Skip to main content
Want more images or videos?
Request additional images or videos from the seller
1 of 6

Ernest Fiene
NYC Cityscape American Scene WPA Modern Realism Mid 20th Century Architectural

1930

About the Item

NYC Cityscape American Scene WPA Modern Realism Mid 20th Century Architectural Ernest Fiene (1894-1965) Cityscape 36 x 30 inches Oil on canvas Signed and dated 1930. lower right Provenance Estate of the artist. ACA Galleries, New York Exhibited New York, Frank Rehn Gallery, Changing Old New York, 1931. New York, ACA Galleries, Ernest Fiene: Art of the City, 1925-1955, May 2-23, 1981, n.p., no. 5. BIO Ernest Fiene was born in Elberfeld, Germany in 1894. As a teenager, Fiene immigrated to the United States in 1912. He studied art at the National Academy of Design in New York City from 1914 to 1918, taking day classes with Thomas Maynard and evening classes with Leon Kroll. Fiene continued his studies at the Beaux-Arts Institute of Design in New York from 1916 to 1918, adding classes in printmaking at the Art Students League in 1923. Fiene began his career as an artist in 1919 with his first exhibition of watercolors at the MacDowell Club arranged by his mentor Robert Henri. In 1923 the Whitney Studio Club mounted a large exhibition of his works. The following year he had an exhibition at the New Gallery in New York, which completely sold out all fifty-two works, including paintings, watercolors, drawings, and etchings. With the proceeds of sales from the New Gallery exhibition, Ernest Fiene and his younger brother Paul, a sculptor, built studios in Woodstock, New York in 1925. In the early Twenties Ernest Fiene painted mostly landscapes of Woodstock and both the Ramapo and Hudson River Valleys. The first monograph from the Younger Artists Series was published on Fiene in 1922. Published in Woodstock, the series went on to include Alexander Brook, Peggy Bacon, and Yasuo Kuniyoshi. The book reproduced 1 illustration in color and another 27 reproductions in black and white. Around 1925 Fiene became fascinated with the intensity, excitement, and opportunities for color harmonies New York City offered as a subject. His paintings shifted to urban and industrial themes with architecture, industry, and transportation becoming his subjects. By 1926 Fiene had attracted the dealer Frank K.M. Rehn, who gave him a one-man exhibition that year, which travelled to the Boston Arts Club. C.W. Kraushaar Galleries gave Fiene a one-man exhibition of urban, landscape, portrait, and still life paintings in 1927. Julianna Force, the director of the Whitney Studio Club and first director of the Whitney Museum of American Art, included two of Fiene’s paintings in a fall exhibition in 1928. The Whitney Studio Club showed Fiene’s paintings in a two-man exhibition with Glenn O. Coleman that year and acquired three of Fiene’s paintings. Also in 1928 Fiene became affiliated with Edith Halpert’s Downtown Gallery where he had an exhibition of 20 lithographs in the spring. Fiene sold his house in Woodstock in 1928 to spend more of his time in New York City. With so many successful exhibitions, Fiene returned to Paris in 1928-29 where he rented Jules Pascin's studio and studied at the Académie de la Grande Chaumière. In France, Fiene painted both landscape and urban subjects developed from ideas influenced by Cubist geometry and the use of flat areas of broad color. Upon returning to New York in 1930, Fiene used this new approach to continue to paint New York skyscraper and waterfront subjects, as well as to begin a series of paintings on changing old New York based on the excavations for Radio City Music Hall and the construction of the Empire State Building. Frank K.M. Rehn Galleries exhibited this series, titled “Changing Old New York,” in 1931. Fiene also has solo exhibitions at Rehn Galleries in 1930 and 1932. Fiene’s oil paintings are exhibited at the Chicago Arts Club in 1930 as well. Fiene was included in the Museum of Modern Art’s exhibition Painting and Sculpture by Living Americans in December of 1931. Visiting New York, Henri Matisse saw the exhibition and called Fiene’s Razing Buildings, West 49th Street the finest painting he had seen in New York. Fiene had two mural studies from his Mechanical Progress series exhibited at the Museum of Modern Art’s exhibition Murals by American Painters and Photographers in 1932. Fiene sent View from my Window which depicts Fiene working on a lithograph stone while looking out his window to the newly completed Empire State Building to the Carnegie International in 1931. In 1932 Fiene participated in the first Biennial of American Painting at the Whitney Museum and his prints were included in exhibitions at the Downtown Gallery and the Wehye Gallery. In the same year, Fiene was awarded a Guggenheim fellowship to further study mural painting in Florence, Italy. On his return from Italy in 1933 Fiene re-engaged himself in New York City life and won several public and private mural projects. Fiene resumed his active exhibition schedule, participating in two group exhibitions at the Whitney Museum and a one-man exhibition of recent paintings