William Aiken Walker was born in Charleston, South Carolina in 1839 to an Irish Protestant father and a mother of South Carolina background. Walker would grow up southerner through and through. He completed his first painting at age twelve and continued painting until his death in 1921 at age eighty-three.

When his father died in 1842, Walker’s mother took her family to Baltimore, where they remained until returning to Charleston in 1848. During this period, he began painting rural farm and plantation scenes of poor southern blacks and it was these works that he built his reputation. Something of a prodigy as an artist, Walker exhibited his first painting in 1850, and received his first one-man show at the South Carolina Institute Fair in 1850 and Courtenay’s Bookstore in Charleston.

In 1861, Walker enlisted in the Confederate Army and served under General Wade Hampton’s South Carolina brigade. In 1862 at the Battle of Seven Pines, he was wounded. On his recovery, he was transferred back to Charleston, where he was eventually placed on picket duty, which freed him to resume his painting. For the next two years his service to the Confederacy consisted mainly of drawing maps and sketches of Charleston’s defenses, until he was mustered out at the end of 1864.

After the Civil War, Walker first moved to Baltimore and would begin traveling to southern resort areas, where he painted postcard studies and small paintings, which he sold to tourists for between fifty cents and three dollars. Walker was perhaps the earliest artist in the South to make a living from the tourist trade. His paintings served much like postcards, mementoes (just the right size to be tucked in a suitcase) of the "Old South" in all its quaintness and beauty.

For more than fifty years, Walker frequently visited New Orleans, Baltimore, Charleston, and several towns and cities in Georgia, North Carolina, and Florida. Maintaining ties with New Orleans, he exhibited frequently at the Southern Art Union and the Artists’ Association. No other Southern artist so prolifically portrayed his land during the post-Civil War Reconstruction and developing new South than William Aiken Walker.

In the French Quarter he often sold his paintings on the corner of Royal and Dumaine Streets. The multitalented Walker sang, played the piano and violin, and wrote poetry in both French and English. An engaging conversationalist, he was a welcome houseguest on his many trips. Walker was something of an eccentric as well as debonair figure, who delighted in passing himself off as a professor when he was not playing the role of landless gentry. Welcomed as a house and hotel guest, he made regular stops annually at as many of the growing resorts of the South as he could manage in a season, working his way from New Orleans to the Blue Ridge mountains, down to Charleston, and along the coast southwards to Florida, at each stop placing some of his small-scale paintings of rural black cabins, sharecroppers working in the fields, or palmetto-lined beaches for sale to passing tourists.

The dialect writing of George Washington Cable, Lafcadio Hearn, and even Mark Twain is echoed in Walker’s images, which also parallel the kind of drama (or, more accurately, melodrama) being written about the South in the same period. Like the consumers of consciously "regional" literature, the consumers of Walker’s paintings were not those who had passed their lives in the rural South, but rather were the Yankees and the urban businessman of the New South, admirers of a mythic, unhurried and untroubled Southland that existed mainly in their imaginations.

Museums:
Yale University Art Gallery, New Haven, CT
Harn Museum of Art, Gainesville, FL
High Museum of Art, Atlanta, GA
Morris Museum of Art, Augusta, GA
Richmond Art Museum, Richmond, IN
Addison Gallery of American Art, Andover, MA
Museum of Fine Arts, Boston, MA
Greenville Museum of Art, Greenville, NC
The Newark Museum, Newark, NJ
The Parrish Art Museum, Southampton, NY
Springfield Museum, Springfield, MO
Gibbes Museum of Art, Charleston, NC
Amon Carter Museum, Fort Worth, Texas
San Antonio Museum, San Antonio, Texas
Maier Museum of Art, Lynchburg, VA

An acclaimed landscape painter of autumnal and twilight scenes, Bruce Crane used a literal and detailed style before adopting the tonalism that characterized his later work. His popularity in the early 1900s attests to the continuing success of the Barbizon and impressionist modes in America.

Born in New York City in 1857, Crane gained practical experience as a draftsman for an architect and builder. He began to paint in his spare time, later opening a studio in New York City. He received formal training from landscape painter Alexander H. Wyant, who influenced him to follow the Barbizon style.

Crane continued to study in Paris for a year and a half, painting outdoors near Grez-sur-Loing. When he returned to New York in 1881, Crane achieved recognition for his plein-air landscapes of Eastern American scenes-the Adirondacks, Long Island, New Jersey, and Connecticut.

