tag:blogger.com,1999:blog-71827863427781072062024-03-14T04:44:10.187-05:00MIR Appraisal Services, Inc.: Fine Art CommentaryMIR Appraisal Services, Inc.http://www.blogger.com/profile/00573203865117385442noreply@blogger.comBlogger163125tag:blogger.com,1999:blog-7182786342778107206.post-45619583113206196232011-05-31T15:47:00.002-05:002014-03-12T10:00:50.201-05:00New Blog!<!--[if gte mso 9]><xml> <w:worddocument> <w:view>Normal</w:View> <w:zoom>0</w:Zoom> <w:trackmoves/> <w:trackformatting/> <w:punctuationkerning/> <w:validateagainstschemas/> <w:saveifxmlinvalid>false</w:SaveIfXMLInvalid> <w:ignoremixedcontent>false</w:IgnoreMixedContent> <w:alwaysshowplaceholdertext>false</w:AlwaysShowPlaceholderText> <w:donotpromoteqf/> <w:lidthemeother>EN-US</w:LidThemeOther> <w:lidthemeasian>X-NONE</w:LidThemeAsian> <w:lidthemecomplexscript>X-NONE</w:LidThemeComplexScript> <w:compatibility> <w:breakwrappedtables/> <w:snaptogridincell/> <w:wraptextwithpunct/> <w:useasianbreakrules/> <w:dontgrowautofit/> 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Lately the weather has been changing a lot, almost too much; one minute it’s freezing cold and the next it’s broiling outside. Luckily for us, we know that this is Mother Nature’s way of making positive changes in order to welcome summer back into our lives. Well, just as the weather has been indecisive and somewhat unclear, so has our blog. We have been working hard this past month to bring you—our devoted readers—a better publication. A publication that not only can inform you about various artists but can also foster reader interaction and encourage growth in the arts. We are proud to officially launch our new blog at WordPress.com and hope you enjoy it as much as we do! </div>
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You can find our new blog at: <a href="http://mirappraisal.com/mir-blog/">http://mirappraisal.com/mir-blog/</a></div>
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Please visit our new site and be sure to sign up for a subscription!</div>
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</div>
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Thank you for reading.</div>
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~C.L.</div>
MIR Appraisal Services, Inc.http://www.blogger.com/profile/00573203865117385442noreply@blogger.comtag:blogger.com,1999:blog-7182786342778107206.post-68244651836714977832011-05-31T09:34:00.003-05:002011-05-31T09:53:55.825-05:00George Rickey<span style="font-size:100%;"><span style="font-style: italic;">While you patiently wait for our new blog site to be fully up and running, please enjoy this article about renowned artist, George Rickey-written and researched by one of our appraisers, Margaret Smilowitz.</span></span><br /><br /><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/-kOCKkcVGzf0/TeT-jfHyFmI/AAAAAAAAB90/kgGyHYIujMY/s1600/george%2Brickey%2Bimage.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 152px; height: 200px;" src="http://2.bp.blogspot.com/-kOCKkcVGzf0/TeT-jfHyFmI/AAAAAAAAB90/kgGyHYIujMY/s200/george%2Brickey%2Bimage.jpg" alt="" 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mso-para-margin-left:0in; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin;} </style> <![endif]--> <p class="MsoNormal"><span style="line-height: 115%;font-size:18pt;" ><a name="_GoBack"></a></span></p><p class="MsoNormal">George Rickey blended many styles to create his kinetic sculpture. Like his predecessor, Alexander Calder, Rickey was interested in the possibility of movement in sculpture and like his contemporaries, such as Sol Lewitt or David Smith, Rickey created minimalist works which examined the beauty of individual shapes. Rickey’s combination of movement, and minimalism created dynamic sculptures that are able to totally change and rearrange the environment they inhabit and truly capture their audience.</p> <p class="MsoNormal">Rickey was born<img src="file:///C:/DOCUME%7E1/ADMINI%7E1/LOCALS%7E1/Temp/moz-screenshot.png" alt="" /> in 1907 in Southbend, Indiana. He spent the first part of his life studying art at various art schools in the United States and in Paris. After receiving his art education, Rickey taught art at man<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/-Vi2QltzVFmc/TeUAxp-EqXI/AAAAAAAAB-M/8YyAe6HN8fQ/s1600/450px-Rickey_Rotterdam_03.JPG"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 150px; height: 200px;" src="http://2.bp.blogspot.com/-Vi2QltzVFmc/TeUAxp-EqXI/AAAAAAAAB-M/8YyAe6HN8fQ/s200/450px-Rickey_Rotterdam_03.JPG" alt="" id="BLOGGER_PHOTO_ID_5612893363666987378" border="0" /></a>y Midwestern schools, including Know College, the University of Indiana and Olivet College.<span style=""> </span>In this part of his career, Rickey was a painter. Inspired by artist in the Workers Progress Administration (WPA) Rickey’s early work was influenced by Social Realism. However, after his years in the army during WWII and after he studied at the Bauhaus<span style=""> </span>Rickey’s art began to change.</p> <p class="MsoNormal">In the late 1940’s Rickey began his work with moving geometry. <span style=""> </span>He started to attach simple forms like rectangles and metal spears to podiums and stands. The shapes would be secured by an intricate system of bearings which would allow the shapes to shift or sway from movement. These works exemplified the beauty of possibility. The chance that the shapes might move creates a type of suspense for the scu<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/-H9-N3R0c-HY/TeT_Bj6ncvI/AAAAAAAAB-E/50xdZSm7E7w/s1600/ludqigshafen%2Brickey.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 170px; height: 200px;" src="http://4.bp.blogspot.com/-H9-N3R0c-HY/TeT_Bj6ncvI/AAAAAAAAB-E/50xdZSm7E7w/s200/ludqigshafen%2Brickey.jpg" alt="" id="BLOGGER_PHOTO_ID_5612891437896528626" border="0" /></a>lptor’s viewer. The sculpture has the possibility to change each time it is looked upon and it is this dynamism which makes Rickey’s sculpture so unforgettable. </p> <p class="MsoNormal">Rickey continued to make sculpture until he died in 2002. He created several public art works, installing his work in many places all over the globe, including his 57 foot sculpture at the Hyogo Museum in Japan. <span style=""> </span>His work remains in museums, private collections and at the universities he taught at. Rickey’s work will be remembered for its ability to blend the styles from many periods to make unique sculpture which combined geometry with action. </p> <p class="MsoNormal"><span style="font-size:78%;"><br /></span></p><p class="MsoNormal"><span style="font-size:78%;">Works sited:</span></p> <p class="MsoNormal"><span style="font-size:78%;"><a href="http://www.rpi.edu/dept/metasite/news/magazine/winter2004/onelastthing.html">http://www.rpi.edu/dept/metasite/news/magazine/winter2004/onelastthing.html</a></span></p> <p class="MsoNormal"><span style="font-size:78%;"><a href="http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=6628263">http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=6628263</a></span></p> <p class="MsoNormal"><span style="font-size:78%;"><a href="http://www.ludorff.com/de/artist/george_rickey/works">http://www.ludorff.com/de/artist/george_rickey/works</a></span></p> <span style="font-size:78%;"><span style="line-height: 115%;font-family:";" ><a href="http://www.nytimes.com/2002/07/21/nyregion/george-rickey-sculptor-whose-works-moved-dies-at-95.html?pagewanted=2&src=pm">http://www.nytimes.com/2002/07/21/nyregion/george-rickey-sculptor-whose-works-moved-dies-at-95.html?pagewanted=2&src=pm</a></span></span>MIR Appraisal Services, Inc.http://www.blogger.com/profile/00573203865117385442noreply@blogger.comtag:blogger.com,1999:blog-7182786342778107206.post-23461980052984348322011-05-25T11:52:00.002-05:002011-05-25T12:01:40.328-05:00Coming soon...Hello to our loyal followers, and to our new readers as well!<br /><br />In an effort to improve our blog, we are in the process of making some changes:<br /><br /><ul><li>First of all, our blog is under new "management"!</li></ul><ul><li>Secondly, we are transferring our blog platform from Blogger to Word Press. (You will be able to reach our new blog through this site for a limited amount of time.)</li></ul><ul><li>When our new site is ready to launch I will post the new address, please be sure to visit & subscribe!</li></ul><ul><li>We are also looking at some content & format changes.<br /></li></ul>We are very interested to hear your thoughts and comments on these changes. Feel free to leave a comment attached to this posting or e-mail caitlin.luetger@mirappraisal.com<br /><br />~Caitlin LuetgerMIR Appraisal Services, Inc.http://www.blogger.com/profile/00573203865117385442noreply@blogger.comtag:blogger.com,1999:blog-7182786342778107206.post-13352409157767748012011-05-10T15:02:00.022-05:002011-05-16T10:33:11.156-05:00Adrien-Jean Le Mayeur de Merpès<span style="color: rgb(0, 0, 0);font-size:100%;" ><br /></span><div style="color: rgb(0, 0, 0);"><span style="color: rgb(0, 0, 0);font-family:arial;font-size:100%;" ><br /><br /></span><span style="color: rgb(0, 0, 0); font-family: arial;font-family:arial;font-size:100%;" >Adrien-Jean Le May</span><span style="color: rgb(0, 0, 0);font-family:arial;font-size:100%;" ><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/-tqesXg_tRRo/TcmqdsWzMQI/AAAAAAAAB9U/xiC9eRG1bV4/s1600/thumb.php"><img style="margin: 0pt 10px 10px 0pt; width: 320px; float: left; height: 257px; cursor: pointer;" id="BLOGGER_PHOTO_ID_5605198638339010818" alt="" src="http://1.bp.blogspot.com/-tqesXg_tRRo/TcmqdsWzMQI/AAAAAAAAB9U/xiC9eRG1bV4/s320/thumb.php" border="0" /></a></span><span style="color: rgb(0, 0, 0); font-family: arial;font-family:arial;font-size:100%;" >eur de Merpes (1880-1958) was a Belgium artist from Brussels who spent his early artistic career traveling the world, painting the </span><span style="color: rgb(0, 0, 0); font-family: arial;font-family:arial;font-size:100%;" >things he had seen. In 1932, however, he landed in Bali and found a place so beautiful he could paint it for the rest of his life. He once explained, "I am an impressionist. There are three things in life that I love: beauty, sunlight, and silence. Now could you tell me where to find these in a more perfect state than in Bali?" Le Mayeur's passion for Bali, its beauty and its people can certainly be felt in his work. His broad brush strokes, use of light and </span><span style="color: rgb(0, 0, 0); font-family: arial;font-family:arial;font-size:100%;" >color, and depiction of the female form g</span><span style="color: rgb(0, 0, 0); font-family: arial;font-family:arial;font-size:100%;" >ive his paintings a pristine and mythical beauty that provides the viewer a glimpse of a forgotten world.