at the Downtown Gallery in January 1934. In 1933 he purchased a farm in Southbury, Connecticut, which added Connecticut scenes to his landscape subjects. This was also the year Fiene began to spend summers on Monhegan Island, Maine, where he painted seascapes, harbor scenes, and still lifes. Fiene’s landscape paintings attracted numerous commissions as part of the American Scene movement. Through the fall and winter of 1935-36, Fiene took an extended sketching trip through the urban, industrial, and farming areas of Pennsylvania and West Virginia. Most of the twenty-four Pennsylvania urban and rural paintings from this trip were featured in an exhibition held at the First National Bank in Pittsburgh in October of 1937 by the Pittsburgh Commission for Industrial Expansion. Fiene said of these works that he formed rhythm, opportunity for space and color, and integrity in the Pennsylvania mill and furnace paintings. Fiene received the silver medal for one of the Pittsburgh paintings titled Frosty Morning at the Art Institute of Chicago in 1937. The Colorado Springs Fine Arts Center invited Fiene to spend the summer of 1935 teaching there. He accepted and fit in painting trips through Colorado and New Mexico, including Taos and Santa Fe. In 1935, the Arts Center had an exhibition of his oils and watercolors. In August of that year the Denver Art Museum has an exhibition of thirty paintings and watercolors and purchased the painting Connecticut Hills, Winter. The Denver Art Museum held an exhibition of Fiene’s lithographs in 1937. In 1937 Fiene also completed a mural for the Post Office in Canton, Massachusetts. In 1938 he completed a large four panel mural for the Department of the Interior Building in Washington, DC. Fiene's largest mural project was for the High School of Needle Trades, begun in 1937 and unveiled in 1940 after two and a half years of constant work. Fiene had his largest exhibitions in 1940 with a total of 53 paintings and watercolors at his new dealer Associated American Artists. The exhibition includes Razing the Old Post Office, a New York subject which received a prize at the Carnegie International in 1939; Frosty Morning which received silver medal at the Art Institute of Chicago in 1937, and Spring Evening which received the W.A. Clark prize from the Corcoran Gallery in 1939. Ernest Fiene participated in the American Tobacco Company’s series of tobacco paintings, commissioned from 1940 to 1942 by the company’s president George Washington Hill. American Tobacco sought the best artists of the time, including Ernest Fiene, Aaron Bohrod, Thomas Hart Benton, Doris Lee, George Schreiber and Frederick Taubes, to depict the entire tobacco production, from planting and harvesting to curing and auction. The paintings, which continued to arrive at American Tobacco until 1945, were used to decorate the company’s headquarters and in advertisements. American Tobacco described the commission as “a series of paintings of the tobacco country by America’s foremost artists.” During the war years, much of Fiene’s commission work consisted of painting various phases of industry in relation to the war, such as the trips he took to Texas and Louisiana to record the operations of the oil industry. He also recorded the making of optical instruments at Abbott Laboratories in Corning, New York. These war industry paintings were exhibited in 1944 at the Associated American Artists gallery in New York City. As a successful artist Fiene was in demand as a teacher. Fiene taught at Westchester County Center in New York from 1930 to 1931 and at the Cooper Union in New York from 1938 to 1939. At the Art Students League he taught a well-known Saturday class from 1939 until his death in 1965. Fiene also taught at the National Academy of Design from 1959 to 1964; he was elected an Academician there in 1952. Fiene’s dealer during the 1950s and 1960s was Midtown Galleries in New York. In 1959 Midtown gave Fiene a solo exhibition of his most recent, more abstracted New York City subjects, which received glowing reviews. Fiene enjoyed widespread respect among the community of artists in America. Elected president of the Artists Equity Association in 1953, Fiene remained that organization’s president in an honorary capacity until his death in 1965. He maintained a long time personal correspondence with the artists George Grosz, Jules Pascin, Gaston Lachaise, Stuart Davis, and Thomas Hart Benton. Ernest Fiene’s work is included in numerous public collections, including the Brooklyn Museum; Art Institute of Chicago; Cleveland Museum of Art; Denver Art Museum; Los Angeles County Museum of Art; Museum of Fine Arts, Boston; Pennsylvania Academy of the Fine Arts; and the Whitney Museum of American Art.
  • Creator:
    Ernest Fiene (1894-1965, American)
  • Creation Year:
    1930
  • Dimensions:
    Height: 45 in (114.3 cm)Width: 39 in (99.06 cm)
  • Medium:
  • Movement & Style:
  • Period:
  • Condition:
    The painting is in very good condition. The gold leaf on the frame could use a touch up.
  • Gallery Location:
    New York, NY
  • Reference Number:
    1stDibs: LU1156213004012