His greatest popularity, however, came in the late 1890s, when he won the Webb prize given bt the Society of American Artists. Crane spent a great number of his summers after 1904 in the popular artists colony of Old Lyme, Connecticut. The artist sketched outdoors, as he once said, “to fill the memory with facts.” He used light-tone pigments, applied to the canvas with a scrubby brush to achieve a rough, dry effect. This is well illustrated in paintings such as “Autumn Uplands” (1908, Metropolitan Museum of Art) and “March” (date unknown, Brooklyn Museum), which rely less on detail and more upon beige, russet and brown tones to achieve their effect.

In 1915, Crane joined with Emil Carlsen, Charles H. Davis, and J. Alden Weir to establish Twelve Landscape Painters, an exhibiting organization of artists working in popular representational styles.

He died in Bronxville, New York in 1937.

Memberships:
American Water Color Society
Artists’ Fund Society
Associate National Academy of Design
Lotus Club
National Academy of Design
Salmagundi Club Society of American
Artists Union
Internationale des Beaux-Arts et des Lettres

Public Collections:
Brooklyn Museum
Corcoran Gallery of Art, Washington, D.C.
Fort Worth Museum, Texas
Hackley Art Gallery, Muskegon, Minnesota
Metropolitan Museum of Art, New York City
Montclair Art Museum, New Jersey
National Gallery of Art, Washington, D.C.
Peabody Institute, Baltimore
Pennsylvania Academy of the Fine Arts, Philadelphia
National Museum of American Art, Washington, D.C.
Syracuse Museum of Art, New York

Cleveland Impressionist landscape painter, Abel Warshawsky left Cleveland for New York in 1905 and then spent some years in Paris as an expatriate. In 1910, he returned to Cleveland where he taught art with William Sommer and exhibited paintings continuously through the 1940s.

He was born on December 28, 1883, in Sharon, Pennsylvania, though he grew up in Cleveland, Ohio. He studied with Louis Rorimer at the Cleveland Art Institute, with additional work at the Art Students League, and the National Academy of Design, the latter two institutions in New York City, where Warshawsky went in 1905.

The artist traveled to Paris in 1908, where he met Amedeo Modigliani, Paul Signac and Auguste Renoir, as well as American artists Winslow Homer, Leon Kroll, Hugo Robus and William Zorach. Though he returned to Cleveland in 1910, where he was a member of the Cincinnati Art Club and taught with William Sommer, he maintained a studio in Paris for thirty years, and was quite active in the art world there. He traveled often through France and Italy, returning on a yearly basis to the United States to sell his work, exhibiting from the 1910s to the 1950s.

With the death of his first wife, and war threatening in the 1930s, Warshawsky left Europe, building a studio in Monterrey, California, teaching classes, painting portraits, and figures against the backdrop of the Northern California coastline. Warshawsky, a member and president of the Carmel Art Association, was a painting partner and friend of California artist Sidney Sargent Freeman.

Warshawsky painted portraits of John W. (Jack) Raper, 1870-1950, a columnist for "The Cleveland Press" in 1940, and his brother David, 1893-1989, in 1944 in Taxco, Mexico, which are in the collection of the City Club of Cleveland. The latter was a gift to the collection by the sitter’s son and his wife, David and Lee Warshawsky. Abel Warshawsky’s younger brother, Alexander L. Warshawsky, 1887-1945, was also a painter. The 1920 portrait of his wife, titled "Paris Unconquered," is set against a background vista of that city. The painting served as the frontispiece of his book of the same title, published in 1957. "Memories of an American Impressionist", a book about Abel G. Warshawsky, edited by Ben L. Bassham, was published by Kent State University Press, in 1980. Nancy Dustin Wall Moure’s article, "Abel Warshawsky," appeared in Art of California, in September 1990. His work was part of the exhibition, in 2002, "The Many Faces of Cleveland: A Century of Portraiture", at the Cleveland Artists Foundation.

Abel Warshawsky died in 1962.

Abel Warshawsky has five paintings in the collection of the Cleveland Museum of Art, as well as work in the Minneapolis Art Institute, Minnesota; Art Institute of Chicago, Illinois; and the Luxembourg Museum, Paris, France. His papers from 1930-1960 are in the Archives of American Art, Smithsonian Institution, Washington, D.C. They include a manuscript of the artist’s unpublished autobiography, "My Brush with Life," as well as typescripts of two versions of Warshawksy’s autobiography, "The Autobiography," and "Adventures with Color and Brush," which is a revision of the former, ending in 1941. Letters to his second wife, Ruth; six albums of photographs of artwork; sketchbooks and miscellaneous other materials are also included.

