American Impressionist Art

A charming Impressionist summer pastoral scene depicting Rue de Buci in Paris France. The store front bursts with color in the street as figures dine at a local cafe. This piece is e...

A wonderful impressionist pastoral landscape with beautiful color tones throughout. Moore has portrayed this piece in a most intimate, yet energetic way, and has packed much feeling into this vibrant work. It is almost as if we are there on that warm day, bringing a beautiful feeling of nostalgia setting off down the glowing path on the water by Carver's Pond. The country side sunset is stunning sight in. Moore is known for capturing the beauty and simplicity of our times, depicting everyday life; in this piece he engages his audience with the quick use of brushwork and great attention to picking up the energy passionately of his subjects. This painting is oil on panel and it is signed by the artist lower left, it comes housed in a gold tone wood frame with linen inner, and hanging wire on verso ready to be displayed. Art measures 12 x 16 inches Frame measures 19.5 x 23.5 inches Scott Moore...

Impressionist Figurative Scene, Picnic in the Park Original Oil Painting, Signed Beautifully rendered figurative landscape of a family in the park on a picnic, signed Jean Chambers....

A charming impressionist pastoral scene depicting Spring in Tuckamony Farm Solebury PA Pleasant, Pennsylvania. This piece is executed in an intimate yet energetic manner. Christopher...

Moonrise Sailing II oil/panel 6 x 8 image unframed, 11.63 x 9.63 framed signed LL Moonrise Sailing II is an oil painting on canvas panel by award winning contemporary artist Micha...

Charles Allen Winter: 1869-1942. Very well listed American artist with Auction results over $114,000. He mostly painted in the Gloucester Massachusetts and St. Louis Missouri area. T...

A charming Impressionist pastoral scene of Rockport Harbor from the Summer of 1990. This vibrant impressionistic painting depicts a sunny seaside landscape with much depth and detail...

A large, sweeping Michigan summer vista by the accomplished American painter, Ida Josephine Burgess (1855-1934). Burgess gives us a high vantage point over a lush hill pasture descen...

This painting depicts an impressionistic scene of Peonies in a Blue Parisian Ceramic Vase, a poetic piece with beautiful details. The work reminds us of Claude Monet, with impression...

"Evergreen", American Realist Lithograph by Chris Forrest 1980 Colorful lithograph of chickadee's perched on branches by American artist Chris Forest (b. 1946.) Three chickadee's re...

Stunning California School oil on by J. Magill. Bright colors, heavy impasto, a very well painted little treasure. 9" x 12", oil on board, signed lower right, circa 1930-40. Framin...

A charming Impressionist pastoral scene depicting Spring in Point Pleasant, Pennsylvania. This piece is executed in an intimate yet energetic manner. Christopher is known for capturi...

A wonderful impressionist winter pastoral scene of quaint homes covered in snow and star light.. Willet has portrayed this piece in a most intimate, yet energetic way, and has packed...

Moonlight Marsh oil/panel 8 x 10 unframed 11.75 x 13.75 framed, signed LR Moonlight Marsh is an oil painting on canvas panel by award winning contemporary artist Michael Budden, tha...

Josef Frank Froula (American, 1887-1939) Signed: Josef Froula, (lower, right) " Autumn Glow ", circa 1920 (on label attached to stretcher verso) Oil on canvas 12 1/8" x 15 1/8" ...

Evening Retreat Egret This image measures 24 x 48 unframed and 30 x 54 framed. Evening Retreat Egret is an oil painting on Masonite panel by award winning contemporary artist Michae...

1930's California Mountain Trail Landscape, Original Oil Painting, Signed A beautiful 1930's landscape titled "Trail into California Mountains" by Oklahoman artist Sidney Lorenzo Br...

Jersey Shore, Manasquan Inlet oil/panel 12.5 x 17 unframed, 18.23 x 23 framed Jersey Shore, Manasquan Inlet is an oil painting on canvas by award winning contemporary artist Michael ...

Under Moonlight oil/panel 6 x 8 image unframed, 11.63 x 9.63 framed signed LL Under Moonlight is an oil painting on canvas panel by award winning contemporary artist Michael Budden t...

About the Artist: Samantha Buller currently lives in Sonoma County after painting and teaching in Kansas for the past two years. She received her BFA in Painting from the Academy of ...

This painting is a charming depiction of 42nd St. at the Public Library on a Snowy day in New York City. A cozy impressionistic street scene with colors of cobalt, light pink, yellow...