More From This Seller

View All
1939 World’s Fair NYC, 1000 piece Museum Quality Collection of Art & Objects
By Harry Lane
Located in New York, NY
1,000 piece Museum Quality Collection of Art & Objects from NYC 1939 Worlds Fair Harry Lane (1891-1973) "1939 World’s Fair Construction," 30 x 40 inches, Oil on canvas, signed lower...
Category

1930s American Modern Landscape Paintings

Materials

Canvas, Oil, Plaster, Photographic Paper

Coney Island Fire Eaters American Scene Modernism WPA Social Realism Mid-Century
Located in New York, NY
Coney Island Fire Eaters American Scene Modernism WPA Social Realism Mid-Century Frederick "Fritz" Frey Rockwell (1917-1977) Coney Island Fire Eaters 25 x 30 inches Oil on Canvas Si...
Category

1930s American Modern Figurative Paintings

Materials

Canvas, Oil

Buffalo, NY Steel Mill American Scene Modernism WPA Era Industrial 20th Century
Located in New York, NY
Buffalo, NY Steel Mill American Scene Modernism WPA Era Industrial 20th Century Ruth A. Haven Gay (1911-1992) “Buffalo, NY Steel Mill”, c. 1935 23 x 28 inches Oil on canvas Signed G...
Category

1930s American Modern Landscape Paintings

Materials

Oil, Canvas

WPA American Scene Modernism 20th Century NYC Industrial "Cellar with Horseshoe"
By Joseph Solman
Located in New York, NY
"Cellar with Horseshoe" WPA American Scene Modernism 20th Century NYC Industrial Joseph Solman (1909-2008) "Cellar with Horseshoe," 16 x 20 inches, oil on canvas circa 1938, initial...
Category

1930s American Modern Landscape Paintings

Materials

Canvas, Oil

FLIGHT American Futurism Modernism Scene WPA Mid-Century Oil Painting Realism
By Daniel Ralph Celentano
Located in New York, NY
FLIGHT American Futurism Modernism Scene WPA Mid-Century Oil Painting Realism Daniel Celentano (1902-1980) "Flight," 26 x 26 inches. Oil on canvas, c. 1940s. Signed lower right. Ori...
Category