</span><span style="font-size:100%;"><br /><br /></span><p style="font-family: arial;font-family:arial;" class="MsoNormal" ><span style="font-size:100%;">Le Mayeur spent his time in Bali painting in a garden paradise. After a</span><span style="font-size:100%;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/-7yoXdRAzpho/TcmbqHwDgwI/AAAAAAAAB9M/Owaz7WsdZXE/s1600/395PX-%257E1.JPG"><img style="margin: 0pt 0pt 10px 10px; width: 210px; float: right; height: 320px; cursor: pointer;" id="BLOGGER_PHOTO_ID_5605182359176708866" alt="" src="http://3.bp.blogspot.com/-7yoXdRAzpho/TcmbqHwDgwI/AAAAAAAAB9M/Owaz7WsdZXE/s320/395PX-%257E1.JPG" border="0" /></a></span><span style="font-size:100%;"> few years and some successful exhibits, </span><span style="font-size:100%;">he built a house on the beach at Sanar and married </span><span style="font-size:100%;">his longtime mod</span><span style="font-size:100%;">el,</span><span style="font-size:100%;"> </span><span style="font-size:100%;">Ni Pollok. Ni Pollock remained Le Mayeur’s muse and appeared in most of his paintings. Together they created works which showcased the beauty of the environment around them; works like </span><span class="apple-style-span" style="font-size:100%;"><i>Women Making Offerings at Sacred Pond </i></span><span class="apple-style-span" style="font-size:100%;">(1958) depict a group of women in tradi</span><span class="apple-style-span" style="font-size:100%;">tional Balinese costume, framed by blossoming flowers and littered with glittering light. The ny</span><span class="apple-style-span" style="font-size:100%;">mph- </span><span class="apple-style-span" style="font-size:100%;">like figures dance around the frame and tend to an illustrious garden po</span><span class="apple-style-span" style="font-size:100%;">nd. Ultimately, it is Le Mayeur’s ability to create this type of mythical mirage from another time and place that make his paintings so successful and sought after. <span style="font-size:78%;">[To the right, Le Mayeur and his wife Ni Pollock; Attribution: Tropenmuseum of the Royal Tropical Institute (KIT)]</span></span></p><p style="font-family: arial;font-family:arial;" class="MsoNormal" ><span class="apple-style-span" style="font-size:100%;"><br /></span></p><!--[if !mso]> <style> v\:* {behavior:url(#default#VML);} o\:* {behavior:url(#default#VML);} w\:* {behavior:url(#default#VML);} .shape {behavior:url(#default#VML);} </style> <![endif]--><!--[if gte mso 9]><xml> <w:worddocument> <w:view>Normal</w:View> <w:zoom>0</w:Zoom> <w:trackmoves>false</w:TrackMoves> <w:trackformatting/> <w:punctuationkerning/> <w:validateagainstschemas/> <w:saveifxmlinvalid>false</w:SaveIfXMLInvalid> <w:ignoremixedcontent>false</w:IgnoreMixedContent> 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style="margin-bottom: 12pt; line-height: normal;"><span style="font-size:100%;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/-XcqVd0F-BCM/TdFCAkALKxI/AAAAAAAAB9k/lGl3PRJ88vI/s1600/Le_Mayeur.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 200px; height: 150px;" src="http://1.bp.blogspot.com/-XcqVd0F-BCM/TdFCAkALKxI/AAAAAAAAB9k/lGl3PRJ88vI/s320/Le_Mayeur.jpg" alt="" id="BLOGGER_PHOTO_ID_5607335588484819730" border="0" /></a></span><span style="font-family: arial;font-size:100%;" >Le </span><span style=";font-family:";font-size:100%;" ><span style="font-family: arial;">Mayeur continued to paint in Bali until his death in 1958. During the Japanese Occupation of Bali from 1942-45, Le Mayeur was on house arrest. Sequestered off in his house without access to art supplies, Le Mayeur painted on wood scraps and rice sacks in order to continue his work. After his death, Ni Polok continued to live in their house at Sanar. Upon her death and according to her husband’s wishes, the house was left to the Indonesian government and remains a National Museum in Bali. To this day, Le Mayeur’s work continues to serve as a testament to the beauty of Bali.</span><br /></span></p><p class="MsoNormalCxSpMiddle" style="margin-bottom: 12pt; line-height: normal;"><span style=";font-family:";font-size:100%;" ><br /><br /><br /><a style="font-family: arial;" href="http://mirappraisal.com/"><span style="">MIR Appraisal Services, Inc.</span></a></span><span style="font-family: arial;font-family:";font-size:100%;" ><br />Principal Appraiser: Farhad Radfar, ISA AM<br />307 N. Michigan Avenue, Suite 308<br />Chicago, IL 60601</span><span style="font-family: arial;font-family:";font-size:100%;" > </span></p> <p class="MsoNormalCxSpMiddle" style="margin-bottom: 0.0001pt; line-height: normal; font-family: arial;"><span style=";font-size:100%;" >(312) 814-8510</span></p> <p class="MsoNormalCxSpMiddle" style="margin-bottom: 0.0001pt; line-height: normal; font-family: arial;"><span style=";font-size:100%;" ><br /> </span></p> <p class="MsoNormalCxSpMiddle" style="line-height: normal; font-family: arial;"><span style=";font-size:100%;" >Researched and Written by: Margaret Smilowitz</span></p> <p class="MsoNormalCxSpMiddle" style="line-height: normal; font-family: arial;"><span style=";font-size:100%;" >Edited by: Caitlin Luetger</span><span style=";font-size:100%;" > </span></p> <p class="MsoNormalCxSpMiddle" style="line-height: normal; font-family: arial;"><span style=";font-size:100%;" >Works cited:</span></p> <p class="MsoNormalCxSpMiddle" style="line-height: normal; font-family: arial;"><span style="font-size:100%;"><u><span style="">http://findbali.com/bali-museum.html</span></u></span></p> <p class="MsoNormalCxSpMiddle" style="line-height: normal; font-family: arial;"><span style="font-size:100%;"><u><span style="">http://english.ntdtv.com/ntdtv_en/ns_life/2010-01-29/237317381164.html</span></u></span></p> <p class="MsoNormalCxSpMiddle" style="line-height: normal; font-family: arial;"><span style="font-size:100%;"><u><span style="">http://www.artknowledgenews.com/Adrien_Jean_Le_Mayeur_de_Merpres.html</span></u></span></p> <p class="MsoNormalCxSpMiddle" style="line-height: normal; font-family: arial;"><span style=";font-size:100%;" ><a href="http://www.lemayeur.com/">http://www.lemayeur.com/</a></span></p> <span style="font-family: arial;font-size:100%;" ><br /><br /></span><p class="MsoNormal" style="font-family:arial;"><span style="font-size:100%;"><br /></span></p></div>MIR Appraisal Services, Inc.http://www.blogger.com/profile/00573203865117385442noreply@blogger.comtag:blogger.com,1999:blog-7182786342778107206.post-39558231814686563452011-05-09T14:30:00.023-05:002011-05-10T13:16:08.605-05:00Wojciech Adalbert Kossak<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/-vQ3P23szasw/TclT8228-iI/AAAAAAAAB8M/ArFKWuYIBZA/s1600/Kossak_Woj_Emilia_Plater.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 400px; height: 267px;" src="http://3.bp.blogspot.com/-vQ3P23szasw/TclT8228-iI/AAAAAAAAB8M/ArFKWuYIBZA/s400/Kossak_Woj_Emilia_Plater.jpg" alt="" id="BLOGGER_PHOTO_ID_5605103516222552610" border="0" /></a><div>Known for his paintings depicting scenes of Polish patriotism and battle, Polish artist Wojciech Adalbert Kossak is unique in his loyalty to the same nationally beloved subjects throughout his career, even as his contemporaries embraced fluctuations of styles between Western Europe and traditional Polish art. Kossak was born in Paris in 1857 to famous Polish artist Juliusz Kossak. Wjciech Kossak first studied drawing under his father before entering Krakow’s School of Fine Arts in 1871, he then moved to the Munich Academy of Fine Arts four years later. Kossak returned to Krakow in 1876 to serve in the Krakow Cavalry Regiment for a short period of time before focusing on his art career </div><div><br />Kossak’s father, Juliusz, greatly influenced his career and popularity as a painter of historic themes and battle, especially cavalry. Juliusz worked mostly in watercolor, painting the lifestyles of members of the gentry and nobility to whose estates he was invited to visit and observe. In addition to some portraiture, Juliusz was particularly passionate about horses and painted many riding, racing, and hunting scenes. Wjciech Kossak immediately embraced his father’s style and favorite subject matters, beginning with his return to Krakow in 1876. </div><br />In addition to his father’s influence on his work, Kossak was ins<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/-ph0kHaHlrFM/Tclk2wES8UI/AAAAAAAAB88/Z6mXoeDpd8Q/s1600/Noclistopadowa.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 358px; height: 190px;" src="http://1.bp.blogspot.com/-ph0kHaHlrFM/Tclk2wES8UI/AAAAAAAAB88/Z6mXoeDpd8Q/s400/Noclistopadowa.jpg" alt="" id="BLOGGER_PHOTO_ID_5605122103017926978" border="0" /></a>pired even further by his time in the Cavalry Regiment and would flourish in the coming decade after he returned to Paris in 1887 to study at the École des Beaux Arts under Alexandre Cabanel and Leon Bonnat. In 1884, Kossak moved back to Krakow and began to work on large scale oil and watercolor paintings of historic themes, including the Napoleonic Wars and famous Polish battles and uprisings against foreign invaders. Kossak also did some portraiture, painting family members, nobility, military figures, and occasionally himself.<br /><br />At the end of the 19th century, Polish artists began to merge these popular themes with Impressionism. At the arrival of WWI, artists moved back to historic themes, but after the war they embraced cubism, abstractionism, and expressionism. Perhaps as can be expected, as the horrors of WWII played out in Poland, Polish artists once again focused on patriotic scenes. Despite the constant changing of artistic styles in Poland, Kossak continued to paint only the popular battle and historic themes he was known for. Patrons of Kossak were especially fond of his depictions of horses in cavalry scenes and occasional hunting scenes. Kossak painted some works of contemporary events such as WWI and the 1920 military campaign, but he mostly stuck with events like the Polish uprising against Russia.