Eugene Galien-Laloue is considered to be one of the foremost Parisian street scene masters in the field of impressionism. For over five decades his art has dominated those of his contemporaries in both quality and price. His paintings stand as a landmark in art history.

Born in Paris, France in December 1854 to French-Italian parents, with the name Eugene Galiany. He later changed it as a tribute to his teacher Charles Laloue whom he studied with in 1877. He received his first training as an architect which helped Galien-Laloue with popularizing the subject matter of Paris street scenes and his very natural rural landscapes.

Since the camera could not accurately record motion, and perceived only black and white, Laloue’s paintings were in a sense picture postcards for the public, and they were highly prized by both tourists and the townspeople. His attention to detail accuracy of perception, reproduction of architecture, clearly set him above other street scene painters.

The country of France also selected Laloue to work as a military illustrator, capturing both the Franco-Prussian and the WW I in watercolor. These very rare paintings exhibit Eugene Galien-Laloue’s true genius. Laloue rendered the uncompromising beauty of life in France, depicting popular monuments, structures, villages and Harbors recognized throughout Europe.

Preferring the medium of gouache for the great body of his work, although there are several oil paintings and watercolors recorded, his pieces took on a painterly quality that few have come to perfecting. Today Galien-Laloue’s gouaches are treasured as artistic jewels. He is listed in the Benezit, Vol. 4 pg. 589.

Genre painting enjoyed tremendous popularity in nineteenth-century America. It was a style that allowed a painter to tell a story, evoke an emotion, tell a joke, or educate. Largely superseded in the twentieth century by changes in popular taste and improvements in photographic technology, genre painting nevertheless remains a strong sub current in popular taste.

One of the most notable painters in this mode was Harry Roseland. Roseland, born in Brooklyn, New York in 1868, matured as an artist while waves of change were sweeping over the art world. Largely self-taught, he chose to paint what he saw. He receive some education in art under J.B. Whittaker in Brooklyn, and at first painted some landscapes and still lifes, but his natural flair was for telling a story in his paintings. His subject matter was at first highly sentimental and heavily influenced by fashionable taste: smartly turned-out young women, old folks, and idealized farm scenes.

He abandoned the mawkishness that is the downfall of so many self-educated artists when he found a topic that was close to home and yet largely unnoticed: the post-Civil War blacks who formed the underpinning of Northeastern society. Roseland’s clever, skillful scenes of homely activities – such as checkers or letter-reading, were remarkably dispassionate and candid for the time, though to modern eyes they seem condescending and dated. To capture with gentle humor of a way of life that existed through the first half of the twentieth century and has now vanished.

Harry Roseland never left his native Brooklyn, dying in New York in 1950, but enjoyed  remarkable success as an artist in his chosen specialty, improving and maturing continually.

The archetype of the independent American artist, he never traveled to Europe to study or observe, choosing to carve his own path.

Memberships:
Brooklyn Arts Club
Brooklyn Society of Artists
Brooklyn Painters Society
Salmagundi Club

Exhibited:
Brooklyn Art Club, 1888 (gold)
Boston, Mass., 1900 (medal), 1904 (gold)
Charleston Expo, 1902 (medal)
National Academy of Design, 1898 (prize)
Brooklyn Society of Artists, 1930 (prize)
American Art Society, Philadelphia, 1902 (medal), 1907 (gold)
Pennsylvania Academy of the Fine Arts Art
Institute of Chicago Public

Collections:
Brooklyn Institute of Arts and Sciences
Brooklyn Museums
Charleston Art Museum
Heckscher Museum, Long Island, New York

Johann Berthelsen painted exquisitely rendered landscapes of New York City, judged "poetic" by contemporary critics. Ironically, though, it was music, not art, to which Berthelsen originally aspired.

A native of Copenhagen, Denmark, Berthelsen was six when his family immigrated to the United States in 1889. When he was eighteen, Berthelsen studied music and voice for four years at the Chicago Musical College. Following his graduation, he toured the United States and Canada as lead baritone for the Grand Opera Company, after which he taught voice, first at his alma mater and then at the Indianapolis Conservatory of Music.