FRANCES H. GEARHART (1869-1958) SNOWBOUND c.1928 Color block print, Signed and titled in pencil. 11 x 6 ½” sheet c. 14 x 9” Laid down on backing board. The usual slight browning a...

A wonderful impressionist-style winter landscape with beautiful color tones throughout. Waltsak has portrayed this piece in a most intimate yet energetic way and has packed much feel...

Glen Tracy (American, 1883-1956) Summer Landscape, c. 1920 Oil on board Signed lower right, titled verso 12 x 9 inches 17.25 x 14.5 inches, framed Since he studied and taught commer...

An Early 20th Century elegant portrait oil painting by Gordon Stevenson depicting a pensive young woman seated in a serene, indoor setting wearing a l...

Morning Sun Series oil/panel 6 x 8 image, 11.673 x 9.63 framed as pictured Morning Sun is an oil painting on canvas panel by award winning contemporary artist Michael Budden that sho...

Last Light Beach II oil/canvas 26 x 26 image unframed, 31.25 x 31.25 framed signed LL Last Light Bech II is an oil painting on canvas by award winning contemporary artist Michael Bud...

Susan "Corrie" Lee Crook Ingersoll (b. 1908) Still Life w/ Doll and Stuffed Toy, ca. 1950. Oil on composite Board, 18 x 19 inches. Measuring 19 x 20 inches in original frame. Co...

Tony Bennett Title: South of France Lithograph Signed and Marked ATL  5/5 ( Printers Proof ) Paper Size: 31" x 24" inches Image Size : 26" x 20" inches Published By : Atelier E. Ettinger Gallery Anthony Dominick Benedetto, known professionally as Tony Bennett, is an American singer of traditional pop standards, big band, show tunes, and jazz. He is also a painter, having created works under his birth name that are on permanent public display in several institutions. Whether he is performing as Tony Bennett or painting as Anthony Benedetto...

A wonderful impressionist pastoral landscape with beautiful color tones throughout. David Chapple has portrayed this piece in a most intimate, yet energetic way, and has packed much ...

An unfinished but spirited plein-air composition of what appears to be the Shenandoah or Potomac River valley with the Blue Ridge Mountains in the distance. Watercolor on board with...