<br /><br /><br />The majority of Kossak’s well known painti<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/-r1CKVugoIhU/TclizjCe1aI/AAAAAAAAB80/TnuWMRRWAfM/s1600/PrzysiegaKosciuszki.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 352px; height: 268px;" src="http://4.bp.blogspot.com/-r1CKVugoIhU/TclizjCe1aI/AAAAAAAAB80/TnuWMRRWAfM/s400/PrzysiegaKosciuszki.jpg" alt="" id="BLOGGER_PHOTO_ID_5605119848957793698" border="0" /></a>ngs depict famous Polish battles. Inspired by revered Polish artists Jan Matejko and Wojciech Gerson, Kossak and a few other choice painters of his time painted a massive circular oil panorama in honor of the 100th anniversary of the victorious Battle of Raclawice, celebrating Poland’s bravery in defense of Polish independence. Kossak also painted panoramas of the Battle of Berezyna and the Battle of the Pyramids.<br /><br />After a long career devoted to celebrating Polish patriotism and defense against international oppression, Kossak died in Krakow in 1942. His work hangs in many private collections in addition to the National Museum in Warsaw. He will continue to be known for his loyalty to traditional Polish styles and themes within his art, despite the often-changing directions of his contemporaries.<br /><br /><br /><br /><br /><br /><br /><a href="http://mirappraisal.com/">MIR Appraisal Services, Inc.</a><br />Principal Appraiser: Farhad Radfar, ISA AM<br />307 N. 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mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin;} </style> <![endif]--> <p class="MsoNormal">http://www.askart.com/AskART/artists/biography.aspx?artist=11143744</p><br /><br /><span style=";font-family:";" ></span> <p class="MsoNormal"><span style=";font-family:";" > </span></p> <span style="font-size:85%;"><span style=";font-family:";" ></span></span>MIR Appraisal Services, Inc.http://www.blogger.com/profile/00573203865117385442noreply@blogger.comtag:blogger.com,1999:blog-7182786342778107206.post-48407050136512758972011-03-09T13:21:00.005-06:002011-03-09T13:35:37.589-06:00Karl BuehrGerman-American artist Karl Buehr is credited as one of the <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/-E1iM1faCCg8/TXfWEXvVnPI/AAAAAAAAB8E/iCCTKGJcpKg/s1600/small_expectancy.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 146px; height: 181px;" src="http://4.bp.blogspot.com/-E1iM1faCCg8/TXfWEXvVnPI/AAAAAAAAB8E/iCCTKGJcpKg/s400/small_expectancy.jpg" alt="" id="BLOGGER_PHOTO_ID_5582165633729404146" border="0" /></a>first Chicago artists to adopt Impressionism, bringing his colorful paintings back to the United States after a very influential twelve years in France at the height of the Impressionist movement. Buehr is known for his brilliantly colored landscape and figure paintings, particularly paintings of women surrounded by lush green backgrounds and an abundance of flowers. Buehr brought back to Chicago the beauty of Giverny, painting alongside contemporaries such as Monet and many other American expats.<br /><br />Born in Germany <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/-EjodaE-PTqg/TXfTw5UL44I/AAAAAAAAB7k/g5ncDZyt5AM/s1600/small_red-headed-girl-with-parasol.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 168px; height: 212px;" src="http://4.bp.blogspot.com/-EjodaE-PTqg/TXfTw5UL44I/AAAAAAAAB7k/g5ncDZyt5AM/s400/small_red-headed-girl-with-parasol.jpg" alt="" id="BLOGGER_PHOTO_ID_5582163100121686914" border="0" /></a>in 1866, Buehr was one of seven children born to wealthy vineyard owners. Shortly after his birth, the Buehr family immigrated to Chicago in 1868. Karl wasted no time in pursuing a career in art and began working in the shipping department of a lithograph firm near the Art Institute of Chicago at the age of 14. Buehr began to visit the museum regularly and landed a part-time job, allowing him to enroll in night classes at the school. By 1888, Buehr was working at the Institute as a night watchman where he had a unique introduction to the masters by being able to observe and study them as he worked, most significantly Impressionist works.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/-OsKPh1VCz6k/TXfUMdaPZ_I/AAAAAAAAB7s/aHL7lcLcJP0/s1600/small_young-girl-in-a-boat.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 229px; height: 183px;" src="http://2.bp.blogspot.com/-OsKPh1VCz6k/TXfUMdaPZ_I/AAAAAAAAB7s/aHL7lcLcJP0/s400/small_young-girl-in-a-boat.jpg" alt="" id="BLOGGER_PHOTO_ID_5582163573667227634" border="0" /></a><br />Buehr completed his education at the Art Institute in 1897, graduating with honors and considered one of their most outstanding students. After school, Buehr briefly enlisted in the U.S. Army during the Spanish-American War, only to resume his studies in 1899 under artist Frank Duveneck. Buehr gained international recognition as a painting of his was exhibited at the Paris Salon of 1900. He stayed in Paris for two years to study at Académie Julian under Raphael Collin. After winning the bronze medal at the St. Louis Universal Exposition in 1904, Buehr and his family moved to France permanently the next year thanks to a generous patron. From there, Buehr traveled to Sicily and painted his surroundings for a year, moved to England to study at the London Art School for two years, and finally returned to Paris in 1908.<br /><br />Shortly after moving back to France, Buehr began to paint at Giverny, the subject of many of Monet’s most famous works. In 1912, Buehr took up permanent residence in the village. While there, Buehr dev<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/-sh2LKwVAea0/TXfUgkHhlyI/AAAAAAAAB70/pJC0LgwWup4/s1600/small_a-pledge-of-love.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 190px; height: 237px;" src="http://1.bp.blogspot.com/-sh2LKwVAea0/TXfUgkHhlyI/AAAAAAAAB70/pJC0LgwWup4/s400/small_a-pledge-of-love.jpg" alt="" id="BLOGGER_PHOTO_ID_5582163919065159458" border="0" /></a>eloped friendships with fellow expats such as Richard Miller, Theodore Earl Butler, Lawton Parker, and formed an especially strong friendship with American Impressionist Frederick Frieseke. It is also claimed by Buerh’s son that his sister was a playmate of Monet’s granddaughter.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/-DGyUXXmn6PU/TXfVYAoaygI/AAAAAAAAB78/Nb_-FkIHpyY/s1600/small_news-from-home.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 180px; height: 228px;" src="http://4.bp.blogspot.com/-DGyUXXmn6PU/TXfVYAoaygI/AAAAAAAAB78/Nb_-FkIHpyY/s400/small_news-from-home.jpg" alt="" id="BLOGGER_PHOTO_ID_5582164871612123650" border="0" /></a><br />Giverny was the source of inspiration for Buehr’s notably colorful and lush backgrounds and landscapes, clearly reflecting his plein-air practices. Many of his paintings depict porch scenes with both groups of women and many with a single woman, though Buehr also did some interior paintings as well. His subjects were most often women sitting or standing around a table of some sort in thier feminine, floral dresses enjoying the colorful atmosphere surrounding them or soft skies above them. The women in Buerh’s works depicting a single woman were often painted with serious expressions, many times staring directly at the viewer. One of his most famous paintings, <span style="font-style: italic;">News From Home</span>, was painted at Giverny and exhibited at the French Salon in 1913 and later at the Art Institute of Chicago. As the popularity of Impressionism declined, Buehr’s work essentially stayed within the Impressionist style but executed with wider brushstrokes. His subject matters and identifiably vibrant and expressive colors remained the same.<br /><br />After a successful and influential nine years in Europe, Buehr returned to Chicago in 1914 and taught at the Art Institute until his death in 1952.<br /><br /><br /><br /><br /><br /><br /><br />Sources:<br />http://www.askart.com/askart/artist.aspx?artist=25111<br />http://www.artnet.com/artists/karl+albert-buehr/biography-links<br />http://americangallery.wordpress.com/2010/03/08/karl-albert-buehr-1866-1952/<br /><br />Researched and written by Alexandra Nilles.<br /><br /><br />MIR Appraisal Services, Inc.<br />Principal Appraiser: Farhad Radfar, ISA AM<br />307 N. Michigan Avenue, Suite 308<br />Chicago, IL 60601<br />(312) 814-8510<br /><br />MIR Appraisal Services, Inc., is located just steps from the Art Institute of Chicago and the Chicago Cultural Center; please do give us a ring to set up an appointment for a verbal evaluation of your most prized works of art.MIR Appraisal Services, Inc.http://www.blogger.com/profile/00573203865117385442noreply@blogger.comtag:blogger.com,1999:blog-7182786342778107206.post-39936749379687428082011-03-02T12:41:00.005-06:002011-03-02T12:50:56.359-06:00Francis Coates Jones<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/-7NFka7zVuJ0/TW6QG-oNgtI/AAAAAAAAB7E/wRPdpdunm3k/s1600/coates.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 229px; height: 321px;" src="http://1.bp.blogspot.com/-7NFka7zVuJ0/TW6QG-oNgtI/AAAAAAAAB7E/wRPdpdunm3k/s400/coates.jpg" alt="" id="BLOGGER_PHOTO_ID_5579555437923893970" border="0" /></a>American artist Francis Coates Jones stands out from his fellow American artists of the late-19th to early-20th century by his response to and embrace of classical art instruction, and the influence it had on his later work. Unlike many of his contemporaries, such as Albert Krehbiel and Victor Higgins, Jones embraced his classical education at the most prestigious art schools in France and other European countries, and ultimately ignored the modern trends surrounding him. In comparison, his contemporaries were exposed to the modern works and artists of Paris and immediately rejected them, deciding America needed her own style of art.<br /><br />Born in Baltimore in 1857, Jones made his name as a figure painter and was famous for his elaborate interior scenes that exuded absolute luxury. He was known for his consistent interest in costume and decorative objects and use of rich paint handling, encouraged and strengthened by his studies abroad.