In 1920, Berthelsen opened a private studio in New York City where he gave voice lessons. Berthelsen initially established his artistic reputation with his work in pastels. Working with small canvases, he found inspiration in New York’s Central Park, rendering this setting most effectively in its seasonal transformations. He painted similar scenes in and of Chicago. They also met with critical and popular acclaim.

Having achieved success as a pastelist, Berthelsen turned his attention to oils. He returned to the fundamentals of drawing in order to discover a technique appropriate to the medium. He used a heavy impasto to almost palpably render his landscapes. Berthelsen also painted still lifes. Unlike his landscapes, these works ( again on small canvases) are clearly defined, with colors ranging from bright to low key.

LISTED:
Allied Artists of America
American Watercolor Society
Salmagundi Club

PUBLIC COLLECTIONS:
Terre Haute Museum, Indiana
Wake Forest College, North Carolina

J.R. Herve, an impressionist of our time, is the very type of artist who has worked a lot on his own, indifferent to the fashion and to outside trends. He has never ceased to deepen the technical secrets of his art; and after 50 years of artistic experience, he has arrived at complete mastery of the science of this art which absorbs him.

Born in 1887 in Langres, a town in the eastern part of France, he began his art studies in an evening school of his hometown. As far back as he can remember, Herve always wanted to become an talented artist and thus to be able to express through color the beauty of everything he sees.

He came to Paris where he first continued his studies at the School of Decorative Arts and then at the Fine Arts School. He exhibited his works for the first time at the Salon of French Artists in 1910. He was one of the most important members of this group.

Obtaining his teaching diploma, he started teaching. From 1911 to 1943 he taught painting to many generations of young artists. In 1914 he received a first silver medal from the association of French Artists, but afterwards he unfortunately had to join the army for the duration of the war.

Herve is both a painter of daily country themes in which there are characters at their daily tasks, and a painter of Parisian scenes. He interprets his scenes with sensibility, putting all his heart into his work. All his artistic sensitivity is achieved by incredible strokes of light and color.

Paris as seen by Herve is a city of poetry. The "City of Lights" under its most touching aspects, and at its most charming. It is a real part of Paris, with its sentimental life, feelings, her special character, that inspire Herve to paint. Not only is Herve a painter of great talent, he represents the purest tradition of French art. He paints just like the great impressionists of former times, playing with his colors as a musician does with his musical instruments. He obtains in each of his works a marvelous harmony of color and light.

His paintings are in numerous museums in France; in the Petit Palais in Pads, at Langres, Troues Dijon, Saint-Etienne, Tourcoing, Annecy and abroad, in Chicago Museum and at Casablanca.

Martha Walter (American, 1875-1976)

Martha Walter was a well-known Philadelphia-born Impressionist who specialized in light hearted, colorful beach scenes especially of Gloucester, Coney Island, Atlantic City and the French Coast. She went to Girls High School and from 1895 to 1898, studied at the Pennsylvania Museum & School of Industrial Art, now The University of the Arts College of Art and Design).

Her recognitions at the school included the following:

1895/96: Received Certificate A in Industrial Drawing. Received honorable mention for the Henry Perry Leland Prize given by Mrs. John Harrison for work in Pen and Ink; $20 second prize for best set of drawings in the Course of Industrial Drawing.

1896/97: Received John T. Morris Prize of $10.00 for drawing of Details of the Human Figure; Jacob H. Weil Prize of an outfit of Oleo Water-Colors for best sketch in water-colors from Life.

1897/98: Honorable mention for the Mrs. George K. Crozer Prize offered for the best work in drawing; Caroline Axford Magee Prize of $20.00 for group of designs introducing decorative use of the human figure. At the Pennsylvania Academy for the Fine Arts, she studied with William Merritt Chase, and at his insistence, she entered competitions for various student awards.

She won the Tappan prize in 1902, and was one of four artists to win the first two-year Cresson traveling scholarship in 1908, which afforded her the opportunity to go to France, Holland, Italy and Spain. She attended the Grande Chaumiere in Paris where she had the advantage of the critical counsel of both Rene Menard and Lucien Simon, but eventually she felt their strictly classical approach too restrictive to her progress, so she enrolled in the Academie Julian. Once again she grew weary of the boundaries of tradition and so established her own studio in the Rue de Bagneaux with several other young American women artists. It was at this point that she developed her infatuation and skill for plain-air subjects.

Walter’s early work, 1900-1908, shows the very strong influence of William Merritt Chase. Her use of rich saturated colors, combined with her adept application of black paint was very successful. Black was a pigment extraordinarily difficult to master, and often omitted in the general course of American Impressionism.