Karl Albert Buehr (1866-1952) Strolling in the Park Oil on canvas, relined, c. 1910 Unsigned Provenance: Gift of the Artist to his wife, Mary Hess Beuhr The artist's niece, daughter of Will Hess David Saltzman Robert Henry Adams Fine Art, Chicago, exhibited 1994 Karl Albert Buehr at Robert Henry Adams Fine Art, Chicago Exhibition dates The exhibition was held in 1994 at Robert Henry Adams Fine Art, 715 North Franklin Street, Chicago. Surviving provenance records describe it as the gallery’s first exhibition at its North Franklin Street location. Works documented as included include Woman on a Patio, Rocky Inlet (France), and apparently other paintings and studies acquired through David Saltzman from the family of Buehr’s wife, Mary Hess Buehr. The 1994 Karl Albert Buehr exhibition at Robert Henry Adams Fine Art represented an important act of historical recovery. Although Buehr enjoyed considerable recognition during his lifetime—as an exhibiting painter, prizewinner, and influential teacher at the School of the Art Institute of Chicago—his reputation had become less visible in the decades following his death. By bringing together paintings and works on paper that had descended through the artist’s family, the Adams exhibition helped restore Buehr to his proper position among the leading exponents of American Impressionism and the most important Chicago-trained painters working in France before the First World War. Giverny was crucial to Buehr’s mature development. American painters had been drawn to the Norman village since the late 1880s, attracted both by Monet’s presence and by the region’s gardens, river valleys, cultivated fields, and distinctive northern light. Buehr did not simply imitate Monet. His figure compositions remained grounded in the academic training he received in Chicago and Paris, but he enlivened that structure with broken brushwork, heightened complementary color, and an increasingly luminous palette. His characteristic compositions place elegantly dressed young women on terraces, beside windows, or within flowering gardens. These figures are neither conventional society portraits nor anonymous decorative accessories. They occupy a carefully balanced space between individual presence and pictorial harmony. Faces and gestures are often quietly observed, while dresses, parasols, flowers, foliage, and shifting sunlight become vehicles for color. Lavender shadows, rose and coral fabrics, emerald foliage, and brilliant passages of yellow or blue transform the garden into a chromatic environment surrounding the sitter. Works associated with the Adams exhibition illuminate the breadth of Buehr’s French production. The pastel Woman on a Patio, circa 1915, demonstrates his ability to translate Impressionist color into the immediacy of a dry medium. Pastel allowed him to place one hue directly beside another without losing intensity. The resulting surface possesses a soft atmospheric unity while retaining the energy of individual strokes. The work’s history—gifted by Buehr to Mary Hess Buehr and subsequently descending through her family—also gives it a particularly intimate character. Rocky Inlet (France) presents another aspect of Buehr’s practice. In place of the cultivated garden and poised female figure, the artist confronts a rugged coastal landscape. Yet his essential concern remains light acting upon color. Rock, water, and vegetation are constructed through abbreviated touches rather than continuous modeling. The small scale suggests direct observation, possibly an outdoor study made during Buehr’s travels in Normandy. Its provenance likewise begins with Mary Hess Buehr and passes through the family before reaching David Saltzman and Robert Henry Adams Fine Art. This family provenance was central to the significance of the 1994 exhibition. The works had not merely circulated anonymously through the market; many retained a direct association with the artist’s household. Such a group could include informal studies, experimental compositions, and personal gifts that Buehr elected to keep rather than send to public exhibitions. Together they offered a more private and exploratory view of his career. Condition: relined canvas and cleaned Image/Canvas size: 10 x 9 inches Frame: 16-3/4 x 15-3/4 x 1-3/4 inches Karl Albert Buehr (1866–1952): France and the Giverny Years Karl Albert Buehr—whose surname is sometimes misspelled “Beuhr”—was a German-born American painter and influential teacher associated with the second generation of American Impressionists working at Giverny. Although his artistic identity was rooted in Chicago, the years he spent in France transformed his palette, subject matter, and approach to painting. Born on February 14, 1866, in Feuerbach, near Stuttgart, Buehr immigrated with his family to Chicago, probably in 1881. After working briefly for a commercial lithographer, he enrolled at the School of the Art Institute of Chicago in 1888. He studied with John H. Vanderpoel and graduated with honors in 1894, after which the school invited him to teach. He also served in the Illinois cavalry during the Spanish-American War and married Mary Guion Hess, one of his students and an accomplished artist in her own right. Early study in Europe Buehr’s European education unfolded in several stages. Around 1900 he settled in Paris and studied at the Académie Julian, principally under the French painter Raphaël Collin. Collin was known for idealized female figures placed in luminous outdoor settings, a combination of academic draftsmanship and Impressionist light that anticipated Buehr’s mature work. Buehr reportedly received a gold medal at the Académie in 1901. His early European paintings included portraits, landscapes, and scenes of rural labor. Visits to Holland exposed him to the restrained tonalism of the Hague School, while his travels in Italy—particularly Taormina, Sicily, during 1906 and 1907—encouraged a brighter response to Mediterranean sunlight. He also studied in London, where his contacts with Frank Brangwyn and the decorative currents of British painting strengthened his interest in broad design, rhythmic composition, and large arrangements of figures. A decisive factor in this extended European residence was the patronage of Chicago philanthropist Lydia Coonley Ward. From approximately 1906 until 1913, Ward provided Buehr with a monthly stipend, enabling the artist, his wife, and their children to remain abroad and pursue their work without the immediate pressures of the American market. Buehr at Giverny Buehr entered the Anglo-American artistic community at Giverny around 1909, probably through his friendship with Henry Salem Hubbell, another American figure painter supported by Lydia Coonley Ward. From approximately 1909 through 1912, Buehr generally spent winters in Paris and the warmer months at Giverny. In 1912 and the summer of 1913, the family reportedly lived at Sainte-Geneviève-lès-Gasny, close to Giverny. By this date Giverny was no longer merely the village in which Claude Monet lived. It had become an international artists’ colony, particularly attractive to American painters who admired Impressionist color but wished to retain firm drawing and carefully organized figure compositions. Buehr’s associates included Frederick Carl Frieseke, Richard Edward Miller, Guy Rose, Lawton Parker, Louis Ritman, Edmund Greacen, Karl Anderson, and Theodore Earl Butler. Buehr was especially close to the circle of Frieseke and Miller. These artists specialized in decorative paintings of fashionably dressed women reading, sewing, taking tea, or resting in sunlit gardens. Their figures were surrounded by flowers, patterned fabrics, parasols, and flickering passages of colored light. Buehr adopted this repertoire, but his paintings usually retained a stronger structural organization and a more assertive contrast between complementary colors. During his first months at Giverny, Buehr worked on a large decorative panel of dancing figures. The composition received an honorable mention at the Paris Salon of 1910, an important professional recognition. That summer, however, he increasingly turned toward intimate garden scenes and outdoor figure studies. The influence of Richard Miller can be detected in the decorative arrangement of the figures, while Frieseke’s example encouraged Buehr s use of brilliant sunlight, patterned surfaces, and saturated hues. Relationship with Claude Monet Claude Monet was Buehr’s artistic hero, but the extent of their personal relationship should not be overstated. Buehr’s children played with the children of Theodore Butler, Monet’s son-in-law, and they visited the Monet household. Buehr’s daughter Kathleen later recalled that Monet was gracious to the children. Nevertheless, the best available scholarship suggests that no close personal association between Buehr and Monet has been documented. Monet’s importance to Buehr was therefore primarily artistic. At Giverny, Buehr learned to regard colored light as a central subject rather than merely a means of describing objects. Shadows became violet, blue, or green; white dresses reflected the surrounding garden; and faces and arms were modeled through small strokes of warm and cool color. The enclosed garden also became a kind of outdoor studio in which human figures, flowers, fabrics, and sunlight could be orchestrated into a unified decorative design. The Giverny style Buehr became best known for paintings of young women seated or standing in gardens, often accompanied by colorful parasols. Works such as Springtime in Giverny, Under the Parasol, and related pictures of women reading or conversing exemplify his mature style. Although inspired by French Impressionism, these paintings are not spontaneous transcriptions of fleeting visual experience in the strict Monet tradition. They are carefully staged figure compositions. Buehr himself explained that the outdoor figure painter should concentrate upon the ensemble—grouping, arrangement, and color—rather than laboriously describing every feature. This principle helps distinguish his Giverny paintings...

