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Max LiebermannHercules – Hindenburg Slays the Russian Bear / - Classical Impressionism -1914
1914
About the Item
Max Liebermann (1847 Berlin – 1935 ibid.), Hercules – Hindenburg Slays the Russian Bear, chalk lithograph on Japan paper, 32 cm x 23.5 cm (image), 42.5 cm x 30.5 cm (sheet), signed in the plate at top right and in pencil with „MLiebermann“ at bottom left, marked as copy no. 30/30 at bottom right.
- The upper margin has a minimal water stain, and both the upper and lower areas show light creases. Otherwise, the extremely rare print is in good condition.
- Classical Impressionism -
The lithograph Hercules – Hindenburg Slays the Russian Bear is an allegory of the Battle of Tannenberg and was created in the context of Max Liebermann’s collaboration with the magazine Kriegszeit, published by Paul Cassirer. The lithograph appeared in the September 1914 issue.
With wide strides, Hercules, depicted heroically nude, subdues the dark bear pushed to the edge of the image. Both figures cast slight shadows, making the background appear like a relief. This lends the scene the appearance of an ancient frieze, emphasizing a commemorative, monumental quality that is further reinforced by the use of antique capital lettering.
In this depiction, Liebermann draws on the neoclassical repertoire of Bertel Thorvaldsen, though he revives these adopted visual formulas with his characteristic fluid impressionist linework.
The lithograph, printed on Japan paper, signed by hand and published separately in a very limited edition of only thirty copies alongside its appearance in the magazine, is a testament to Liebermann’s artistic belief that his work marked the beginning of a new classical age.
About the Artist
The young Liebermann, who pursued his artistic talent against the wishes of his father—who had wanted him to study chemistry—was employed by Carl Steffeck to assist with his monumental battle paintings. With Steffeck, Liebermann met his future patron Wilhelm von Bode. He then studied under Belgian history painter Ferdinand Pauwels at the art school in Weimar, where he delved into Rembrandt's print works, which would remain a key influence throughout his career. In 1871, Liebermann stayed in Düsseldorf, where he was drawn to the dark-toned realism of Mihály von Munkácsy. This was followed by travels to the Netherlands, where he studied the landscapes and figures of the Dutch masters he so admired. His first large-scale painting, The Goose Pluckers (1872), was shown in Hamburg and then Berlin, earning him the reputation of a "painter of the ugly." He then went to Paris and later Barbizon to study plein-air painting. Returning once again to Holland, Liebermann copied works by Frans Hals, which influenced his brushwork and brightened his color palette. Despite his growing alignment with French art and regular participation in the Paris Salon, Liebermann struggled to establish himself in the Parisian art scene.
In 1878, he traveled to Italy, where he connected with Franz von Lenbach and Munich painters, prompting him to move to Munich. There, his painting The Twelve-Year-Old Jesus in the Temple triggered an anti-Semitic backlash, forcing him to revise the controversial depiction of Jesus.
On another trip to the Netherlands, Liebermann was captivated by a scene of black-clad men sitting on benches in the sunlight in the garden of a retirement home. While painting this, he developed the characteristic "Liebermann sunspots" that would define his later work.
In 1884, Liebermann returned to Berlin and was admitted to the Verein Berliner Künstler (Berlin Artists’ Association), with the support of his later adversary Anton von Werner. Through the Bernstein family, he became acquainted with Max Klinger, Adolph von Menzel, Wilhelm Bode, Theodor Mommsen, Ernst Curtius, and Alfred Lichtwark, director of the Hamburg Kunsthalle and a key patron. In 1886, after an eight-year hiatus, Liebermann again exhibited at the Academy of Arts and was now celebrated by critics as a leading figure of modernism. Adolph von Menzel praised him as "the only one who paints people, not models." His works shown at the 1889 World's Fair brought him international success; he received an honorary medal and was inducted into the Société des Beaux-Arts.