The quietude of Martha Walter’s Paris period lasted until about 1912 when she began to vivify her palette and concentrate on light and shadow. Upon her return to America, around the beginning of World War I, she favored the use of bright and intense colors as highlights in her beach scenes of Bass Rock, Gloucester and Atlantic City. Her works had more spontaneity, as she concentrated on hues rather than subjects. In this sense she was once again in league with the French Impressionists who were frequently more concerned with the color recorded than with the form drawn. The subtle dissolution of forms tended to accentuate the predominant central theme in her works. Her figures did not suffer; they merely became more elusive.

Walter’s influence throughout her career was chiefly derived from the work and teachings of William Merritt Chase. She journeyed to the very places where Chase had painted – Shinnecock, Carmel, Paris, Holland, etc. Martha Walter had a studio in New York, taught at Chase’s New York School of Art and had a studio in Gloucester, and even taught in Brittany.

She was continually traveling back and forth to Paris. While she was in France, Eugene Boudin proved to be another strong source of inspiration for her. Many of Walter’s beach scenes exhibit varying tones of gray, which are reminiscent of the atmospheric quality achieved in Boudin’s work. Many of Walter’s canvases are obviously distinct reflections of French Impressionism. Through it all though, she developed a style of painting, which was a uniquely Martha Walter, with bold dashing brush strokes in conjunction with total color control, and well organized composition. Her style reflected the sensitivity of her European predecessors, but maintained a vigor, which was definitely American.

Cecelia Beaux offered favorable criticism of Walter’s work by saying that the beach scenes seemed as if they were blown onto the canvas. Walter visited Chattanooga, Tennessee, many times from 1903 to 1910, where she painted commissioned portraits and landscapes during the summer. Her ability to contrast her light and vibrant palette to the harsh reality of life in the mountains of Tennessee as expressed by the children that she saw and portrayed make the poignancy of the moment even more heart wrenching. Some of the children that she portrayed were so under-privileged that they didn’t even know the meaning of the word mountain.

In 1922, Martha Walter was given an exhibition of her paintings at the Galleries George Petit in Paris. The French government purchased a painting entitled The Checquered Cape from this exhibition, for the Musee de Luxembourg. This picture was a study for a larger painting of the same name.

In the 1930s, Martha Walter was represented by Milch Galleries in New York, and it was then that she began to travel to North Africa to paint her chromatic impressions of Tunis, Tripoli and Algiers. The Harsh African sun lent the cafe scenes, camel markets, and souk transactions an intense but different color sense than her American and French subjects. The broad flat planes of the local architecture, combined with the flowing Arabian robes worn by the inhabitants, gave her renderings of sharply defined areas of color a new dynamic quality.

From Africa, Walter traveled to the Dalmatian coast where she settled for a long enough time to paint dozens of bustling market scenes. Although well advanced in years, Martha Walter continued to paint until a few years before her death in 1976.

She has been represented in the Museum collections of Musee de Luxembourg, Pennsylvania Academy for the Fine Arts, Art Institute of Chicago, Detroit Institute of Arts, Milwaukee Art Center, Toledo Museum and the Woodmere Art Center, Philadelphia.

Sources: Paul Sternberg, Art by American Women Additional information supplied by Sara J. MacDonald, Public Services Librarian The University of the Arts, whose source are the PMSIA commencement programs and annual reports.

Tiiu Ashcraft (b. 1978)

 

Current Positions

 

Education Assistant, Full- time, Museum of Latin American Art, Long Beach, Ca Artist Assistant, Part-time (2007- to Janice Urnstien, Rancho Palos Verde, Ca. Artist Assistant, Part-time (2006- to Artist Vladimir Goryachev, Culver City, Ca.

Education

B.F.A., with Concentration in Drawing and Painting, California State University of Long Beach, 2007

B.A., Liberal Studies with emphasis in Mathematics, California State University of Long Beach, 2007

M.F.A., (Entering) School Museum of FA, Boston, MA (in association with Tufts University), 2008

Upcoming Exhibitions

2009 "Title to be determined," University Art Gallery, California State University of Dominguez Hills, Ca.

Solo Exhibitions

2007 "Stripped Facades," Dutzi Gallery, California State University of Long Beach, Ca. 2006 "Aufuis," Werby Gallery, California State University of Long Beach, Ca.

