Scene Realism NYC

By Jo Cain

Located in New York, NY

UNION SQUARE Depression Era Oil Painting WPA Realism American Scene Realism NYC Jo Cain (1904 – 2003) "Union Square" 24 x 36 inches Oil on canvas, c.1940s S...

Category

1940s American Realist Figurative Paintings

Materials

Canvas, Oil

Jo Cain
UNION SQUARE Depression Era Oil Painting WPA Realism American Scene Realism NYC, c. 1940

$33,000

"Drama Teacher" 1938 WPA Mid 20th Century American Theatre Surrealism Modernism

By Leon Bibel

Located in New York, NY

"Drama Teacher" 1938 WPA Mid 20th Century American Theatre Surrealism Modernism. 30 x 24 inches. Oil on Canvas. Signed land dated ’38 lower left. The photograph in the listing depicts the artist's friend who taught drama and about whom the painting is based Painter, printmaker and sculptor, Leon Bibel was born in San Francisco in 1913. He trained at the California School of Fine Arts and received a scholarship to study under the German Impressionist Maria Riedelstein. He worked in collaboration with Bernard Zackheim, a student of Diego Rivera, to create frescoes for the San Francisco Jewish Community Center and the University of California Medical School. In 1936 Bibel moved from California to join the Federal Art Project at Harlem Art...

Category

1930s American Modern Figurative Paintings

Materials

Canvas, Oil

Leon Bibel
"Drama Teacher" 1938 WPA Mid 20th Century American Theatre Surrealism Modernism, 1938

$14,500

Early 20th Century American Impressionist Figurative Paintings

Materials

Canvas, Oil

Carl Rudolph Krafft
"Winter Landscape with Stream" Carl Rudolph Krafft, Early 20th Century Landscape, Early 20th Century

$12,000

Sailing Regatta Under the Golden Gate Bridge - Seascape in Oil on Canvas

Located in Soquel, CA

Sailing Regatta Under the Golden Gate Bridge - Seascape in Oil on Canvas Colorful depiction of sailboats in San Francisco Bay by unknown artist "Schutz" (20th Century). A sailboat w...

Category

Early 2000s American Impressionist Landscape Paintings

Materials

Canvas, Oil

Sailing Regatta Under the Golden Gate Bridge - Seascape in Oil on Canvas, 2004

$1,150

Wall Street New York

By Gail Sherman Corbett

Located in Saratoga Springs, NY

Signed lower right.

Category

Mid-20th Century American Impressionist Figurative Paintings

Materials

Canvas, Oil

Gail Sherman Corbett
Wall Street New York

$15,000

Jess Panda, Sketch

By Ben Fenske

Located in Sag Harbor, NY

A contemporary oil painting of a woman stepping out of her small car, a Fiat Panda. Painted from life, shadows are purple and atmospheric. She's parked on bright green grass, in rura...

Category

21st Century and Contemporary American Impressionist Landscape Paintings

Materials

Canvas, Oil

Ben Fenske
Jess Panda, Sketch, 2014

$12,000

"A Man in His Garden, " Emil Carlsen, Backyard and Barn Impressionist Landscape

By Emil Carlsen

Located in New York, NY

Category

1890s American Impressionist Landscape Paintings

Materials

Canvas, Oil