In 1892, the premature closure of a major Edvard Munch exhibition—due to a vote by the Verein Berliner Künstler—caused an open rift between the academic-conservative faction led by Anton von Werner and the modernist faction championed by Liebermann. Liebermann joined the Vereinigung der XI (Association of Eleven), which would later give rise to the Berlin Secession. Despite this split, in 1897, on the occasion of his 50th birthday, Liebermann was honored with an entire hall at the Academy exhibition and awarded the Grand Gold Medal. With Werner’s support, he was admitted to the Academy and appointed professor. However, when a painting by Walter Leistikow was rejected from the 1898 Große Berliner Kunstausstellung (Great Berlin Art Exhibition), Leistikow called for the founding of an independent artists' group—the Secession—with Liebermann elected president. The Secession exhibitions, featuring artists from Worpswede as well as Arnold Böcklin, Hans Thoma, Max Slevogt, and Lovis Corinth, became international events, prompting Corinth and Slevogt to move to Berlin.
In 1903, Liebermann published The Imagination in Painting, criticizing academic art and arguing that the artist must find an interpretation of nature most suited to painterly means. This also set him apart from the rising Expressionists and foreshadowed future Secession conflicts. By this time, Liebermann had assumed Menzel’s social role in Berlin. In 1907, the Berlin Secession honored its president with a major birthday exhibition.
Since 1900, Liebermann increasingly focused on printmaking and standalone drawings. In 1908, 59 of his etchings were shown at the Secession’s Black and White exhibition. After rejecting 27 Expressionist works from the 1910 Secession show, Liebermann clashed with the younger avant-garde, led by Emil Nolde. This led to the formation of the Neue Secession under Max Pechstein, whose members included artists from Die Brücke and the Neue Künstlervereinigung München. In 1911, Liebermann stepped down as president but remained honorary president. Leadership passed to Lovis Corinth. After further internal disputes, Liebermann led the founding of the Freie Secession, which held exhibitions from 1914 to 1923.
In 1910, Liebermann had moved into his villa on Lake Wannsee, a recurring motif in his late work. At the outbreak of World War I, he contributed graphics to the magazine Kriegszeit, published by Paul Cassirer. He was among the 93 signatories of the nationalist appeal To the Civilized World, which denied Germany’s alleged war guilt with six emphatic "It is not true!" statements. Liebermann described his patriotic stance: “All my education I received here, I spent my whole life in this house that my parents already lived in. And in my heart, the German homeland lives on as an inviolable and immortal concept.”
For his 70th birthday in 1917, the Berlin Academy held a major retrospective of 200 of his paintings, and a dedicated Max Liebermann Room was opened in the National Gallery. In 1920, he became president of the Academy, marking the end of the Secession era. He inducted artists such as Max Pechstein, Karl Hofer, Heinrich Zille, Otto Dix, and Karl Schmidt-Rottluff. In 1927, for his 80th birthday, another major solo exhibition celebrated the artist now regarded as a classic. He was offered honorary citizenship, and President Paul von Hindenburg awarded him the Eagle Shield of the German Reich “as a token of gratitude owed to you by the German people,” while Interior Minister Walter von Keudell presented him with the Golden State Medal.
When the Nazis marched past his house at Pariser Platz on the day of their seizure of power, Liebermann reportedly said: “I couldn’t possibly eat as much as I would like to throw up.” He resigned from his official positions and retired to Wannsee, where he painted one final self-portrait in 1934. Max Liebermann died on February 8, 1935, in his home on Pariser Platz. His death mask was made by Arno Breker.
Selected Bibliography
Max Liebermann, Max: Die Phantasie in der Malerei – Schriften und Reden. Mit einem Geleitwort von Karl Hermann Roehricht und einem Nachwort von Günter Busch, Frankfurt am Main 1986.
Sigrid Achenbach: Die Druckgraphik Max Liebermanns, Heidelberg 1974.
Gustav Schiefler: Max Liebermann. Sein graphisches Werk. 1876 - 1923, San Francisco 1991.
Katrin Boskamp: Studien zum Frühwerk von Max Liebermann mit einem Verzeichnis der Gemälde und Ölstudien von 1866 bis 1889, Hildesheim 1994.