1940s American Modern Landscape Paintings

Materials

Canvas, Oil

NYC 1939 World's Fair Mural Study American Scene WPA Modern Mid 20th Century
Located in New York, NY
NYC 1939 World's Fair Mural Study American Scene WPA Modern Mid 20th Century Eugene Savage (1883 – 1978) 1939 World’s Fair Mural Study 45 x 30 inches Oil on Canvas Signed lower right The painting is part of a 1,000 piece collection of art and objects from the 1939 World’s Fair. The collection as a whole is available. Savage created the mural for the facade of the Communications Building. An image of the completed mural, along with a published postcard, is part of the listing. Note the center top female figure, she resembles the figure in the offered painting. BIO Eugene Francis Savage was born in Covington, Indiana 1883. He underwent various forms of art training in the early years. He was a pupil of The Corcoran Gallery and The Art Institute of Chicago, and was later awarded a fellowship to study in Rome at The American Academy. While under the spell of that ancient city the young artist began to render historic figures that were suitable for the classic style needed for mural painting in the traditional manor. During this period he was able to study and observe Roman and Greek sculpture, although much of the academic training was accomplished by using plaster casts along with the incorporation of live models. This method survived and was used efficiently throughout Europe and the United States. After leaving the Academy, Savage was commissioned to paint numerous murals throughout the United States and Europe. This artist received acclaim for the works he produced while under commissions from various sources. This young master was a contemporary of Mexican muralists David Alfaro Siqueiros (1896-1974), Jose Clemente Orozco (1883-1949) and Diego Rivera (1886-1957). In this period he was to show the influence of his contemporaries in formulating a modern style. Savage also played a vital role in the WPA Federal Art program, and he was a member of The Mural Art Guild.. Savage was elected an associate member of The National Academy of Design in 1924 and a full member in 1926. From 1947, he held a professorship at Yale University where he taught mural painting, and some of his students went on to significant positions. By this time the artist had painted large-scale murals at Columbia, Yale University, Buffalo N.Y., Dallas, Texas, Chicago, Indiana, along with other commissioned works. He also achieved recognition for a series of murals commissioned by the Matson Shipping Line and completed around 1940. For this commission, Savage made many exacting studies of customs and folkways of the Hawaiian natives. However, the award-winning murals were not installed as planned but were put in storage during the war years when the ships were used for troop transportation and were in danger of attack. However the mural images were reproduced and distributed by the shipping company including nine of the mural scenes that were made into lithographed menu covers in 1948. The American Institute of Graphic Arts awarded certificates of excellence for their graphic production, and the Smithsonian Institute exhibited the works in 1949. Today Savages' Hawaiian Art production is held in high regard by collectors of Hawaiian nostalgia. In later years the artist focused his attention on a theme that dealt with the customs and tribal traditions of the Seminole Indians of Florida. He produced many variations of this theme throughout his lifetime, and the pictures were usually modest scale easel paintings, precise and carefully delineated. Many of these pictures incorporate Surrealistic elements and show some minor stylistic influences of the painters Kay Sage...
Category

1930s American Modern Figurative Paintings

Materials

Canvas, Oil

You May Also Like

"Pueblos"
By Henry Baker
Located in Lambertville, NJ
Jim’s of Lambertville is proud to offer this artwork by: Henry Hudson Baker (1900 - 1957) Henry Baker, an Ivy League graduate from Yale University, was born in Dunkirk, New York, in 1900. Baker was one of New Hope's important modernist painters as well as a talented musician residing in the area from 1932-1950. After graduating from Yale, Baker studied at the Art Students League in New York and upon the suggestion of his close friend, artist Ralston Crawford, he came to Merion, Pennsylvania, to study at the Barnes Foundation. While there, Baker befriended Edith Wood, a student from the Pennsylvania Academy. Miss Wood, familiar with the New Hope art colony and its charming surroundings, thought it might appeal to Baker. It did, and soon after his arrival to New Hope in 1932, Baker purchased and restored a beautiful old colonial home. Two years prior to Baker's arrival, a break had occurred between impressionist and modernist painters. His first participation with the New Hope artists...
Category