<br /><br />Jones first became interested in art after visiting Edwin Austine Abbey with his brother H. Bolton Jones (who would become a successful landscape painter) in 1876. In 1887 the two brothers traveled to Paris where Francis studied antiques at École des Beaux-Arts under Henri Lehmann. Jones spent five years abroad, touring France, Italy, Switzerland, and<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/-Dh3f0mVQTHQ/TW6QUfI_ouI/AAAAAAAAB7M/CnZmBxQ2piY/s1600/Francis%2BCoates%2BJones.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 250px; height: 217px;" src="http://1.bp.blogspot.com/-Dh3f0mVQTHQ/TW6QUfI_ouI/AAAAAAAAB7M/CnZmBxQ2piY/s400/Francis%2BCoates%2BJones.jpg" alt="" id="BLOGGER_PHOTO_ID_5579555669989630690" border="0" /></a> England. In the winter of 1879-1880, Jones lived in London and painted panoramas of military subjects. He then returned to France to continue his formal education. His art reflected that of his teachers and classical education under well-known academicians Jules Joseph Lefebvre and William Adolphe Bouguereau. His studies were present in his work throughout his entire career, particularly his attention to precision and detail, which were especially influential in his richly furnished interiors and costumes.<br /><br />Before retur<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/-PyndFlwUiYI/TW6QsV1y48I/AAAAAAAAB7U/f-pjSxKIbAw/s1600/small_title-unknown.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 169px; height: 240px;" src="http://4.bp.blogspot.com/-PyndFlwUiYI/TW6QsV1y48I/AAAAAAAAB7U/f-pjSxKIbAw/s400/small_title-unknown.jpg" alt="" id="BLOGGER_PHOTO_ID_5579556079810044866" border="0" /></a>ning home, Jones also spent time at the artist colony in Pont-Aven in Brittany alongside fellow artists Robert Wylie and Thomas Hovenden. Pont-Aven was especially famous for being a painting site of Paul Gauguin.<br /><br />As previously mentioned, unlike his fellow contemporary American artists, Jones had embraced, not rejected, his formal art education. Upon his return to the United States, the artist illustrated a series of historical houses in Washington, D.C. for Scribner’s in October 1893. In 1895 Jones began teaching at the National Academy of Design. At this point in his career, the artist began mural painting and spent summers painting landscapes in Berkshire Mountains of Massachusetts. Applying his talent for detail and rich colors, many of his landscapes and outdoor scenes almost look like photographs at first glance.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/-NNq3vmNFjxk/TW6RECKvMjI/AAAAAAAAB7c/ic12ym-fjLU/s1600/Francis%2BCoates%2BJones2%25282%2529.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 220px; height: 220px;" src="http://4.bp.blogspot.com/-NNq3vmNFjxk/TW6RECKvMjI/AAAAAAAAB7c/ic12ym-fjLU/s400/Francis%2BCoates%2BJones2%25282%2529.jpg" alt="" id="BLOGGER_PHOTO_ID_5579556486846034482" border="0" /></a><br />Jones took advantage of his studies at the prestigious École des Beaux-Arts; he did not look upon the modern work of Paris and decide that America needed “its own style.” Instead, Jones painted what he knew and what he loved, and eventually adopted Impressionism. His fellow American artists who initially rejected Modernism returned to the U.S. only to adopt abstraction and cubism themselves. Jones died free of hypocrisy in 1932 and is now known for the decadence and detail he expressed in paintings of all subjects from the very beginning of his career.<br /><br /><br /><br /><br /><br />Works cited:<br />www.artnet.com<br />www.fineoldart.com<br />http://americangallery.wordpress.com/category/jones-francis-coates/<br /><br /><br />Researched and written by Alexandra Nilles.<br /><br /><br />MIR Appraisal Services, Inc.<br />Principal Appraiser: Farhad Radfar, ISA AM<br />307 N. Michigan Avenue, Suite 308<br />Chicago, IL 60601<br />(312) 814-8510<br /><br />MIR Appraisal Services, Inc., is located just steps from the Art Institute of Chicago and the Chicago Cultural Center; please do give us a ring to set up an appointment for a verbal evaluation of your most prized works of art.MIR Appraisal Services, Inc.http://www.blogger.com/profile/00573203865117385442noreply@blogger.comtag:blogger.com,1999:blog-7182786342778107206.post-81737406651858378092011-02-22T10:06:00.003-06:002011-02-22T10:16:12.654-06:00Victor Higgins<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/-fZ72nMSYhnA/TWPgJRzERQI/AAAAAAAAB6s/OC3jUhRy22E/s1600/higgins-%2BAspens.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 338px; height: 340px;" src="http://3.bp.blogspot.com/-fZ72nMSYhnA/TWPgJRzERQI/AAAAAAAAB6s/OC3jUhRy22E/s400/higgins-%2BAspens.jpg" alt="" id="BLOGGER_PHOTO_ID_5576547213615842562" border="0" /></a>Nineteenth-century landscape artist Victor Higgins has been credited with merging modernism with realism, a great revolution in American art. Throughout the first decade of his career, Higgins had the advantage of being sponsored by one wealthy patron who funded his travels and studies in Europe and across the United States. He brought his unique work to Chicago, in which he applied abstraction to landscape; introducing Chicagoans to the vivid beauty of the American Southwest. His works were coveted by Chicago natives from the very beginning of his career.<br /><br />Born in Indiana in 1884, Higgins left his farming community at the age of 15 for Chicago to pursue his dreams of being an artist. He was inspired at the early age of nine by a young artist named John Cornelius who told him of the Art Institute of Chicago and the existence of museums in general, a concept he was not familiar with. Cornelius traveled the countryside painting advertisements on barns and inspired Higgins to purchase his own paints and brushes. He was self-taught, learning to paint on his father’s barn.<br /><br />With his family’s encouragement, the young Higgins saved his allowance and left to study at the Art Institute of Chicago. He supported himself by working at a sign shop and painting theater decorations. After a brief period of study at the Art Institute, Higgins’ work caught the eye of former Chicago mayor and avid art collector Carter H. Harrison. Realizing Higgins’ talent, he sponsored a four-year trip to Europe for him and another young artist by the name of Walter Ulfer. During his studies at the Academie de la Grand Chaumiere in Paris, Higgins was exposed to the work of the Modern masters of the time. While abroad, he realized that America needed its own style of art, not reproductions of the classical work he was studying in school.<br /><br />Immediately after Europe, Hi<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/-phL7-0vOjTQ/TWPgUTR2JvI/AAAAAAAAB60/5FCi7v9nK1s/s1600/higgins-%2BPower%2Band%2BWealth.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 371px; height: 305px;" src="http://1.bp.blogspot.com/-phL7-0vOjTQ/TWPgUTR2JvI/AAAAAAAAB60/5FCi7v9nK1s/s400/higgins-%2BPower%2Band%2BWealth.jpg" alt="" id="BLOGGER_PHOTO_ID_5576547402991937266" border="0" /></a>ggins traveled to New York in 1913 where he was fortunate enough to see the Armory Show and the work of minimalist Marcel Duchamp, both of which affected him greatly. Upon is return to Chicago, Higgins was commissioned by his patron Carter H. Harrison to travel to New Mexico to paint landscapes for him.<br /><br />From his very first trip to New Mexico, Higgins was greatly inspired by his surroundings. Later in his career he would go on to create his own style by combining the styles of the Modernists in Paris with that of his studies under Robert Henri. Henri taught him the importance of capturing spirit and sense of place, even in the most common everyday scenes. As an artist, he needed to go beyond just physical appearance, and learned how to translate the spirit of a subject into form and color. The American Southwest could not have provided a better subject matter for Higgins to apply his studies and artistic inspirations.<br /><br />This commissioned trip to New Mexico lasted one year, during which time he helped form an art colony and founded the Taos Society of Artists in 1915, located about 12 hours from Santa Fe. During this time he would become familiar with the landscape of New Mexico and develop a personal passion for this part of the country. It was his later work in New Mexico that allowed him to develop a unique style that would be deemed a revolution in modern American art.<br /><br />After his scheduled year in New Mexico was over, Higgins returned to the Midwest and taught at the Chicago Academy of Fine Art from 1917-1923. He was commissioned to paint murals for the Missouri State Capitol in 1919 and a mural at the Herington post office in 1923. By this time, Higgins had made a name for himself and his work was collected by businessmen and industrialists of Chicago. He was finally able to return to the Southwest where he would paint the works that made him the important American artist he is today.<br /><br />Higgins had always been inspired by the distinct light and colors of the Southwest. By the 1920s his subject matter focused on the pueblo people of the area and the rapidly changing moods of the sky. As he progressed, the hues used in his landscapes shifted from ocher and eart<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/-b9OAE9jSE-Q/TWPgriHIZCI/AAAAAAAAB68/9QYuaPJvVJU/s1600/Higgins-%2BValley%2BTown-%2BView%2Bof%2BPueblo%2BTown.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 400px; height: 235px;" src="http://4.bp.blogspot.com/-b9OAE9jSE-Q/TWPgriHIZCI/AAAAAAAAB68/9QYuaPJvVJU/s400/Higgins-%2BValley%2BTown-%2BView%2Bof%2BPueblo%2BTown.jpg" alt="" id="BLOGGER_PHOTO_ID_5576547802110518306" border="0" /></a>hy colors to brighter and richer hues which helped him capture the spirit of his surroundings. By the 1930s his brush strokes had turned from bold and broad into lighter strokes that allowed for more simplified forms.