Matthias Eberle: Max Liebermann. Werkverzeichnis der Gemälde und Ölstudien, München 1995.
GERMAN VERSION
Max Liebermann (1847 Berlin - 1935 ebd.), Hercules – Hindenburg erschlägt den russischen Bären, Kreide-Lithographie auf Japanpaier, 32 cm x 23,5 cm (Darstellung), 42,5 cm x 30,5 cm (Blattgröße), oben rechts in der Platte und unten links in Blei mit „MLiebermann“ signiert, unten rechts als Exemplar Nr. 30/30 ausgewiesen.
- oberer Randbereich mit minimalem Wasserrand und, wie im unteren Bereich, mit leichteren Knickspuren, ansonst ist das äußerst rare Blatt in gutem Zustand
- Klassizistischer Impressionismus -
Die Lithographie "Hercules – Hindenburg erschlägt den russischen Bären“ ist eine Allegorie auf die Schlacht bei Tannenberg und im Zusammenhang von Max Liebermanns Mitarbeit an der im Paul Cassirer-Verlag erschienenen Zeitschrift "Kriegszeit" entstanden, wo die Lithographie in der September-Ausgabe des Jahres 1914 publiziert wurde.
Weit ausschreitend bezwingt Herkules in heroischer Nacktheit den an den Bildrand gedrängten dunklen Bären. Dabei werfen beide Gestalten einen leichten Schatten, der den Hintergrund als Reliefgrund erscheinen lässt. Auf diese Weise wirkt die Szene zugleich wie ein antikes Relief, was der Darstellung einen Denkmalcharakter verleiht, der durch die Antiqua-Majuskel Schrift noch verstärkt wird.
Für die Darstellung greift Liebermann auf das klassizistische Arsenal eines Bertel Thorvaldsen zurück, wobei er die adaptierten Bildformeln allerdings in seiner typischen Manier einer flüssig gesetzten impressionistischen Linienführung neu belebt.
Die in einer sehr kleinen Auflage von nur dreißig Exemplaren neben der Zeitschriftenpublikation separat erschienene, auf Japanpapier gedruckte, handsignierte Lithographie zeugt von Liebermanns künstlerischer Auffassung, mit seiner Kunst eine neue Klassik begründet zu haben.
zum Künstler
Der junge Lieberann, der gegen den Willen seines Vaters, statt ein Chemiestudium zu verfolgen, sein künstlerisches Talent kultivierte, wurde von Carl Steffeck engagiert, um ihm bei seinen monumentalen Schlachtenbildern zur Hand zu gehen. Bei Steffeck lernte er seinen späteren Förderer Wilhelm von Bode kennen. Anschließend besuchte Liebermann als Schüler des belgischen Historienmalers Ferdinand Pauwels die Kunstschule Weimar und vertiefte sich dort in das druckgrafische Werk Rembrandts, das für Liebermanns Oeuvre eine entscheidende Bezugsgröße bleiben sollten. 1871 hielt er sich in Düsseldorf auf, wo er von dem dunkeltonigen Realismus Mihály von Munkácsys angezogen wurde. Es folgten Reisen in die Niederlande, auf denen er die Landschaft und das Personal der von ihm hoch geschätzten holländischen Malerei 'in natura' studierte.
Sein erstes großformatiges Gemälde, ‚Die Gänserupferinnen‘, wurde 1872 zunächst auf der Hamburger Kunstausstellung und dann in Berlin gezeigt und brachte Liebermann den Ruf eines ‚Malers des Hässlichen‘ ein. In der Folge ging Liebermann noch Paris und – zum Studium der Freiluftmalerei – nach Barbizon. Anschließend abermals in Holland, kopierte Liebermann Gemälde von Frans Hals, was sich auf seinen Pinselduktus auswirkte und seine Farbpalette aufhellte. Trotz seiner zunehmenden Orientierung an der französischen Kunst und wiederholter Teilnahme am Pariser Salon, vermochte Liebermann in der Pariser Kunstszene nicht Fuß zu fassen.