Curated Exhibitions

2007 "Twisted Fairy Tales," Werby Gallery, California State University of Long Beach, Ca., Curators: Tiiu Ashcraft & Somer Manner

Group Exhibitions

2007 "Insights," Annual Student Art Exhibition, University Art Museum, Long Beach, Ca.

"Alienation," Merlino Gallery, California State University of Long Beach, Ca.

Senior BFA Drawing and Painting Show, Max L. Gatov Gallery West and East, California State

University of Long Beach, Ca.

2006 "Leonardo Life Studies Advance Show," California State University of Long Beach, Ca.

"Powers of Ten," Gallery Five, California State University of Long Beach, Ca.

Junior BFA Drawing and Painting Show, Gallery Five, CSULB Long Beach, Ca.

2005 Annual Student Foundation Show, Max L. Gatov Gallery West, California State University

of Long Beach, Ca.

"Leonardo Project," California State University of Long Beach, Ca. 2004 "Imagined Spaces," California State University of Long Beach, Ca. "Still Life," California State University of Long Beach, Ca.

1998 Ash-Can Juried Show Exhibition, Ash-Can Gallery, Citrus Heights, CA

Annual Student Art Exhibition, Sacramento Fine Art Center, Carmichael, CA

Art Punks on the Boulevard, Phantom Galleries, Sacramento, CA

1997 Annual Student Art Exhibition, Sacramento Fine Art Center, Carmichael, CA

Art Punks on the Boulevard, Phantom Galleries, Sacramento, CA

1996 Annual Student Art Exhibition, Sacramento Fine Art Center, Carmichael, CA

Work Experience

Education Assistant, Museum of Latin American Art, Long Beach, CA, 2007- Present Instructor, Museum of Latin American Art, Long Beach, CA, 2007- Present Artist Assistant, Janice Urnstien, Rancho Palos Verde, CA, 2007- Present

Curator, Group Juried Show, California State University of Long Beach, Ca. 2007 Artist Assistant, Vladimir Goryachev, Culver City, CA, 2006- Present

Loss Prevention, Sport Chalet Sporting Goods, Laguna Hills, CA, 2001-2003 Administrative Assistant, Marriott International, Inc. Santa Ana, CA, 1999-2001 Administrative Assistant, Innovative Care System, Inc. Rancho Cordova, CA, 1997-1999

Teaching Experience

Instructor, Museum of Latin American Art, Long Beach, CA, 2008

Four week course "Drawing on the Human Form," mixed media and life drawing: composition, light and dark, technical mastery of drawing the human form.

Instructor, Museum of Latin American Art, Long Beach, CA, 2007- Present

Weekly workshops for adults and children dealing with 2-D design, drawing, life drawing, beginning drawing, composition, watercolor, figure painting,

Private Collections

Ame A. Seibel, San Diego, Ca.

Alexander Slato, Long Beach, Ca. Bella Vista High School, Fair Oaks, Ca. Brain E. Smith, Anaheim Hills, Ca. Janice Johnson, Fair Oaks, Ca

Jean Stanley, Solana Beach, Ca.

Jesse C. Riley, Huntington Beach, Ca. Lauren Gerig, Glasgove, UK.

Linda Day, San Pedro, Ca

Mark B. Ashcraft, Fair Oaks, Ca.

Publications

"Resident Artist," The Bronco Voice, Vol. 36 No. 4 December 1996, pg.

Commissions

2003 Screen, Acrylic AND Mixed Media on Wood Panels 80"x73", Private Collector, Fair Oaks, CA 1996 Untitled Mural, Latex and Oil on Cement 20’x7′, Bella Vista High School, Fair Oaks, CA

Affiliations

2007: Museum of Latin American Art member, Ca

Museum of Contemporary Art member, Ca

National Art Education Association member, Ca

Smack Mellon Gallery member, NY

2005-2007: California State University of Long Beach, BFA Club 2003-Present: Art Wanted: Portfolio of paintings, drawings and mixed media

 

 

 

It was suggested by 19^th century painter Jules Breton that “France had lost its Holbein” when Bastien-Lepage died in 1884.  Bastien-Lepage , in addition to his landscapes and Salon pictures, enjoyed great success as a portraitist.  The year he executed this work, he finished a portrait of the His Royal Highness the Prince of Wales which is in the Royal Collection at Buckingham Palace.  An important characteristic of the Naturalist Movement of this time was that whether Bastien-Lepage was painting a peasant, bootblack or nobility mattered less to him than capturing the unique personality of the sitter.