<br /><br />Higgins’ work was different from the others of the Taos artistic community in that he spontaneously reacted to his subject instead of working from preliminary drawings. In the 1930s he developed geometric and cubist tendencies as he focused strictly on landscapes and nudes of Native Americans, instead of the pueblo community as a whole. He had rejected all of his formal training and eventually reduced his combination of Impressionism and cubism into almost pure cubism, producing scenes of basic shapes and, through the geometric relationships of the form and design, created a colorful visual rhythm. Higgins is also known for his experimentation with multi-point perspective and interlocking planes, thought to be inspired by Cézanne. As a cubist he also experimented with the layering of fore, middle, and backgrounds.<br /><br />Though vivid depictions of the Southwest painted by Higgins’ Taos peers were wildly popular as well, Higgins stands out from the crowd by the unique lyricism of his paintings produced by vivid colors and the combination of Modern styles. He succeeding in capturing the feeling and spirit of the Southwest, not just painting what was directly in front of him. He rejected the sentimentality and romanticism that was present in the work of his peers and painted in both oil and watercolor. His work was exhibited throughout the United States and Europe where he won awards in France, Luxembourg, and Venice. Higgins passed away in 1949.<br /><br /><br /><br /><br />Works cited:<br /><br />www.askart.com<br />http://www.cdaartauction.com/index.html<br />http://raginguniverse.blogspot.com/2009_03_01_archive.html<br /><br /><br />Researched and written by Alexandra Nilles.<br /><br /><br />MIR Appraisal Services, Inc.<br />Principal Appraiser: Farhad Radfar, ISA AM<br />307 N. Michigan Avenue, Suite 308<br />Chicago, IL 60601<br />(312) 814-8510<br /><br />MIR Appraisal Services, Inc., is located just steps from the Art Institute of Chicago and the Chicago Cultural Center; please do give us a ring to set up an appointment for a verbal evaluation of your most prized works of art.MIR Appraisal Services, Inc.http://www.blogger.com/profile/00573203865117385442noreply@blogger.comtag:blogger.com,1999:blog-7182786342778107206.post-86035220999168903372011-02-17T09:27:00.006-06:002011-02-17T09:36:47.013-06:00Charles Deas<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/-4wx5UegYtbU/TV0-6GGhTbI/AAAAAAAAB6U/_-0r2CNoLzg/s1600/The%2BVoyageurs.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 387px; height: 250px;" src="http://1.bp.blogspot.com/-4wx5UegYtbU/TV0-6GGhTbI/AAAAAAAAB6U/_-0r2CNoLzg/s400/The%2BVoyageurs.jpg" alt="" id="BLOGGER_PHOTO_ID_5574681081545838002" border="0" /></a>Charles Deas (pronounced “days”) was born in Philadelphia to a prominent South Carolinian family in 1818. As a young man, he attempted and failed to obtain appointment at West Point Military Academy, and from there followed his natural artistic talents and enrolled at the National Academy of Design in New York. Though his career was very short, barely lasting a decade, Charles Deas is credited with changing the world’s view of the American West through his paintings; transforming the image of the Western man from a humble, rustic individual into a heroic, national icon of adventure and independence on the wild frontier, in other words, the “mountain man”. The influential images of his rugged frontiersmen and depictions of the intermingling of American Indian and European cultures in the West, in addition to his tragic story, make his work extremely valuable today.<br /><br />After entering the Academy of Design, Deas’ talents were quickly recognized and his paintings were regularly featured at annual exhibitions. Deas emerged professionally in the 1830s as a portraitist and painter of literary subjects and was elected an associate member of the Academy in 1839. When artistic patronage in New York all but disappeared due to economic downturn, Deas chose to venture west. He traveled to Fort Crawford in Wisconsin, located on the Mississippi River, where his brother was stationed. There he came into contact with Sioux, Winnebago, and other American Indian tribes. These encounters would manifest themselves in Deas’ later work.<br /><br />In 1841, Deas cont<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/-WC9AP3Yd5VE/TV0_JN__puI/AAAAAAAAB6c/F0PBOBZEmYo/s1600/Wa-kon-cha-hi-re-ga.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 220px; height: 266px;" src="http://3.bp.blogspot.com/-WC9AP3Yd5VE/TV0_JN__puI/AAAAAAAAB6c/F0PBOBZEmYo/s400/Wa-kon-cha-hi-re-ga.jpg" alt="" id="BLOGGER_PHOTO_ID_5574681341363988194" border="0" /></a>inued west and established a studio in St. Louis where he worked until the end of his career in 1847. The artist painted many scenes of the fur trade, the dominant industry of St. Louis. He also occasionally tagged along on military expeditions to the Great Lakes and what is now Nebraska. From his travels and experiences in Wisconsin and Missouri, Deas created colorful, multi-layered scenes depicting life on the frontier, especially the intermingling of Indian and European cultures. Through these works, particularly his paintings depicting fur traders, he established a new idea of the “mountain man”, capturing the romantic idea of an independent life in the wilderness. His painting <span style="font-style: italic;">Long Jakes, “the Rocky Mountain Man”</span> is one of his most famous works and is an image many would recognize today, perfectly depicting this new rugged frontiersman.<br /><br />Exhibited in New York in 1844, <span style="font-style: italic;">Long Jakes</span> received great acclaim and drew massive crowds as the painting was described as a “Western work by an authentic Westerner”. Unfortunately, Deas’ career did not last much longer. At the age of 29, Deas was declared insane and lived the rest of his life in mental institutions. It is believed that his sanity had been declining for many years, but it cannot be known for sure as he lived so independently in such a remote area of the country. Deas died soon after the end of the Civil War at the age of 48.<br /><br />The combination of Deas’ wildly successful career <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/-3E_cchIB7HQ/TV0_kAXOfNI/AAAAAAAAB6k/rF4B9yWcFLk/s1600/Long%2BJakes.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 284px; height: 341px;" src="http://2.bp.blogspot.com/-3E_cchIB7HQ/TV0_kAXOfNI/AAAAAAAAB6k/rF4B9yWcFLk/s400/Long%2BJakes.jpg" alt="" id="BLOGGER_PHOTO_ID_5574681801559801042" border="0" /></a>during his lifetime, his tragic fall, and the credit given to him for creating the iconic frontiersman account for the high value of his paintings today. Deas died without descendents to keep is name and career alive, and by the end of the 19th century, Deas was all but forgotten. His paintings scattered throughout the United States and have begun to be recovered over the past few years, many of them gathered for a retrospective exhibition at the Denver Art Museum in Winter 2010. A perfect example of this is one of his most famous paintings, <span style="font-style: italic;">Long Jakes</span>, which was found under a bed.<br /><br />The work of Charles Deas is the perfect example of an artist whose work may have been passed down through generations, unidentified and regarded only as a beautiful picture. In reality, the work of this important American painter is valued at hundreds of thousands of dollars, some pieces having even been appraised upwards of a million dollars.<br /><br /><br /><br /><br /><br /><br /><br />Sources:<br /><br />http://www.nytimes.com/2010/08/25/arts/design/25artist.html?_r=1&hp<br />http://www.denverartmuseum.org<br />http://www.christies.com/LotFinder/lot_details.aspx?intObjectID=2451964<br /><br /><br />Researched and written by Alexandra Nilles.<br /><br /><br />MIR Appraisal Services, Inc.<br />Principal Appraiser: Farhad Radfar, ISA AM<br />307 N. Michigan Avenue, Suite 308<br />Chicago, IL 60601<br />(312) 814-8510<br /><br />MIR Appraisal Services, Inc., is located just steps from the Art Institute of Chicago and the Chicago Cultural Center; please do give us a ring to set up an appointment for a verbal evaluation of your most prized works of art.MIR Appraisal Services, Inc.http://www.blogger.com/profile/00573203865117385442noreply@blogger.comtag:blogger.com,1999:blog-7182786342778107206.post-18305061890304867952011-02-15T09:09:00.008-06:002011-02-15T09:40:49.371-06:00Ivan Albright<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/-5r9jzGMpOK4/TVqZhd6ZkdI/AAAAAAAAB5U/mC003p4hwVM/s1600/Alrbight-%2BSelf%2BPortrait%2BGeorgia.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 187px; height: 244px;" src="http://3.bp.blogspot.com/-5r9jzGMpOK4/TVqZhd6ZkdI/AAAAAAAAB5U/mC003p4hwVM/s400/Alrbight-%2BSelf%2BPortrait%2BGeorgia.jpg" alt="" id="BLOGGER_PHOTO_ID_5573936289068716498" border="0" /></a>Ivan Le Lorraine Albright is one of the most original, and perhaps most odd, artists of the 20th century. As an artist he considered himself to be an individualist, uninfluenced by the waves of Impressionism, abstract art, and later pop art that evolved during his life. His work is all his own, incomparable to his contemporaries. Though the well known styles used to categorize the work of other artists of Albright’s time are not be applicable to his art, all of his work is linked by the constant representation of the passage of time. This theme is presented in the most morbid and detailed images of aging and decaying flesh, using dark and sickly shades of yellow, as well as an abundance of grays, white, and black. Hyper-realism and magic realism are the two styles most often used to describe his work.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/-4yBK4bWMnbQ/TVqeNl1sMkI/AAAAAAAAB6M/_XV0tiuTeHY/s1600/Albright-%2BThat%2Bwhich%2BI%2Bshould%2Bhave%2Bdone%2BI%2Bdid%2Bnot%2Bdo.