1878 reiste er erstmals Italien, wo er mit Franz von Lenbach und Münchener Malern in Kontakt kam, was ihn bewog, nach München zu ziehen. Dort löste sein Gemälde ‚Der zwölfjährige Jesus im Tempel‘ eine antisemitisch zugespitzte Empörungswelle aus, die Liebermann dazu zwang, die als hässlich empfundene Jesusfigur zu überarbeiteten.
Auf einer erneuten Niederlandereise erblickte Liebermann eine Szenerie, die ihn augenblicklich gefangen nahm: Im Garten eines Altmännerhauses saßen schwarzgekleidete Herren auf Bänken im Sonnenlicht. Beim Malen dieses Motivs entwickelte der Künstler die für sein späteres Werk charakteristischen ‚Liebermann’schen Sonnenflecken‘.
1884 kehrte Liebermann nach Berlin zurück, wo er mit der Stimme seines späteren Widersachers Anton von Werner in den Verein Berliner Künstler aufgenommen wurde. Durch die Familie Bernstein wurde Liebermann mit Max Klinger, Adolph von Menzel, Wilhelm Bode, Theodor Mommsen, Ernst Curtius und dem Direktor der Hamburger Kunsthalle, Alfred Lichtwark, bekannt, der zu einem wichtigen Förderer Liebermanns wurde. 1886 nahm Liebermann nach acht Jahren erstmals wieder an der Ausstellung der Akademie der Künste teil und wurde seitens der Kritik nun als herausragender Vertreter der Moderne gewürdigt. Adolph von Menzel hebt Liebermann als „den einzigen, der Menschen macht und keine Modelle“ hervor. Die anlässlich der Weltausstellung von 1889 gezeigten Werke Liebermanns führten schließlich zum internationalen Durchbruch. Er erhielt die Ehrenmedaille und wurde in die ‚Société des Beaux-Arts‘ aufgenommen.
1892 wurde aufgrund einer Abstimmung des Vereins Berliner Künstler vorzeitig die große Edvard Munch-Ausstellung geschlossen, was zum offenen Bruch zwischen der von Anton von Werner repräsentierten akademisch-konservativen und der von Liebermann vertretenden modernen Richtung führte. Liebermann gehörte fortan zu der aus dem Verein Berliner Künstler ausscherenden ‚Vereinigung der XI‘, der Keimzelle der späteren Berliner Secession. Trotz der Abspaltung wurde Liebermann anlässlich seines 50. Geburtstages, 1897, innerhalb der Akademieausstellung ein ganzer Saal gewidmet und die Große Goldene Medaille zugeeignet. Mit der Stimme Anton von Werners wurde Lieberman ihn die Akademie aufgenommen und zum Professor ernannt. Nachdem die von Anton von Werner geleitete Jury allerdings ein Gemälde Walter Leistikows zur Großen Berliner Kunstausstellung 1898 abgelehnt hatte, rief Leistikow zur Gründung einer Gemeinschaft unabhängiger Künstler - der Secession - auf, zu deren Präsident Liebermann gewählt wurde. Die Secessions-Ausstellungen, auf denen Künstler aus Worpswede, Arnold Böcklin, Hans Thoma, Max Slevogt und Lovis Corinth beteiligt waren, wurden zu internationalen Ereignissen und führten zur Übersiedlung Corinths und Slevogts nach Berlin.
1903 veröffentlichte Lieberman die Schrift ‚Die Phantasie in der Malerei‘, mit der er gegen die akademische Richtung darlegt, es komme auf „die den malerischen Mitteln am meisten adäquate Auffassung der Natur“ an. Gleichzeitig wendete er sich damit aber auch gegen den aufkommenden Expressionismus, womit sich bereits die späteren Secessionskrisen abzeichneten. Inzwischen hatte Liebermann in gesellschaftlicher Hinsicht die Nachfolge Menzels angetreten. 1907 widmete die Berliner Sezession ihrem Präsidenten eine große Geburtstagsausstellung.
