Stephen Etnier

"Casco Bay, 1967, " Stephen Etnier, oil, realist, Maine coast

1967

Though he was born in Norwich, England in 1833 and lived in London for the second half of his life, George Henry Boughton’s formative years as a self-taught artist began in Albany, New York, where his family settled in the 1830’s. Recognized as a leading landscape and genre painter in the United States and abroad, Boughton illustrated editions of Washington Irving’s Rip Van Winkle...

Clinton Loveridge was born in Troy, New York, in 1838. By 1859 Loveridge had his own studio and was known primarily for his pastoral landscapes with cattle and sheep. He exhibited at...

Nellie E. Brown was a British artist who flourished in the late 19th century to early 20th century. Brown participated in exhibitions at the Walker Art Gallery in Liverpool and Royal...

American Impressionist landscape painter Lucy Hariot Booth was born in 1869 in Iowa and studied at the Art Students League in New York under Carroll Beckwith, Willard Metcalf, J. Alden Weir and John Henry Twachtman. Booth also painted at Weir Farm in Branchville with Albert Pinkham Ryder...

American Impressionist landscape painter Lucy Hariot Booth was born in 1869 in Iowa and studied at the Art Students League in New York under Carroll Beckwith, Willard Metcalf, J. Alden Weir and John Henry Twachtman...

Also known under the pseudonym Pierre Jean Baptiste Louis Dumont, French Impressionist painter André Jallot was born in Paris in 1884. Jallot studied at La Ruche in Paris and at the L'École de Rouen. He exhibited in galleries throughout Paris and Rouen as well as at the Société des Artistes Indépendants and Salon d'Automne. Jallot founded the Groupe des XXX in 1907 and in 1909, along with painters Robert Pinchon...

Signed Lower Left Poskas was born in Waterbury, Connecticut, a small industrial city set on the banks of the Naugatuck River. He was interested in art as a child, but on entering ...

Heller covers monumental and lesser-known works starting with Frank Lloyd Wright and tracing his design principles through his son Lloyd Wright, and students Richard Neutra, Rudolph ...

Heller covers monumental and lesser-known works starting with Frank Lloyd Wright and tracing his design principles through his son Lloyd Wright, and students Richard Neutra, Rudolph ...

Heller covers monumental and lesser-known works starting with Frank Lloyd Wright and tracing his design principles through his son Lloyd Wright, and students Richard Neutra, Rudolph ...

It was Henry Cross's portraits of horses belonging to the prominent breeders and trainers of the second half of the nineteenth century that won the artist renown as an animal painter. Born and raised in upstate New York, Cross's proficiency in both drafting and caricature was revealed while he was still a student at the Binghamton Academy, New York. In 1852, when he was only fifteen years old, Cross joined a traveling circus that took him to Minneapolis, Minnesota, and to the first of many Indian encampments that he would draw upon for subject matter throughout his career. Biographers differ as to the year Cross left for Europe, however, he was in Paris from 1852 to 1853 or 1854, where he studied with Rosa Bonheur, a highly esteemed French painter of horses. Upon Cross's return to the United States he was commissioned to paint the studs of wealthy horsemen, including those of Commodore Cornelius Vanderbilt, Robert Bonner, the owner-publisher of The New York Ledger, and "Copper King" Marcus Daly, whose 18,000 acre stock farm was reputed to be the greatest and most valuable horse ranch in the world. Although Cross received the highest pay of any equine artist of his day (up to $35,000. for one order, according to The Horse Review of April 10, 1918, p. 328), he frequently joined traveling circuses and painted the locales where they visited. He also painted portraits of notable contemporaries, such as President Abraham Lincoln, ex-president Ulysses S. Grant, King Edward VII of England, W. F. "Buffalo Bill...

Thomas Fransioli’s cityscapes are crisp and tidy. Buildings stand in bold outline, trees are sharp, and saturated color permeates the scene. But Fransioli’s cities often lack one critical feature: people. His streets are largely deserted, save for the rare appearance of figure and the occasional black cat scurrying across pavement. Instead, humanity is implied. Magic Realism neatly characterizes Fransioli’s viewpoint. First applied to American art in the 1943 MoMA exhibition “American Realists and Magic Realists...