1930s American Modern Landscape Paintings

Materials

Canvas, Oil

Barn in the Shade - Farm Landscape
Located in Soquel, CA
Serene depiction of a barn at the end of a driveway by Claude Wolf (American, 19th/20th C). Several trees cast strong blue-tinted shadows, creating lovely patterns on the ground and ...
Category

Mid-20th Century American Modern Landscape Paintings

Materials

Canvas, Oil, Stretcher Bars

"The Victorian Sentinel" - Mid-Century Architectural Landscape in Oil on Canvas
Located in Soquel, CA
"The Victorian Sentinel" - Mid-Century Architectural Landscape in Oil on Canvas Helen Landgraf (American, 1916-1999) was a teacher in the San Juan Unified School District. She was...
Category

1960s American Modern Landscape Paintings

Materials

Canvas, Oil, Stretcher Bars

"Study of Mt. Vesuvius" Oil on Canvas, Blue Tones, Landscape
By Joseph Stella
Located in Detroit, MI
SALE ONE WEEK ONLY “Study of Mt. Vesuvius" is a small intimate painting of an active volcano that has at times wrecked great destruction. As seen from a distance, it is a calm blue ...
Category

Late 20th Century American Modern Landscape Paintings

Materials

Canvas, Oil

Modernist American Landscape Painting 1950 Mountain Shadow Rare Framed Tranquil
By Francis Kelly
Located in Buffalo, NY
Wonderful modernist landscape painting. Francis Kelly was born in 1927 in St. Paul, Minnesota. He received his early education in Chicago and California. He served in the United States Navy from 1944 to 1948 when he entered the Art Center School, Los Angeles. During 1951 in 1952 he lived in Paris, attending the Academie de la Grande, Chaumiere. In 1953 he went to the University of Hawaii, Honolulu, and then to the University of California at Los Angeles, where he was graphic laboratory assistant to John Paul Jones. Awarded a Fulbright Grant in 1955 he came to the Graphic Department of the Central School, London. The St. George's Gallery first introduced his etchings in Britain. In 1958 Kelly was awarded the Stacy Grant for painting. His work has been shown at Royal Academy Exhibitions and he has traveled extensively. In 1966 he was appointed Art organizer for the U.S. Embassy "Festival of Arts in Humanities". His paintings were shown in the exhibition "Five American Artists in Britain". During 1976 he acted in a similar capacity on behalf of Windsor & Newton Ltd., who sponsored an exhibition of American artists commemorating the U.S. Bicentennial. He appeared in the film Science in Art. Kelly has studied painting conservation at the Courtald Institute. In 1967 he was sent to the Italian Art and Archives Rescue Fund to Florence to restore flood damaged paintings. In 1971 his book, Art Restoration, was published by David and Charles and in the U.S. by McGraw-Hill. His second book, The Studio and The Artist was published in 1975. Kelly's work has been shown at 24 museums in Great Britain and numerous galleries. Acquisitions have been made by many public and private collections, universities and educational services. During more than 40 years in Britain he has found a growing affinity with the countryside, observing less the well-known landmarks but rather more the timeless rural lanes and by-ways as yet still unspoiled by building and industry. A member of the group in Brighton preserving Brighton's West Pier, he has produced a series of works recording the ravages of time on this finest of Victorian structures.
Category

1950s American Modern Landscape Paintings

Materials

Canvas, Oil

San Agustin - Zacatecas (From Azotea of Hotel)
By Loren Mozley
Located in Dallas, TX
signed "Mozley" at lower right
Category

Late 20th Century American Modern Paintings

Materials

Canvas, Oil, Panel

Recently Viewed

View All