Seit 1900 wandte sich Liebermann zunehmend der Grafik und der für sich stehenden Zeichnung zu. 1908 waren in der ‚Schwarz-Weiß-Ausstellung‘ der Secession 59 seiner Radierarbeiten zu sehen. Nachdem Liebermann 27 expressionistische Bilder als für die Secessions-Ausstellung ungeeignet zurückgewiesen hatte, kam es 1910 zum Bruch mit der von Emil Nolde angeführten jungen Avantgarde. Daraufhin bildete sich unter der Präsidentschaft Max Pechsteins die ‚Neue Secession‘, an deren Ausstellungen Maler der Brücke und der Neuen Künstlervereinigung München teilnahmen. 1911 legte Liebermann seinen Vorsitz nieder, blieb als Ehrenpräsident der Secession aber in die Geschehnisse eigebunden, während die Führung an Lovis Corinth überging. Nach weiteren internen Zerwürfnissen kam es schließlich, abermals unter der Führung Liebermanns, zur Gründung der ‚Freien Secession‘, die von 1914 bis 1923 Ausstellungen veranstaltete.
Bereits 1910 hatte Liebermann seine Villa am Wannsee bezogen, die ein Leitmotiv seines Spätwerkes bildet. Mit Ausbruch des Ersten Weltkriegs lieferte Lieberman für die von Paul Cassirer herausgegebene ‚Kriegszeit‘ grafische Beiträge. Er zählte zu den 93 Unterzeichnern des Aufrufes ‚An die Kulturwelt!‘, in dem die vermeintlich deutsche Kriegsschult mit einem sechsfachen ‚Es ist nicht wahr!‘ zurückgewiesen wurde. Liebermann charakterisiert seine eigene Haltung mit den Worten: „Meine ganze Erziehung habe ich hier erhalten, mein ganzes Leben habe ich in diesem Hause zugebracht, das schon meine Eltern bewohnten. Und es lebt in meinem Herzen auch das deutsche Vaterland als ein unantastbarer und unsterblicher Begriff.“
Zum 70. Geburtstag, 1917, veranstaltete die Berliner Akademie eine große Retrospektive mit 200 Gemälde Liebermanns und in der Nationalgalerie wurde ein eigenes Max-Liebermann-Kabinett eröffnet. 1920 übernahm er das Amt des Akademiepräsidenten, womit die Secessionszeit beendet wurde. Max Pechstein, Karl Hofer, Heinrich Zille, Otto Dix und Karl Schmidt-Rottluff wurden von Liebermann in die Akademie aufgenommen. Zu seinem 80. Geburtstag, 1927, fand eine weitere monografische Ausstellung des nunmehr als Klassiker geltenden Künstlers statt. Liebermann wurde die Ehrenbürgerwürde angetragen und der Reichspräsident Paul von Hindenburg verlieh ihm das Adlerschild des Deutschen Reiches „als Zeichen des Dankes, den Ihnen das deutsche Volk schuldet“, während der Innenminister Walter von Keudell Liebermann die Goldene Staatsmedaille überreichte.
Als am Tag der Machtergreifung vor seinem Haus am Pariser Platz der Fackelzug der Nationalsozialisten vorbeiführte, äußerte Liebermann: „Ick kann jar nich soville fressen, wie ick kotzen möchte.“ Er legte seine Ämter nieder und zog sich nach Wannsee zurück, wo 1934 ein letztes Selbstbildnis entstand. Am 8. Februar 1935 starb Max Liebermann in seinem Haus am Pariser Platz. Die Totenmaske fertigte Arno Breker an.
Auswahlbibliographie
Max Liebermann, Max: Die Phantasie in der Malerei – Schriften und Reden. Mit einem Geleitwort von Karl Hermann Roehricht und einem Nachwort von Günter Busch, Frankfurt am Main 1986.
Sigrid Achenbach: Die Druckgraphik Max Liebermanns, Heidelberg 1974.
Gustav Schiefler: Max Liebermann. Sein graphisches Werk. 1876 - 1923, San Francisco 1991.
