William John Edmondson Art

"Figures, Boats, and House - Cape May Point, NJ" is a Pennsylvania Beach Scene by American Impressionist painter Albert Van Nesse Greene. The ...

Anthony Thieme (1888 - 1954) Other Side of Town (Leading to Pigeon Cove) Oil on canvas 30 x 36 inches Signed lower left Provenance: David H. Hall Fine Art, Dover, Massachusetts Vose Galleries, Boston, Massachusetts Private Collection, New Jersey Anthony Thieme was born in the Dutch port city of Rotterdam in 1888. He studied at the Academy of Fine Arts in Rotterdam, at the Royal Academy at the Hague, as an apprentice to George Hoecker, a well known stage designer in Düsseldorf, Germany, and to Antonio Mancini, an Italian Impressionist. After completing his studies, Thieme journeyed throughout Europe and South America, working in stage design to support his travels. Thieme first came to the United States in 1917 and initially worked as a set designer and book illustrator first in New York and later in Boston. By the late 1920s, Thieme had married and moved from Boston to Cape Ann in Rockport, Massachusetts, an emerging art colony. Like the other Rockport artists...

An impressionistic, antique landscape painting depicting the rugged coastal beauty of Race Point Beach, Massechusets. The rocky coastline and rushing waves are rendered in luminous ...

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 ...

the most important American Impressionists of his age. While many of his contemporaries focused on the landscape, Frieseke gained his inspiration from the figural, and in particular the theme of femininity. His works capture female figures engaging in traditionally feminine roles — strolling in the garden or posed in a domestic interior. At the Mirror...

Since summer 2004, I have lived in southern Italy, in the region of Puglia, the province of Bari, in a town called Altamura. A two-week restoration project of the Jesce Masseria brou...

Ernest Albert (1857 - 1946) Maine Coast, Ogunquit, 1937 Oil on canvasboard 18 x 20 inches Signed and dated lower right; titled on a label on the reverse A distinguished theatrical and scenic designer who also became a landscape painter and muralist, Ernest Albert worked in New York, St. Louis, and Chicago. He was born in Brooklyn, New York in 1857, and showing early talent, received the Graham Art...

This impressionist painting by Virginia artist Walter Biggs captures a moment of quiet strength and familial connection. A seated man rests outside with his hat in hand, while a youn...

A fine antique English Impressionist oil on canvas portrait painting of a young lady, circa 1895. A very attractive Impressionist portrait of a Antique Late 19th Century English Oi...

William Samuel Horton (1865 - 1936) La Seine Fumee bleu, Paris, France, circa 1909 Oil on canvasboard 17 x 21 inches Signed lower left A landscape painter, William Horton lived and ...

Early 20th century oil on canvas view of a Belle Epoque, Moorish style villa and garden at St Tropez in the South of France by French artist Suzanne Minier. The painting is signed bo...

“Portrait of a Lady in White, c. 1905-10” by Joseph Oppenheimer (1876-1966). An exceptional portrait by Oppenheimer of a spirited young woman turned in half-profile. This work exemp...

An impressionistic, antique landscape painting depicting the rugged coastal beauty of Race Point Beach, Massechusets. The rocky coastline and rushing waves are rendered in luminous ...