Beach Day II oil/canvas 11 x 14 image unframed, 17.5 x 20.25 framed signed LL Beach Day II is an oil painting on canvas by award winning contemporary artist Michael Budden that show...

A wonderful impressionist pastoral landscape with beautiful color tones throughout. David Chapple has portrayed this piece in a most intimate, yet energetic way, and has packed much ...

A wonderful impressionist pastoral landscape with beautiful color tones throughout. Thomas deDecker has portrayed this piece in a most intimate, yet energetic way, and has packed muc...

Sunrise Sensation, Beautiful Skies Series oil/panel 9x12 image unframed,15.25 x 18.25 x .75 framed signed LL Sunrise Sensation is an oil painting on canvas panel by award winning con...

A vibrant Bermuda seascape depicting the rocky shoreline with turquoise waters breaking against sunlit boulders beneath a sweeping tree. Mears uses bold, textured brushstrokes and a ...

About this work: “Birches and Huckleberry, October Morning Matunuck" c. 1925 by Frank Convers Mathewson (American, 1862-1941). A stunningly beautiful autumn view of Matunuck, Rhode ...

Summer Sky oil/panel 6 x 8 unframed, 9.5 x 11.5 framed Summer Sky is an oil painting on canvas by award winning contemporary artist Michael Budden that showcases a beautiful day at t...

A charming Impressionist summer pastoral scene depicting homes in in Bucks County, Pennsylvania,. This piece is executed in an intimate yet energetic manner. Christopher is known for...

Edwin B. Kelley Jr. (American). Monterey Bay Cyprus tree Landscape. Oil on panel measuring 12 x 16 inches. Unframed. Signed lower left.

André Gisson (American, 1921-2003) Untitled, 20th century Oil on canvas 24 x 30 in. Framed: 31 x 37 x 1 1/2 in. Signed lower right Many sources cite Andre Gisson as a French painter...

Wonderful little mixed media painting by New York City artist Gilbert M. Walker. Faintly initialed lower right and inscribed on reverse. Gilbert M. Walker (born 1927) was an America...