Katrin Boskamp: Studien zum Frühwerk von Max Liebermann mit einem Verzeichnis der Gemälde und Ölstudien von 1866 bis 1889, Hildesheim 1994.
Matthias Eberle: Max Liebermann. Werkverzeichnis der Gemälde und Ölstudien, München 1995.
- Creator:Max Liebermann (1847 - 1935, German)
- Creation Year:1914
- Dimensions:Height: 16.54 in (42 cm)Width: 11.82 in (30 cm)Depth: 0.4 in (1 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Berlin, DE
- Reference Number:1stDibs: LU2438216387132
Max Liebermann
Max Liebermann (Berlin, 1847 - 1935) was a German painter, graphic artist, pastelist and illustrator. A transition from realism to impressionism is visible in his work.
In 1871 he visited the studio of the Hungarian painter Mihály Munkácsy in Düsseldorf, whose work made a great impression on Liebermann. He then makes a short trip to the Netherlands. In December 1873 he went to Paris. He met Munkácsy, Troyon, Daubigny, Corot, Millet and Manet. In the Louvre he devoted himself to the study of the Dutch masters.
In 1920 he was appointed president of the Preußische Akademie der Künste. In 1933, Hitler was elected Chancellor of Germany. Because of his Jewish background, Liebermann resigned as honorary president of the Preußische Akademie der Künste. He then joined the newly founded Kulturbund Deutscher Juden and gave financial support to young Jews who wanted to flee to Palestine. In the last years of his life, Liebermann was shunned by the German artist community.
Liebermann was active for more than sixty years and made about 1200 oil paintings. For years, Liebermann was called the "apostle of ugliness." Yet he was groundbreaking and avant-garde. The real impressionist work did not come until the end of 1900. In the Netherlands he was inspired by the wide landscapes, the sea and the beach.
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When not in Provence, or Southeastern France, Smyth teaches intensely in art schools, art centers and several colleges in the Bay Area. He is a beloved instructor and his classes fill in quickly as he is very knowledgeable.
On his return to the United States, he began studying with Mr. Alanson Appleton at the College of San Mateo, San Mateo, California. Smyth was a founding member of the Appletree Etchers, Inc., an etching print shop organized by Mr. Appleton and his students to develop and promote color intaglio. Smyth served as Master Printer at the studio for many years perfecting the techniques of intaglio and developing the color theories of Mr. Appleton as applied to the deeply etched plate.
Smyth received his degree from the University of California, Berkeley, in 1972 and holds the California Community College Certificate and an Adult Education Certificate. Smyth was invited to teach "Anatomy for Artists" at Foothill College, Los Altos Hills, California, as a result of his many years of dissection of the cadaver and developed the course of study of Perspective for the college. During this period, he began teaching Life Drawing at the Pacific Art League of Palo Alto, Palo Alto, California. During the following thirty years Smyth has taught an average of twelve classes per week at the Pacific Art League of Palo Alto, the Palo Alto Art Center and the Burlingame Recreation Department among others in all phases of drawing and painting. He has conducted many workshops for the California Academy of Painters in many aspects of drawing and painting. Currently, he is an Adjunct Professor of Drawing at the College of San Mateo, San Mateo, California. He is an authority on the materials of painting and drawing, techniques of traditional drawing and painting, color theory, perspective and anatomy for artists. In his career in Life Drawing, Smyth has made over two hundred thousand drawings from the model.
In addition to studies at Berkeley, Smyth has studied at the College of San Mateo, Foothill College, De Anza College, Mission College, and West Valley College, all in California. One of the pivotal points in his career was studying with Mr. Maynard Dixon Stewart at the University of San Jose, California. He spent a year at the New York Academy of Art where he was offered a full scholarship and at the Art Students League of New York. He concurrently attended classes at the National Academy of Design in New York. Among others, Smyth studied with M. Andrejivec, Ted Schmidt, Elliot Goldfinger, Gary Fagin, Ted Jacobs, Leo Neufeld, David Leffel, Jack Ferragasso, Jim Childs and Everett Raymond Kinstler and Kim English. Smyth has also studied with the noted painter and colorist, Ovanes Berberian...