Eugène Laurent Vail (1857 - 1934) Soir de Novembre, Dordrecht Oil on canvas 19 1/4 x 25 3/4 inches Signed lower left; titled in two places on the stretcher with various other inscriptions, stamped "MADAME G:VAIL A" and inscribed "177" in ink and "#43" in pencil on a partial label from Garde-Meuble Maple affixed to the stretcher Eugene Vail (Saint-Servan, France September 29, 1857 - Paris, December 28, 1934), the son of a French mother and an American father, Lawrence Eugene Vail, studied at the Stevens Institute of Technology in Hoboken, New Jersey (where Alfred Stieglitz was born in 1864) and graduated with a degree in mechanical engineering in 1877. Then he became a student of William Merritt Chase and J. Carroll Beckwith at the Art Students League before returning to France. He entered the Ecole des Beaux-Arts in 1882 where he was instructed by Alexandre Cabanel, Raphaël Collin, and Dagnan-Bouveret (1852-1929), known as an extreme naturalist. When Bastien-Lepage died in 1884, Dagnan-Bouveret became the leader of the Naturalist School. He definitely made an indelible impression on Vail. According to Louise Cann, Vail soon became an independent painter working at Pont-Aven and Concarneau. It is difficult to determine when he separated from his teachers since he is listed as a student whenever he exhibited at the Paris Salon — that is, until 1899 when he dropped the mention of élève. A picture of a peasant girl, Seulette was his Salon debut painting in 1883, the same year that he sent two scenes of Brittany to the Pennsylvania Academy of the Fine Arts' exhibition, which documents his stay in that region. The next year he exhibited in the Salon: Fishing Port, Concarneau, which went to the Luxembourg Museum (it is now in the Musée Municipal of Brest). It has the Naturalist brown and gray palette and tonalist atmosphere but already shows that Vail had direct experience with scenes of life in coastal villages: "So convincing was his familiarity with the French coast that the critic Thiébault-Sisson claimed him as a Frenchman and declared that no American marine painter could touch his skill." (Maureen C. O'Brien, in Blaugrund, 1989, p. 218). In 1885, Vail exhibited Inner Port at Dieppe and in the following year On the Thames (Private collection), which later won him the Grand Diploma of Honor from an international jury in Berlin in 1891. Widow, the title of Vail's entry in the Salon of 1887 (unlocated), is a striking image of a woman standing on a beach, looking out to the expanse of the ocean where her husband obviously met his end. The innocent child who looks at us may have the same fate in store for him. Then in 1888, Vail completed his masterpiece, Ready, About! a "wall-size" 94 x 125½ inch canvas. The painting won a first-class gold medal in the Salon of 1888, then at the Paris Universal Exposition of 1889, Vail won another gold medal. The first precedent that comes to mind is Théodore Géricault's colossal Raft of the Medusa of 1819 (Louvre), the celebrated romantic image of castaways about to be rescued after being lost at sea. But while Géricault presents a massive, sculpturesque group of figures struggling on a raft just beyond our designated viewing space, Vail pulls the viewer into the picture, or more exactly, extends the diagonally rocking boat into the spectator's area, vividly anticipating the effects of cinematography. There is no more effective way to engage the spectator's attention and sympathies, and the illusionism is especially effective in this life-size picture. Vail's vigorous brushwork — a uniform use of rectangular strokes — adds to the motion-filled, dynamic actuality of this image, and the overall green-gray tonalities evoke the constantly menacing, cold and wet travails in the life of the fishermen in the Atlantic's rough waters. Theodore Child (1889, p. 518) wrote about this painting: "very beautiful in color, and amongst the very strongest and best pictures of this kind in the Exhibition." Dordrecht (unlocated) was Vail's painting exhibited at the Pennsylvania Academy in 1892, and in the following year he showed Fisherman — The North Sea at the Paris Salon, the same year in which he re-exhibited Dordrecht and On the Thames at the World's Columbian Exposition in Chicago. Vail won the coveted Légion d'Honneur in 1894. Some of his paintings found their way to European museums, for example, Soir de novembre (Odessa Museum) and Soir de Bretagne (Museo d'Arte Moderna, Venice). The latter was exhibited at the Exposition Universelle of 1900 in Paris. Also there was Voix de la mer (Voices of the Sea), which we identify as the painting that appears in an interior view of the American section, just to the right of a doorway (fig. 20 in Fischer, 1999), a simple marine painting. Some time after 1900, Vail turned to both impressionism and post-impressionism but no one seems to have charted this course. His Autumn near Beauvais, illustrated in International Studio (1902, p. 211), The Flags, St. Mark's Venice (1903; National Gallery of Art), and Grand Canal, Venice, ca. 1904 (Museum of Art, Rhode Island School of Design) demonstrate an impressionist technique with broken color. Mandel (1977, p. 202) wrote on the latter: "applied in short strokes juxtaposing brilliant hues of orange, blue, white, black and red, with a strong interplay between the warm pink tones of the walls and the green shadows of the black boats which are silhouetted against them." Cann (1937) believed that in Venice, Vail "found his true self." The Flags forecasts the Armistice Day pictures by Hassam and others, painted fifteen years later. Vail became involved in the Society of American Artists in Paris and the Société Internationale de Peinture et de Sculpture, whose membership included Frank Brangwyn, Charles Cottet (1863-1924), the famous Naturalist sculptor Constantin Meunier (1831-1905), Frits Thaulow...

Jean Hodru (Belgian, 1862–1956) Portrait of a Young Girl (“Fillette”) Oil on Canvas, circa 1890 Signed lower left and inscribed on the reverse Presented in its original period gilt f...