Robert Philipp, 'Rehearsal, "Long Day's Journey Into Night" ', color pastel, c. 1957. Unsigned. A fine, atmospheric rendering, on warm gray charcoal paper; a reinforced crease (1/2 inch) across the bottom left sheet corner; otherwise in very good condition. Image and sheet size 17 1/2 x 21 3/4 inches. Matted to museum standards, unframed. Provenance: Art Students League, from the artist’s personal portfolio. ABOUT THE ARTIST Robert Philipp (1895–1981) was a celebrated American Post-Impressionist painter known for his nudes, still lifes, and portraits. Noted art critic Henry McBride named Philipp one of America's top six painters of his generation. Philipp was an instructor of painting at the Art Students League, New York, for 33 years. Philipp was Secretary of the National Academy of Design, a National Academician, and a Benjamin Franklin Fellow at the Royal Society of Arts in London. His composition and painting style has been compared to the art of Edgar Degas and Pierre Auguste Renoir. In 1940, Philipp was invited to Los Angeles by Hollywood producer Louis B. Mayer to paint portraits of Metro-Goldwyn-Mayer movie stars. The same year, Walter Wanger, producer of ‘The Long Voyage Home’, directed by John Ford and based on plays by Eugene O'Neill, contracted with Reeves Lewenthal, head of the Associated American Artists gallery in Manhattan, to bring nine well-known artists to the set and paint scenes from the movie and portraits of the actors in character. The artists included Robert Philipp, Thomas Hart Benton, Grant Wood, Ernest Fiene, George Schreiber, Luis Quintanilla...

Still Life of a Vase of Red & White Flowers by 20th Century American Artist, Robert Cox (1934-2001) Art measures 24 x 20 inches Frame measures 29 x 25...

Golden Sunrise, Beautiful Skies Series oil/panel 8 x 10 image unframed, 13.5 x 15.5 x .5 framed signed LL Golden Sunrise is an oil painting on canvas panel by award winning contempor...

Ella Boocock Hoedt Harbor Scene Oil on board 14 5/8 x 15 3/4 inches Ella Boocock Hoedt was born in Philadelphia in 1889. She was a graduate of the Pennsylvania Academy of Fine Art ...

A wonderful Impressionist winter pastoral scene of colorful quaint homes by the river. Willet has portrayed this piece in a most intimate, yet energetic way, and has packed much feel...

A wonderful impressionist Autumn pastoral landscape with beautiful color tones through out. Waltsak has portrayed this piece in a most intimate, yet energetic way, and has packed muc...

Still Life Painting of a Vase of Pink, Red & White Roses by 20th Century American Artist, Robert Cox (1934-2001) Art measures 7.5 x 9.5 inches (unframe...

Known for his evocative, snow-covered landscapes, Koeniger brings this subject to life with his bold, confident brushwork and keen eye for natural light. The composition centers arou...

Sunrise Spectacle 10 x 12 unframed, 16 x 18 x 1.5 framed signed LR Sunrise Spectacle is an oil painting on canvas panel by award winning contemporary artist Michael Budden that showc...

Karl Albert Buehr (1866-1952) Giverny Landscape Oil on board, c. 1910 Unsigned Condition: Excellent Image size: 5 7/8 x 7 1/8 inches Frame: 11-1/2 x 12-3/4 x 1-1/2" Provenance: Estat...

Donald S. Vogel has been a set designer and technical director in the theater, a fine art dealer, and a writer, but first and foremost he is a painter. From a young age he was intrig...

Walter Tittle, 'The Plaza, Sunset Glow', drypoint, c. 1920s, edition not stated. Signed in pencil and initialed in the plate, lower right. Titled 'The Plaza, Sunset' and annotated 'no. 165' in ink, in the bottom left sheet corner. A superb, luminous impression in dark brown ink, with selectively wiped plate tone; on cream wove paper; the full sheet with margins (1 to 2 1/4 inches). Pale tape stains on the top sheet edge, recto, well away from the image, otherwise in excellent condition. Matted to museum standards, unframed. Image size 11 3/4 x 6 15/16 inches (299 x 176 mm); sheet size 15 11/16 x 9 inches (399 x 229 mm). A view across 'The Pond' in New York City's Central Park, toward Grand Army Plaza...

A wonderful depiction of an Autumn landscape in Kent, Connecticut from the Mid-20th Century with puffed trees by the country side. For this beautiful depiction, we find distinct elements that are unique to the earlier works of George Lawrence...

Morning Sun 7 x 10 unframed, 10.63 x 13.63 x 1.256 x 18 x 1.5 framed signed LL Morning Sun is an oil painting on canvas panel by award winning contemporary artist Michael Budden tha...

A stunning oil painting depicting figures at the Beach. Demarest was known for her charming intimate figurative scenes portraying life in the North East. She was profoundly active, p...