Category
1970s American Impressionist Figurative Prints
Materials
Paper, Etching
"Study 6" Figurative Abstract Lithograph
By Jim Smyth
Located in Soquel, CA
Graceful abstract figurative lithograph by Jim Smyth (American, b. 1938). Numbered, titled, signed and dated "5/12", "Study 2", "Smyth 74” along the bottom edge. Unframed.
Jim Smyth has studied at the Academia de Belle Arti in Fiorenza, Italy, Ecole des BeauxArts in Geneva, New York Academy, and the Art Students League. He is also a graduate of UC Berkeley with a degree in Fine Art.
Although academically trained, Smyth practices and teaches a more impressionistic style of painting, focusing on the Alla Prima technique.
He is particularly knowledgeable about drawing, perspective, color theory and the human figure, his passion. Smyth, with extensive academic knowledge, has a profound love of all human representations as illustrated by his humorous quick sketches from life. He also practices and teaches oil painting and pastels.
When not in Provence, or Southeastern France, Smyth teaches intensely in art schools, art centers and several colleges in the Bay Area. He is a beloved instructor and his classes fill in quickly as he is very knowledgeable.
On his return to the United States, he began studying with Mr. Alanson Appleton at the College of San Mateo, San Mateo, California. Smyth was a founding member of the Appletree Etchers, Inc., an etching print shop organized by Mr. Appleton and his students to develop and promote color intaglio. Smyth served as Master Printer at the studio for many years perfecting the techniques of intaglio and developing the color theories of Mr. Appleton as applied to the deeply etched plate.
Smyth received his degree from the University of California, Berkeley, in 1972 and holds the California Community College Certificate and an Adult Education Certificate. Smyth was invited to teach "Anatomy for Artists" at Foothill College, Los Altos Hills, California, as a result of his many years of dissection of the cadaver and developed the course of study of Perspective for the college. During this period, he began teaching Life Drawing at the Pacific Art League of Palo Alto, Palo Alto, California. During the following thirty years Smyth has taught an average of twelve classes per week at the Pacific Art League of Palo Alto, the Palo Alto Art Center and the Burlingame Recreation Department among others in all phases of drawing and painting. He has conducted many workshops for the California Academy of Painters in many aspects of drawing and painting. Currently, he is an Adjunct Professor of Drawing at the College of San Mateo, San Mateo, California. He is an authority on the materials of painting and drawing, techniques of traditional drawing and painting, color theory, perspective and anatomy for artists. In his career in Life Drawing, Smyth has made over two hundred thousand drawings from the model.
In addition to studies at Berkeley, Smyth has studied at the College of San Mateo, Foothill College, De Anza College, Mission College, and West Valley College, all in California. One of the pivotal points in his career was studying with Mr. Maynard Dixon Stewart at the University of San Jose, California. He spent a year at the New York Academy of Art where he was offered a full scholarship and at the Art Students League of New York. He concurrently attended classes at the National Academy of Design in New York. Among others, Smyth studied with M. Andrejivec, Ted Schmidt, Elliot Goldfinger, Gary Fagin, Ted Jacobs, Leo Neufeld, David Leffel, Jack Ferragasso, Jim Childs and Everett Raymond Kinstler and Kim English. Smyth has also studied with the noted painter and colorist, Ovanes Berberian...
Category
1970s American Impressionist Figurative Prints
Materials
Paper, Etching
"The Aunties" - Figurative Abstract Limited Edition Print, 20/100
By Anne Ormsby
Located in Soquel, CA
Beautiful figurative giclée and watercolor limited edition print titled "The Aunties", a homage to the classical figurative sculpture The Three Graces, by Anne Ormsby, a Aptos, Calif...