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 107px; height: 288px;" src="http://3.bp.blogspot.com/-4yBK4bWMnbQ/TVqeNl1sMkI/AAAAAAAAB6M/_XV0tiuTeHY/s400/Albright-%2BThat%2Bwhich%2BI%2Bshould%2Bhave%2Bdone%2BI%2Bdid%2Bnot%2Bdo.jpg" alt="" id="BLOGGER_PHOTO_ID_5573941445157204546" border="0" /></a><br />Ivan Le Lorraine Albright began his artistic training at a very young age. His father began to teach him and his identical twin brother, Malvin, to draw at the age of eight. Born outside of Chicago in 1897, Ivan stayed in the Midwest to study architecture at Northwestern University and the University of Illinois. In 1918 one of his paintings was displayed at a watercolor exhibition at the Art Institute of Chicago. During WWI, Albright was stationed in an army hospital in Nantes, France from 1918-1919. While there, his duty was to paint detailed watercolors of soldier’s wounds. He was also exposed to and became fascinated with X-rays; no doubt this was a very influential experience for the work he would become famous for.<br /><br />Upon his retur<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/-bnGShvbCT-0/TVqaWHGES_I/AAAAAAAAB5k/iaP80fcCp0o/s1600/Albright-%2BPoor%2Broom.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 192px; height: 247px;" src="http://1.bp.blogspot.com/-bnGShvbCT-0/TVqaWHGES_I/AAAAAAAAB5k/iaP80fcCp0o/s400/Albright-%2BPoor%2Broom.jpg" alt="" id="BLOGGER_PHOTO_ID_5573937193476705266" border="0" /></a>n home, Albright was granted three scholarships to the Art Institute of Chicago and had decided that painting was what he really wanted to do. In 1927, he set up a studio with his brother and father, and his unique style began to emerge after many years under art instruction that ultimately had no personal effect on him or his style. In 1931, Albright had his first solo museum show at the Art Institute of Chicago. Even if the public found his subject matter disturbing, his work was still universally revered for his technical mastery and microscopic detail.<br /><br />In 1941, Albright won the Temple Gold Medal at the Pennsylvania Academy, and then received the 1942 prize for best picture at the Artists for Victory show at the New York Metropolitan Museum. Albright gained major public recognition in 1939 when he and his twin brother were hired by MGM studios to paint the portraits for their production of The Picture of Dorian Gray. For his work, Albright was paid $75,000, and, even more importantly, his uniquely morbid and grotesque work became well known.<br /><br />Albright is known best for his still lifes and portraiture. Only in his portraits and self-portraits are traces of outside influence, as his formats are similar to those of Rembrandt and Goya. His work overall, beyond the grotesque subject matter, is also defined by his use of multiple light sources, warped perspectives, and highly praised attention to detail. From his paintings of still lifes and models, Albright sought to create feelings of tension, conflict, and constant movement, usually using his background to create this effect. In addition to his model portraits and still lifes, Albright is also well known for the self-portraits that he painted consistently throughout his career, continuously studying and painting the aging in his face.<br /><br />As the pop art and minimalist movements came into being in the <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/-x8S2unyXNqU/TVqcESdjDYI/AAAAAAAAB6E/jkOp8er821E/s1600/Albright-%2BInto%2Bthe%2Bworld....jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 217px; height: 255px;" src="http://1.bp.blogspot.com/-x8S2unyXNqU/TVqcESdjDYI/AAAAAAAAB6E/jkOp8er821E/s400/Albright-%2BInto%2Bthe%2Bworld....jpg" alt="" id="BLOGGER_PHOTO_ID_5573939086313590146" border="0" /></a>1950s, Albright began to be seen as somewhat of a traditionalist, if only for his subject matters. In 1964, the Art Institute of Chicago held a very successful retrospective exhibition of Albright’s work, celebrating his fascinating interpretation and forward presentation of aging in a style that no one had done before and has not been copied since. At one point in his career, Albright stated, "I hope to control the observer, … to make him feel tossed around in every direction, to make him realize that objects are at war. Everything in the canvas is fighting. I want to give a feeling of frustration." It is from this unique intention in combination with uncensored images of mortification that has solidified Ivan Le Lorraine Albright’s place in the history of art.<br /><br /><br /><br /><br />Researched and written by Alexandra Nilles.<br /><br />Works cited:<br /><br />http://www.butlerart.com/pc_book/pages/ivan_le_lorraine_albright_1897.htm<br />http://www.tate.org.uk/servlet/ArtistWorks?cgroupid=999999961&artistid=637&tabview=bio<br />http://www.britannica.com/EBchecked/topic/13106/Ivan-Albright<br />http://collection.wmuseumaa.org:8080/Art534$6084<br />http://www.cegur.com/html/frameAlbright.html<br /><br /><br />Photos:<br /><br /><span style="font-style: italic;">Self Portrait in Georgia</span>, 1967<br />Oil on panel; 20 x 16”<br /><br /><span style="font-style: italic;">Poor Room--There Is No Time, No End, No Today, No Yesterday, No Tomorrow, Only the Forever, and Forever and Forever without End (The Window)</span><br />1942-43, 1948-55, 1957-63<br />Oil on canvas; 48 x 37 in.<br /><br /><span style="font-style: italic;">That Which I Should Have Done I Did Not Do (The Door)</span><br />1931-41<br />Oil on canvas; 97 x 36 in<br /><br /><span style="font-style: italic;">Into the World There Came a Soul Called Ida</span><br />1929-30<br />Oil on canvas; 55 x 46 in.<br /><br />MIR Appraisal Services, Inc.<br />Principal Appraiser: Farhad Radfar, ISA AM<br />307 N. Michigan Avenue, Suite 308<br />Chicago, IL 60601<br />(312) 814-8510<br /><br />MIR Appraisal Services, Inc., is located just steps from the Art Institute of Chicago and the Chicago Cultural Center; please do give us a ring to set up an appointment for a verbal evaluation of your most prized works of art.MIR Appraisal Services, Inc.http://www.blogger.com/profile/00573203865117385442noreply@blogger.comtag:blogger.com,1999:blog-7182786342778107206.post-41473797966325970042011-02-08T10:45:00.008-06:002011-02-08T11:27:50.260-06:00Warner SallmanChicago native W<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_mkv6qlma4_Q/TVF7-vIZAiI/AAAAAAAAB5M/x4oZdIgah1Q/s1600/Sallman-%2BHead%2Bof%2BChrist.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 238px; height: 312px;" src="http://3.bp.blogspot.com/_mkv6qlma4_Q/TVF7-vIZAiI/AAAAAAAAB5M/x4oZdIgah1Q/s400/Sallman-%2BHead%2Bof%2BChrist.jpg" alt="" id="BLOGGER_PHOTO_ID_5571370531767779874" border="0" /></a>arner Sallman is the twentieth century religious artist responsible for perhaps one of the most widely recognized and reproduced images in the world, <span style="font-style: italic;">The Head of Christ</span>. This painting, as well as many of his other religious works, have epitomized and solidified the West’s idea of a beautiful, idealized, and physically Westernized Jesus and other Biblical figures; images that have come to be known throughout the world.<br /><br />Born in Chicago on April 30, 1892, Sallman was impacted by religious art at a very young age, particularly by the religious prints of Gustave Doré. After completing high school, Sallman apprenticed at many local studios while attending the Art Institute of Chicago. After graduating, the young man began a career as a commercial artist, until he was encouraged by a business associate to enroll at the Moody Bible Institute.<br /><br />Sallman became deeply involved with the Evangelist Covenant Church of Chicago and contributed his artistic talents to many of their publications. While there, the dean of the institute, Dr. E.O. Sellers, made a great impact on Sallman’s future religious images, asking him to create a more masculine image of Christ, as many other images of his day depicted Him in a very effeminate manner. It was the year 1924 that would change Sallman’s life as an artist, as well as, the way the world would view Christ.<br /><br />The young man illustrated regularly for the Salvation Army’s <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_mkv6qlma4_Q/TVF5P-JDvrI/AAAAAAAAB40/zgQS5Gv3FKk/s1600/Sallman-Christ%2BOur%2BPilot.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 219px; height: 303px;" src="http://2.bp.blogspot.com/_mkv6qlma4_Q/TVF5P-JDvrI/AAAAAAAAB40/zgQS5Gv3FKk/s400/Sallman-Christ%2BOur%2BPilot.jpg" alt="" id="BLOGGER_PHOTO_ID_5571367529320005298" border="0" /></a>publication <span style="font-style: italic;">War Cry</span> and his Evangelist community’s <span style="font-style: italic;">Covenant Companion</span>. It was for an issue of the youth publication <span style="font-style: italic;">Mission Covenant </span>that this famous image of Christ first came to be when he was asked to create a cover illustration. Uninspired and frustrated, the artist waited until the night before the deadline to design the cover, only to wake up in the middle of the night with the perfect image of Christ’s face. He quickly sketched his image in simple charcoal and titled it <span style="font-style: italic;">Son of Man</span>. At publication time the work was well received, and Sallman continued to draw and paint religious themes. By 1940, his original charcoal sketch had become so popular that he was motivated to turn it into an oil painting. This was birth of the blond haired, blue-eyed Christ that is present today in millions of homes, churches, and other institutions around the world. It was titled <span style="font-style: italic;">The Head of Christ</span>.<br /><br />The painting’s image began to spread rapidly after its creation, first among the Southern Baptist community and then to other Christian denominations. It was even used by the Protestant church, known for their general disapproval of religious imagery. <span style="font-style: italic;">The Head of Christ</span> began to appear on church bulletins, posters, calendars, prayer cards, clocks, lamps, and, perhaps most importantly, wallet-sized images distributed by the Salvation Army to thousands of servicemen during WWII. Sallman continued to paint as <span style="font-style: italic;">The Head of Christ</span>’s popularity steadily grew, his most popular works painted between 1942 and 1950.<br /><br />Today, the image of <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_mkv6qlma4_Q/TVF6NLpNtSI/AAAAAAAAB48/oy99HisLqB4/s1600/Sallman-%2Bsketching%2BChrist%2Bat%2Btalk.