Karl Albert Beuhr (1866-1952) Giverny Landscape Oil on relined canvas, c. 1912 Signed lower right: K A Buehr Condition: Canvas relined for support Image size: 13 1/4 x 15 3/8 inches Frame size: 19 5/8 x 21 7/8 inches Provenance: Gift of the artist to his wife, Mary Hess Beuhr The artist's niece, daughter of Will Hess Buehr David Saltzman Robert Henry Adams Thomas French Fine Art Mr. and Mrs. Thomas Horner, Canton, Ohio Exhibited: Canton Museum of Art, Impressionism: An American View, 1983, label on verso Karl Albert Buehr at Robert Henry Adams Fine Art, Chicago Exhibition dates The exhibition was held in 1994 at Robert Henry Adams Fine Art, 715 North Franklin Street, Chicago. Surviving provenance records describe it as the gallery’s first exhibition at its North Franklin Street location. Works documented as included include Woman on a Patio, Rocky Inlet (France), and apparently other paintings and studies acquired through David Saltzman from the family of Buehr’s wife, Mary Hess Buehr. The 1994 Karl Albert Buehr exhibition at Robert Henry Adams Fine Art represented an important act of historical recovery. Although Buehr enjoyed considerable recognition during his lifetime—as an exhibiting painter, prizewinner, and influential teacher at the School of the Art Institute of Chicago—his reputation had become less visible in the decades following his death. By bringing together paintings and works on paper that had descended through the artist’s family, the Adams exhibition helped restore Buehr to his proper position among the leading exponents of American Impressionism and the most important Chicago-trained painters working in France before the First World War. Giverny was crucial to Buehr’s mature development. American painters had been drawn to the Norman village since the late 1880s, attracted both by Monet’s presence and by the region’s gardens, river valleys, cultivated fields, and distinctive northern light. Buehr did not simply imitate Monet. His figure compositions remained grounded in the academic training he received in Chicago and Paris, but he enlivened that structure with broken brushwork, heightened complementary color, and an increasingly luminous palette. His characteristic compositions place elegantly dressed young women on terraces, beside windows, or within flowering gardens. These figures are neither conventional society portraits nor anonymous decorative accessories. They occupy a carefully balanced space between individual presence and pictorial harmony. Faces and gestures are often quietly observed, while dresses, parasols, flowers, foliage, and shifting sunlight become vehicles for color. Lavender shadows, rose and coral fabrics, emerald foliage, and brilliant passages of yellow or blue transform the garden into a chromatic environment surrounding the sitter. Works associated with the Adams exhibition illuminate the breadth of Buehr’s French production. The pastel Woman on a Patio, circa 1915, demonstrates his ability to translate Impressionist color into the immediacy of a dry medium. Pastel allowed him to place one hue directly beside another without losing intensity. The resulting surface possesses a soft atmospheric unity while retaining the energy of individual strokes. The work’s history—gifted by Buehr to Mary Hess Buehr and subsequently descending through her family—also gives it a particularly intimate character. Rocky Inlet (France) presents another aspect of Buehr’s practice. In place of the cultivated garden and poised female figure, the artist confronts a rugged coastal landscape. Yet his essential concern remains light acting upon color. Rock, water, and vegetation are constructed through abbreviated touches rather than continuous modeling. The small scale suggests direct observation, possibly an outdoor study made during Buehr’s travels in Normandy. Its provenance likewise begins with Mary Hess Buehr and passes through the family before reaching David Saltzman and Robert Henry Adams Fine Art. This family provenance was central to the significance of the 1994 exhibition. The works had not merely circulated anonymously through the market; many retained a direct association with the artist’s household. Such a group could include informal studies, experimental compositions, and personal gifts that Buehr elected to keep rather than send to public exhibitions. Together they offered a more private and exploratory view of his career. Karl Albert Buehr (1866–1952): France and the Giverny Years Karl Albert Buehr—whose surname is sometimes misspelled “Beuhr”—was a German-born American painter and influential teacher associated with the second generation of American Impressionists working at Giverny. Although his artistic identity was rooted in Chicago, the years he spent in France transformed his palette, subject matter, and approach to painting. Born on February 14, 1866, in Feuerbach, near Stuttgart, Buehr immigrated with his family to Chicago, probably in 1881. After working briefly for a commercial lithographer, he enrolled at the School of the Art Institute of Chicago in 1888. He studied with John H. Vanderpoel and graduated with honors in 1894, after which the school invited him to teach. He also served in the