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Emil LindenfeldCongress of Scarecrows 20th Century
20th Century
About the Item
Emil Lindenfeld (Hungarian-American, 1905-1986)
Spaventa Passeri al Congresso (Congress of Scare Crows), 20th century
Oil on canvas
53 1/4 x 41 in.
Signed lower right: Lindenfeld Emil
Exhibited at the New York Coliseum Show, 1953
Born in Hungary, Emil Lindenfeld studied there under Janos Tornai and Sandor Fay. In 1926, he went to Italy where he lived and painted for 30 years and received the honor of election to the Councilor of Italian Fine Arts in 1946.
In 1956, at the time of the uprising in Hungary, he emigrated to New York City with his first wife, who had survived the concentration camps and whose dream was to come to America. An interesting anecdote is that Emil and Eva were booked to sail on the ill-fated Andrea Doria, with his life's work of several hundred paintings. Fortunately the Italian government caused much red tape over the departure of classic Italian art work. If it were not for this bureaucratic delay, his best work would be at the bottom of the Atlantic. The Lindenfelds then sailed on the sister ship of the Doria.
Lindenfeld's work was exhibited at Barnard College, the New York Coliseum (1957) with Frank Lloyd Wright, and in the 1960s, exhibitions of Lindenfeld's work were held in Charlotte, North Carolina (1966 & 1968, 1976); Detroit, Michigan (1969) and Weirton, West Virginia (1969, 1970). From April 2-May 31, 1983, he had a one-man show, "The World of Emil Lindenfeld," at the Morris Museum of Arts and Sciences in Morristown, New Jersey.
COLLECTIONS-EUROPEAN MUSEUMS
Galleria D'Arge Moderna Milan
Museo Castello Sforzesco, Milan
Mseo Nazionale Forestale, Rome
Galleria d'Arte Moderna, Verona, Italy
Museo Civico Vicenz, italy
Museo Civico Asiago, italy
Museo Civico, Padova, Italy
City Museum Hodmezovasarhely, Hungary
Galerie National Hongroise, Budapest
Bio sourced from Don Purcell / Archives of AskArt
- Creator:Emil Lindenfeld (1905 - 1986, American)
- Creation Year:20th Century
- Dimensions:Height: 53.75 in (136.53 cm)Width: 41 in (104.14 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Larchmont, NY
- Reference Number:1stDibs: LU2211211872732
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- Six O'ClockLocated in Los Angeles, CASix O-Clock, c. 1942, oil on canvas, 30 x 20 inches, signed and titled several times verso of frame and stretcher (perhaps by another hand), marked “Rehn” several times on frame (for the Frank K. M. Rehn Galleries in New York City, who represented Craig at the time); Exhibited: 1) 18th Biennial Exhibition of Contemporary American Oil Paintings from March 21 to May 2, 1943 at The Corcoran Gallery of Art in Washington, D.C. #87, original price $450 (per catalog) (exhibition label verso), 2) Craig’s one-man show at the Frank K. M. Rehn Galleries, New York City, from October 26 to November 14, 1942, #10 (original price listed as $350); and 3) Exhibition of thirty paintings sponsored by the Harrisburg Art Association at the State Museum of Pennsylvania in Harrisburg in March, 1944 (concerning this exhibit, Penelope Redd of The Evening News (Harrisburg, Pennsylvania) wrote: “Other paintings that have overtones of superrealism inherent in the subjects include Tom Craig’s California nocturne, ‘Six O’Clock,’ two figures moving through the twilight . . . .” March 6, 1944, p. 13); another label verso from The Museum of Art of Toledo (Ohio): original frame: Provenance includes George Stern Gallery, Los Angeles, CA About the Painting Long before Chris Burden’s iconic installation outside of the Los Angeles County Museum of Art, Urban Light, another artist, Tom Craig, made Southern California streetlights the subject of one of his early 1940s paintings. Consisting of dozens of recycled streetlights from the 1920s and 1930s forming a classical colonnade at the museum’s entrance, Burden’s Urban Light has become a symbol of Los Angeles. For Burden, the streetlights represent what constitutes an advanced society, something “safe after dark and beautiful to behold.” It seems that Craig is playing on the same theme in Six O-Clock. Although we see two hunched figures trudging along the sidewalk at the end of a long day, the real stars of this painting are the streetlights which brighten the twilight and silhouette another iconic symbol of Los Angeles, the palm trees in the distance. Mountains in the background and the distant view of a suburban neighborhood join the streetlights and palm trees as classic subject matter for a California Scene painting, but Craig gives us a twist by depicting the scene not as a sun-drenched natural expanse. Rather, Craig uses thin layers of oil paint, mimicking the watercolor technique for which he is most famous, to show us the twinkling beauty of manmade light and the safety it affords. Although Southern California is a land of natural wonders, the interventions of humanity are already everywhere in Los Angeles and as one critic noted, the resulting painting has an air of “superrealism.” About the Artist Thomas Theodore Craig was a well-known fixture in the Southern California art scene. He was born in Upland California. Craig graduated with a degree in botany from Pomona College and studied painting at Pamona and the Chouinard Art School with Stanton MacDonald-Wright and Barse Miller among others. He became close friends with fellow artist Milford Zornes...Category
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