Category
1990s American Impressionist Figurative Prints
Materials
Paper, Watercolor, Giclée
$1,240 Sale Price
20% Off
Nude Figure Posterior View, Figurative Drypoint Etching
By Jim Smyth
Located in Soquel, CA
Limited edition drypoint etching of a nude figure from a posterior view by Jim Smyth (American, b. 1938). Numbered and signed by hand "7/15 Jim Smyth" along the bottom edge. Presented in a new cream and off-white double mat. No frame. Image size: 14.75"H x 10.75"W
Jim Smyth (American, b. 1938) has studied at the Academia de Belle Arti in Fiorenza, Italy, Ecole des BeauxArts in Geneva, New York Academy and the Art Students league. He is also a graduate from UC Berkeley with a degree in Fine Art.
Although academically trained, Smyth practices and teaches a more impressionistic style of painting, focusing on Alla Prima technique. He is particularly knowledgeable about drawing, perspective, color theory and the human figure, his passion. Smyth, with an extensive academic knowledge, has a profound love of all human representations as illustrated by his humorous quick sketches from life. He also practices and teaches oil painting and pastels.
When not in Provence, or Southeastern France, Smyth teaches intensely in art schools, art centers and several colleges in the Bay Area. He is a beloved instructor and his classes fill in quickly as he is very knowledgeable.
On his return to the United States, he began studying with Mr. Alanson Appleton at the College of San Mateo, San Mateo, California. Smyth was a founding member of the Appletree Etchers, Inc., an etching print shop organized by Mr. Appleton and his students to develop and promote color intaglio. Smyth served as Master Printer at the studio for many years perfecting the techniques of intaglio and developing the color theories of Mr. Appleton as applied to the deep etched plate.
Smyth received his degree from the University of California, Berkeley, in 1972 and holds the California Community College Certificate and an Adult Education Certificate. Smyth was invited to teach "Anatomy for Artists" at Foothill College, Los Altos Hills, California, as a result of his many years of dissection of the cadaver and developed the course of study of Perspective for the college. During this period, he began teaching Life Drawing at the Pacific Art League of Palo Alto, Palo Alto, California. During the following thirty years Smyth has taught an average of twelve classes per week at the Pacific Art League of Palo Alto, the Palo Alto Art Center and the Burlingame Recreation Department among others in all phases of drawing and painting. He has conducted many workshops for the California Academy of Painters in many aspects of drawing and painting. Currently, he is an Adjunct Professor of Drawing at the College of San Mateo, San Mateo, California. He is an authority on the materials of painting and drawing, techniques of traditional drawing and painting, color theory, perspective and anatomy for artists. In his career in Life Drawing, Smyth has made over two hundred thousand drawings from the model.
In addition to studies at Berkeley, Smyth has studied at the College of San Mateo, Foothill College, De Anza College, Mission College and West Valley College, all in California. One of the pivotal points in his career was studying with Mr. Maynard Dixon Stewart at the University of San Jose, California. He spent a year at the New York Academy of Art where he was offered a full scholarship and at the Art Students League of New York. He concurrently attended classes at the National Academy of Design in New York. Among others, Smyth studied with M. Andrejivec, Ted Schmidt, Elliot Goldfinger, Gary Fagin, Ted Jacobs, Leo Neufeld, David Leffel, Jack Ferragasso, Jim Childs and Everett Raymond Kinstler and Kim English. Smyth has also studied with the noted painter and colorist, Ovanes Berberian. In 2002 Jim was invited to study at the Academy of Art in St. Petersburg, Russia, where he worked in Life Drawing and Life Painting.
Smyth is a popular lecturer, a sought after demonstrator and juror. He is the recipient of many awards for both his painting and his teaching. In 1988 and again in 2003, he received the Kenneth Washburn...
Category
Late 20th Century American Impressionist Figurative Prints
Materials
Paper, Ink, Drypoint
$700 Sale Price
20% Off
"La Femme et la Folie Dominent le Monde II" - 1886 Print on Paper
By Félicien Rops
Located in Soquel, CA
"La Femme et la Folie Dominent le Monde II" - 1886 Print on Paper
("The Woman and the Madness Overlooking The World II")
1886 French illustration from Felicien Rops (Belgian, 1833-...
Category
1880s Impressionist Figurative Prints
Materials
Etching, Paper, Ink