Illinois cavalry during the Spanish-American War and married Mary Guion Hess, one of his students and an accomplished artist in her own right. Early study in Europe Buehr’s European education unfolded in several stages. Around 1900 he settled in Paris and studied at the Académie Julian, principally under the French painter Raphaël Collin. Collin was known for idealized female figures placed in luminous outdoor settings, a combination of academic draftsmanship and Impressionist light that anticipated Buehr’s mature work. Buehr reportedly received a gold medal at the Académie in 1901. His early European paintings included portraits, landscapes, and scenes of rural labor. Visits to Holland exposed him to the restrained tonalism of the Hague School, while his travels in Italy—particularly Taormina, Sicily, during 1906 and 1907—encouraged a brighter response to Mediterranean sunlight. He also studied in London, where his contacts with Frank Brangwyn and the decorative currents of British painting strengthened his interest in broad design, rhythmic composition, and large arrangements of figures. A decisive factor in this extended European residence was the patronage of Chicago philanthropist Lydia Coonley Ward. From approximately 1906 until 1913, Ward provided Buehr with a monthly stipend, enabling the artist, his wife, and their children to remain abroad and pursue their work without the immediate pressures of the American market. Buehr at Giverny Buehr entered the Anglo-American artistic community at Giverny around 1909, probably through his friendship with Henry Salem Hubbell, another American figure painter supported by Lydia Coonley Ward. From approximately 1909 through 1912, Buehr generally spent winters in Paris and the warmer months at Giverny. In 1912 and the summer of 1913, the family reportedly lived at Sainte-Geneviève-lès-Gasny, close to Giverny. By this date Giverny was no longer merely the village in which Claude Monet lived. It had become an international artists’ colony, particularly attractive to American painters who admired Impressionist color but wished to retain firm drawing and carefully organized figure compositions. Buehr’s associates included Frederick Carl Frieseke, Richard Edward Miller, Guy Rose, Lawton Parker, Louis Ritman, Edmund Greacen, Karl Anderson, and Theodore Earl Butler. Buehr was especially close to the circle of Frieseke and Miller. These artists specialized in decorative paintings of fashionably dressed women reading, sewing, taking tea, or resting in sunlit gardens. Their figures were surrounded by flowers, patterned fabrics, parasols, and flickering passages of colored light. Buehr adopted this repertoire, but his paintings usually retained a stronger structural organization and a more assertive contrast between complementary colors. During his first months at Giverny, Buehr worked on a large decorative panel of dancing figures. The composition received an honorable mention at the Paris Salon of 1910, an important professional recognition. That summer, however, he increasingly turned toward intimate garden scenes and outdoor figure studies. The influence of Richard Miller can be detected in the decorative arrangement of the figures, while Frieseke’s example encouraged Buehr s use of brilliant sunlight, patterned surfaces, and saturated hues. Relationship with Claude Monet Claude Monet was Buehr’s artistic hero, but the extent of their personal relationship should not be overstated. Buehr’s children played with the children of Theodore Butler, Monet’s son-in-law, and they visited the Monet household. Buehr’s daughter Kathleen later recalled that Monet was gracious to the children. Nevertheless, the best available scholarship suggests that no close personal association between Buehr and Monet has been documented. Monet’s importance to Buehr was therefore primarily artistic. At Giverny, Buehr learned to regard colored light as a central subject rather than merely a means of describing objects. Shadows became violet, blue, or green; white dresses reflected the surrounding garden; and faces and arms were modeled through small strokes of warm and cool color. The enclosed garden also became a kind of outdoor studio in which human figures, flowers, fabrics, and sunlight could be orchestrated into a unified decorative design. The Giverny style Buehr became best known for paintings of young women seated or standing in gardens, often accompanied by colorful parasols. Works such as Springtime in Giverny, Under the Parasol, and related pictures of women reading or conversing exemplify his mature style. Although inspired by French Impressionism, these paintings are not spontaneous transcriptions of fleeting visual experience in the strict Monet tradition. They are carefully staged figure compositions. Buehr himself explained that the outdoor figure painter should concentrate upon the ensemble—grouping, arrangement, and color—rather than laboriously describing every feature. This principle helps distinguish his Giverny paintings...

A charming depiction of Snow in Downtown New York City with figures walking dogs and cars in the distance. A cozy impressionistic street scene with colors of cobalts, light pink, whi...