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 290px; height: 237px;" src="http://1.bp.blogspot.com/_mkv6qlma4_Q/TVF6NLpNtSI/AAAAAAAAB48/oy99HisLqB4/s400/Sallman-%2Bsketching%2BChrist%2Bat%2Btalk.jpg" alt="" id="BLOGGER_PHOTO_ID_5571368580916557090" border="0" /></a><span style="font-style: italic;">The Head of Christ</span> can be found throughout the world, including Africa, Latin America, Asia, and Europe. The painting was also featured on the cover of the July 9, 2007 issue of <span style="font-style: italic;">Newsweek</span> where it was stated that the image had been reproduced over one billion times, making it the most reproduced image in history. The image, as well as many other images from Sallman’s 500 original works, comprised of landscapes, portraits, and other religious paintings, is owned by Warner Press and Anderson University. The original works themselves, including sketches and drawings, are scattered across the United States and various other countries in churches, homes, schools, hospitals, and the private collection of the Sallman family.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_mkv6qlma4_Q/TVF60-STyYI/AAAAAAAAB5E/NgWJfQr4xb4/s1600/Sallman-%2BChrist%2Bat%2BHeart%2527s%2BDoor.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 222px; height: 298px;" src="http://2.bp.blogspot.com/_mkv6qlma4_Q/TVF60-STyYI/AAAAAAAAB5E/NgWJfQr4xb4/s400/Sallman-%2BChrist%2Bat%2BHeart%2527s%2BDoor.jpg" alt="" id="BLOGGER_PHOTO_ID_5571369264525592962" border="0" /></a><br />At one point in his career, Sallman stated that he gave God “the glory for whatever has been accomplished by [his] efforts to bring joy and happiness to people throughout the world.” While this serene yet strong image of Christ, as well as figures in his other religious works, bring joy and inspiration to many people, it can be said that his art is the epitome of the West’s view of Christ and the saints. The light skin and blond hair of Jesus, as well as that of Mary and Joseph and other worshiped figures of the Bible, illustrates the spread of Christianity as far back as medieval Europe when negative figures like Judas and King Herod were depicted with darker skin, consistent with the skin tones of the Jewish population who were then strongly blamed for the crucifixion of Christ.<br /><br />Sallman’s religious paintings, particularly <span style="font-style: italic;">The Head of Christ </span>and its light tones, capture the saintly, Christian ideal and consistent view of Christ and other Biblical figures throughout the West and many other parts of the world. It is these ideals so masterfully illustrated in <span style="font-style: italic;">The Head of Christ</span> that has made it one of the most popular and well-known images of the 20th century.<br /><br /><br /><br /><br /><br /><br /><br />Works cited:<br /><br />http://www.anderson.edu/w/news/2009/warner-sallmans-head-of-christ-to-be-featured-on-postage-stamp<br />http://www.warnersallman.com/about/the-artist/<br />http://www.christianitytoday.com/ch/2006/issue91/11.11.html<br />http://sallmanart.org/<br />http://www.newsweek.com/2006/12/08/how-white-was-my-savior.html<br />http://www.nytimes.com/1994/10/12/arts/the-man-who-rendered-jesus-for-the-age-of-duplication.html<br />http://counterlightsrantsandblather1.blogspot.com/2009_08_01_archive.html<br /><br /><br />Written and researched by Alexandra Nilles.<br /><br /><br />MIR Appraisal Services, Inc.<br />Principal Appraiser: Farhad Radfar, ISA AM<br />307 N. Michigan Avenue, Suite 308<br />Chicago, IL 60601<br />(312) 814-8510<br /><br />MIR Appraisal Services, Inc., is located just steps from the Art Institute of Chicago and the Chicago Cultural Center; please do give us a ring to set up an appointment for a verbal evaluation of your most prized works of art.MIR Appraisal Services, Inc.http://www.blogger.com/profile/00573203865117385442noreply@blogger.comtag:blogger.com,1999:blog-7182786342778107206.post-29566022393331207692011-01-21T11:01:00.007-06:002011-01-21T11:18:24.055-06:00John Fery<!--[if !mso]> <style> v\:* {behavior:url(#default#VML);} o\:* {behavior:url(#default#VML);} w\:* {behavior:url(#default#VML);} .shape {behavior:url(#default#VML);} </style> <![endif]--><!--[if gte mso 9]><xml> <o:officedocumentsettings> <o:allowpng/> </o:OfficeDocumentSettings> </xml><![endif]--><!--[if gte mso 9]><xml> <w:worddocument> <w:view>Normal</w:View> <w:zoom>0</w:Zoom> <w:trackmoves>false</w:TrackMoves> <w:trackformatting/> 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<w:lsdexception locked="false" priority="33" semihidden="false" unhidewhenused="false" qformat="true" name="Book Title"> <w:lsdexception locked="false" priority="37" name="Bibliography"> <w:lsdexception locked="false" priority="39" qformat="true" name="TOC Heading"> </w:LatentStyles> </xml><![endif]--><!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Cambria","serif"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} </style> <![endif]--><!--[if gte mso 9]><xml> <o:shapedefaults ext="edit" spidmax="1028"> </xml><![endif]--><!--[if gte mso 9]><xml> <o:shapelayout ext="edit"> <o:idmap ext="edit" data="1"> </o:shapelayout></xml><![endif]--> <p class="MsoNormal" style="text-indent: 0.5in;">Johann Nepomuk Levy was born on March 25, 1859, in Strasswalchen, Austria. Later in his life he would become the artist John Fery and earn himself a well-deserved place in the history of American art. Known for his dramatic panoramas of the wild and greatly unknown American West, Fery’s work captures a time and feeling of excitement and exploration of the unknown as the West began to open up. In addition to contributing to the panoramic art movement of his time, many of his works can also be considered historical documentation of subjects such as Indian villages and the Seattle coastline.</p> <p class="MsoNormal" style="text-indent: 0.5in;"><img src="file:///C:/DOCUME%7E1/research/LOCALS%7E1/Temp/moz-screenshot-1.png" alt="" /> <img src="file:///C:/DOCUME%7E1/research/LOCALS%7E1/Temp/moz-screenshot-4.png" alt="" /><a href="http://1.bp.blogspot.com/_mkv6qlma4_Q/TTm-mSLAWWI/AAAAAAAAB4U/ju2jZFeK8Yc/s1600/Untitled-1.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 364px; height: 244px;" src="http://1.bp.blogspot.com/_mkv6qlma4_Q/TTm-mSLAWWI/AAAAAAAAB4U/ju2jZFeK8Yc/s400/Untitled-1.jpg" alt="" id="BLOGGER_PHOTO_ID_5564688379515263330" border="0" /></a> Details of his early life in Austria are varied, including the nature of his artistic training. Some sources claim that his father encouraged his artistic talents at an early age and enrolled him at the Vienna Academy of Art, while others say he was self-taught. In the early 1880s, Fery married a Swiss woman by the name of Mary Rose Kraemer, and in 1886 the couple had a daughter and immigrated to the United States. Upon arrival, Johann legally changed his name to John Fery to better assimilate.</p> <p class="MsoNormal"><span style=""> </span>It is possible that the couple first moved to Ohio where their second daughter was born in 1886, but it has also been reported that the family lived in upstate New York and New Jersey around this time as well. Fery returned to Europe for the first time in 1890 and realized Europe’s great interest in the American West. The artist visited his home continent twice more to organize two hunting expeditions to the West for wealthy European sportsmen in 1893 and 1895, traveling to New Mexico, Arizona, California, Oregon, and Wyoming. </p> <p class="MsoNormal"><span style=""> </span><a href="http://3.bp.blogspot.com/_mkv6qlma4_Q/TTm--xwswfI/AAAAAAAAB4c/fjWShsBTCjs/s1600/Untitled-1.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 239px; height: 329px;" src="http://3.bp.blogspot.com/_mkv6qlma4_Q/TTm--xwswfI/AAAAAAAAB4c/fjWShsBTCjs/s400/Untitled-1.jpg" alt="" id="BLOGGER_PHOTO_ID_5564688800311722482" border="0" /></a>By the late nineteenth-century there was a great demand for paintings of the newly opened “Wild West” in the dramatic, panoramic style of the Hudson River School, including the works of well-known artists such as Albert Bierstadt and Thomas Moran. In the late 1890s, Fery and his family moved to Jackson Lake, Wyoming where he painted the area at least 35 times. This relocation marked the beginning of his career as an artist specializing in the panoramic style. Using broad strokes and a color palate that changed from somber, dark hues of the German style to bright hues of an American Impressionistic style towards the end of his career, his paintings glorified the wild side of nature and often included elk, horses, bears and other wildlife. Human presence was rarely represented. In 1903, Fery moved to Milwaukee and established a studio in a building with many other German and Austrian artists where he marketed his work depicting Wyoming and other places in the West. It was at this time that his career really took off when his paintings where noticed by the Hill family, owners of the Great Northern Railway- the only route connecting the Midwest (from St. Paul) to Seattle.</p> <p class="MsoNormal"><span style=""> </span>James Hill hired Fery for the railway’s “See America First” campaign. The artist was commissioned to paint dramatic, wild, and mountainous landscapes depicting various scenic stops along the Great Northern Railway route to Seattle, including the company’s various hotels and lodges along the way. His paintings, averaging a minimum 10x12 feet, ultimately served as advertisements for prospective travelers, displayed in railroad stations across the country. Fery set up a new studio in St. Paul and produced 347 major works for the Great Northern Railway. He produced these paintings during the winters after spending summers sketching in the West. The majority of his works depicted Glacier National Park in Wyoming, the Tetons, and the Rockies.</p> <p class="MsoNormal"><span style=""> </span>When his campaign with the Great Northern Railway ended, Fery did some freelance work in Salt Lake City where his paintings were sold by local dealers, then moved back to Milwaukee and painted various scenes of Wisconsin and other parts of the Midwest. Finally he settled with his family in Washington State on Orcas Island. Unfortunately, in 1929, his cabin burned down and a great number of his paintings and sketches were destroyed. Only an estimated 150 paintings still exist today, making them a coveted and the desirable piece of American history.