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Arnold RönnebeckWPA-Era Central City, Colorado, 1930s Modernist Lithograph, Cityscape 3/251933
1933
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About the Item
This 1933 lithograph, Central City, Colorado 3/25, by Arnold Rönnebeck, captures the architectural essence of a historic mining town during the Great Depression. Rendered in black and white, the piece showcases intersecting lines and planes, emblematic of Rönnebeck's "living cubism" style, reflecting the WPA-era's focus on American realism. The image size is 14¾ x 10 inches, presented in a custom black frame measuring 24½ x 19⅝ x ⅝ inches.
Provenance: Private collection, Denver
About the Artist:
Born in 1885, Arnold Rönnebeck was a pivotal figure in American modernism. After studying in Berlin and Paris, he settled in Denver in 1926. Rönnebeck's work, including this lithograph, reflects the WPA-era's commitment to depicting American life with precision and modernist aesthetics. His contributions to the Denver Art Museum and his involvement with the Central City Opera in 1933 underscore his deep connection to Colorado's cultural landscape.
- Creator:Arnold Rönnebeck (1885 - 1947)
- Creation Year:1933
- Dimensions:Height: 24.5 in (62.23 cm)Width: 19.5 in (49.53 cm)Depth: 0.5 in (1.27 cm)
- Medium:
- Movement & Style:
- Period:
- Framing:Frame IncludedFraming Options Available
- Condition:
- Gallery Location:Denver, CO
- Reference Number:Seller: 258311stDibs: LU27310303532
Arnold Rönnebeck
Modernist sculptor, lithographer and museum administrator, Rönnebeck was a noted member of European and American avant-garde circles in the early twentieth century before settling in Denver, Colorado, in 1926. After studying architecture at the Royal Art School in Berlin for two years beginning in 1905, he moved to Paris in 1908 to study sculpture with Aristide Maillol and Émile-Antoine Bourdelle. While there he met and befriended American modernist painter, Marsden Hartley, of whom he sculpted a bronze head that was exhibited at the Salon d’Automne in Paris in 1912 and the following year at Hartley’s solo show of paintings at Alfred Stieglitz’s Gallery 291 in New York. After World War I Rönnebeck traveled in Italy with German writer, Max Sidow, and German poet, Theodor Daubler, doing a series of drawings of Positano and the Amalfi Coast that formed the basis for his lithographs on the subject. The death of his finacée, the young American opera singer Alice Miriam in 1922 and his own family’s increasing financial problems in post-World War I Germany led him to immigrate to the United States in 1923. After living briefly with Miriam’s family in Washington, DC, he moved to New York where he became part of the avant-garde circle around Alfred Stieglitz. In the summer of 1925, as the guest of Mabel Dodge Luhan, Rönnebeck first saw Taos, New Mexico, which Marsden Hartley had encouraged him to visit. It was there that he met his future wife, Louise Emerson, an easel painter and muralist. A year later they were married in New York before relocating to Denver. He served as director of the Denver Art Museum from 1926 to 1930 where he invited Marsden Hartley to lecture on Cézanne’s art in 1928. Rönnebeck fostered the development of the museum’s collection of American Indian art and the curation of modernist art exhibitions. In addition to his work at the museum, he was professor of sculpture at the University of Denver’s College of Fine and Applied Arts from 1929 to 1935, and wrote a weekly art column in the Rocky Mountain News. In Colorado, the subject matter of his lithographs became the state’s landscape and its mining towns, as well as Native Americans from the pueblos in neighboring New Mexico. By the early 1930s Colorado’s old mining towns became a popular genre for artists because they were easily accessible, and their architectural components provided a welcome break from the nineteenth-century panoramic landscape tradition and the overwrought cowboy-and-Indian subject matter of the previous generation. As an amateur actor and music enthusiast, Rönnebeck had an additional connection with Central City. In June 1947, some five months before his death, the Denver Art Museum organized a solo exhibition of his sculptures, watercolors and prints. © copyright Stan Cuba for David Cook Galleries
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