</p><p class="MsoNormal"><br /></p><p class="MsoNormal"><br /></p><br />Written and researched by Alexandra Nilles.<br /><br /><br />MIR Appraisal Services, Inc.<br />Principal Appraiser: Farhad Radfar, ISA AM<br />307 N. Michigan Avenue, Suite 308<br />Chicago, IL 60601<br />(312) 814-8510<br /><br />MIR Appraisal Services, Inc., is located just steps from the Art Institute of Chicago and the Chicago Cultural Center; please do give us a ring to set up an appointment for a verbal evaluation of your most prized works of art. <div class="post-footer"> <div class="post-footer-line post-footer-line-1"><span class="post-author vcard"> </span><span class="post-icons"><span class="item-control blog-admin pid-234838675"><a href="http://www.blogger.com/post-edit.g?blogID=7182786342778107206&postID=7992270240678128773" title="Edit Post"><br /></a> </span> </span> <span class="post-backlinks post-comment-link"> </span> </div> <div class="post-footer-line post-footer-line-2"><span class="post-labels"> </span> </div> </div> <a name="comments"></a> <a name="links"></a><p class="MsoNormal"> </p> <p class="MsoNormal"> </p> <p class="MsoNormal"> </p> <p class="MsoNormal"> </p> <p class="MsoNormal"> </p> <p class="MsoNormal">Sources:</p> <p class="MsoNormal"> </p> <p class="MsoNormal"><a href="http://www.hockadaymuseum.org/"><span style=";font-family:";color:#000000;" >http://www.hockadaymuseum.org</span></a><span style=";font-family:";" ></span></p> <p class="MsoNormal"><a href="http://www.wildlifeart.org/artists/artistDetails/index.php?aID=318"><span style=";font-family:";color:#000000;" >http://www.wildlifeart.org/artists/artistDetails/index.php?aID=318</span></a><span style=";font-family:";" ></span></p> <p class="MsoNormal" style=""><a href="http://www.wisconsinart.org/archives/artist/john-c-fery/profile-45.aspx"><span style=";font-family:";color:#000000;" >http://www.wisconsinart.org/archives/artist/john-c-fery/profile-45.aspx</span></a><span style=";font-family:";" ></span></p> <p class="MsoNormal"><a href="http://www.tfaoi.com/aa/3aa/3aa118.htm"><span style=";font-family:";color:#000000;" >http://www.tfaoi.com/aa/3aa/3aa118.htm</span></a><span style=";font-family:";" ></span></p> <p class="MsoNormal"><span style=";font-family:";" > </span></p> <p class="MsoNormal"> </p>MIR Appraisal Services, Inc.http://www.blogger.com/profile/00573203865117385442noreply@blogger.comtag:blogger.com,1999:blog-7182786342778107206.post-79922702406781287732011-01-19T09:13:00.007-06:002011-03-10T09:12:32.998-06:00Albert Krehbiel<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_mkv6qlma4_Q/TTcAeLFPbZI/AAAAAAAAB30/9R9kV2dErFY/s1600/horse.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 400px; height: 333px;" src="http://1.bp.blogspot.com/_mkv6qlma4_Q/TTcAeLFPbZI/AAAAAAAAB30/9R9kV2dErFY/s400/horse.jpg" alt="" id="BLOGGER_PHOTO_ID_5563916383010385298" border="0" /></a><div style="text-align: center;"><span style="font-style: italic;">Circling the Wagons</span><br /><br /><div style="text-align: left;">Accomplished student, respected artist, and professor at the Art Institute of Chicago, Albert Krehbiel left his mark in Illinois. Born in Denmark, Iowa, Krehbiel moved to Chicago in 1902 to study at the Art Institute of Chicago. In 1903 he was granted a scholarship to study at the Académie Julian in Paris under neo-classical painter Jean Paul Laurens. While attending the Académie, Krehbiel became the first (and only) American to be awarded four gold medals, as well as the coveted Prix de Rome. He traveled throughout Europe for another two years where he was exposed to Impressionism, a style that would influence his later work.<br /><br />Krehbiel returned to Chicago in 1906 and took a teaching position at the Art Institute. Shortly after, he was commissioned to design and paint a mural for the Chicago Juvenile Court, and then won a competition to design and paint eleven wall murals and two ceiling murals at the Illinois Supreme court in Springfield. Until completion in 1911, Krehbiel taught only summer sessions at the Institute. He resumed teaching full-time in 1911 after buying a barn next to his property in Park Ridge, a suburb of Chicago, which he turned into a studio.<br /><br />After purchasing this property, Krehbiel took advantage of the Midwest’s natural beauty and changed direction in his painting, straying from his neo-classical education to focus on outdoor scenes and landscape. It was at this time when elements of Impressionism began to appear in his work, particularly in the bright hues he incorporated and the importance he placed on painting the outdoors only in natural light.<br /></div></div><br /><div style="text-align: center;"><div style="text-align: left;">Impressionism became even more present in his work in the following years. Although Krehbiel, his wife and children began spending their summers, beginning in 1918 and continuing into the early 1920s, at an art colony in Santa Monica, CA, his time and main focus was spent producing works for the Santa Fe Art Colony in Santa Fe, NM, of which he was an exhibiting member and respected artist. Here, he presented vibrant illustrations of the Southwest skies and landscape.<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_mkv6qlma4_Q/TTcBk_0PMEI/AAAAAAAAB38/yMG8K-zMtRA/s1600/Chicago%2BElevated%2BTrain.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 350px; height: 350px;" src="http://4.bp.blogspot.com/_mkv6qlma4_Q/TTcBk_0PMEI/AAAAAAAAB38/yMG8K-zMtRA/s400/Chicago%2BElevated%2BTrain.JPG" alt="" id="BLOGGER_PHOTO_ID_5563917599756988482" border="0" /></a><span style="font-style: italic;">Chicago Elevated Train</span><br /></div><div style="text-align: left;"><br /></div></div><div style="text-align: left;">In 1926, while teaching at the Art Institute, Krehbiel helped establish the Chicago Art Institute Summer School of Painting in Saugatuch, MI. He opened his own summer school, the AK Studio, shortly after. His school was intended to focus on the landscape of the Midwest, especially the forests and rivers that he himself had come to love. After the founding of the summer schools, Krehbiel began to paint cityscapes, as well; the Michigan Avenue Bridge and Chicago River being his most repeated subject matters. His cityscapes were defined by their blocks of solid, bright colors.<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_mkv6qlma4_Q/TTcC6pj4NgI/AAAAAAAAB4E/hzrQURaTHsM/s1600/Michigan%2BAvenue%2BBridge.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 350px; height: 350px;" src="http://4.bp.blogspot.com/_mkv6qlma4_Q/TTcC6pj4NgI/AAAAAAAAB4E/hzrQURaTHsM/s400/Michigan%2BAvenue%2BBridge.JPG" alt="" id="BLOGGER_PHOTO_ID_5563919071251543554" border="0" /></a><span style="font-style: italic;">Michigan Avenue Bridge</span></div><br />From this American Impressionist phase, Krehbiel moved on to focus on the human form, using the models from his drawing classes to create synchromistic and abstract figures. Krehbiel had been greatly inspired by a Pablo Picasso exhibition at the Art Institute in 1940. He expanded his media to chalk, pastels, and watercolor and used them to continue this new direction for both figure drawing and land and cityscapes. Some of his new and colorful geometric forms even verged on cubism. He called these compositions “Picasso…par AHK”, intended only for himself and his friends.<br /><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_mkv6qlma4_Q/TTcDn9-4BmI/AAAAAAAAB4M/KH7X9aN9zUc/s1600/blue.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 350px; height: 292px;" src="http://1.bp.blogspot.com/_mkv6qlma4_Q/TTcDn9-4BmI/AAAAAAAAB4M/KH7X9aN9zUc/s400/blue.JPG" alt="" id="BLOGGER_PHOTO_ID_5563919849827599970" border="0" /></a><span style="font-style: italic;">Untitled</span><br /></div><br />Albert Krehbiel died of a heart attack on June 29, 1945 after an astounding 39 years of teaching at the Art Institute of Chicago and 32 years at the Armour Institute of Technology. He was known for his incessant painting, braving the elements of the Midwest year-round to capture the wild forests and rivers as well as the streets of Chicago, his style evolving from neoclassical to Impressionist to synchromistic. During his lifetime, his work was exhibited in Paris at both the American Art Association and Salon des Artistes Francais in 1905, the Museo Nacional de Pintura Y Esculturs in Madrid in 1906, as well as three exhibitions at the Pennsylvania Academy of Fine Arts and thirty-two at the Art Institute of Chicago to name only a few.<br /><br /><br /><br /><br />Works cited:<br />http://www.krehbielart.com/about_the_artist.htm<br />http://www.theartgallery.com.au/arteducation/greatartists/Krehbiel/about/index.html<br />http://www.aaa.si.edu/collections/collection/krehalbe.htm<br />http://mimsy.itd.depaul.edu/art/main.php?module=objects<br /><br /><br />Written and researched by Alexandra Nilles.<br /><br /><br />MIR Appraisal Services, Inc.<br />Principal Appraiser: Farhad Radfar, ISA AM<br />307 N. Michigan Avenue, Suite 308<br />Chicago, IL 60601<br />(312) 814-8510<br /><br />MIR Appraisal Services, Inc., is located just steps from the Art Institute of Chicago and the Chicago Cultural Center; please do give us a ring to set up an appointment for a verbal evaluation of your most prized works of art.MIR Appraisal Services, Inc.http://www.blogger.com/profile/00573203865117385442noreply@blogger.comtag:blogger.com,1999:blog-7182786342778107206.post-29576738009980043232010-12-21T10:20:00.009-06:002010-12-21T10:37:28.441-06:00John James Audubon<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_mkv6qlma4_Q/TRDT8zjnqrI/AAAAAAAAB3A/3RGU6R6mUvU/s1600/Audubon.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 220px; height: 279px;" src="http://1.bp.blogspot.com/_mkv6qlma4_Q/TRDT8zjnqrI/AAAAAAAAB3A/3RGU6R6mUvU/s400/Audubon.jpg" alt="" id="BLOGGER_PHOTO_ID_5553171382133041842" border="0" /></a>John James Audubon’s renowned book, Birds of America, made headlines recently as the world’s most expensive book, fetching over $10 million in auction. What makes this book so valuable?<br /><br />For one, the 435 life-size prints of American birds and wildlife characterized in Audubon’s <span style="font-style: italic;">Birds of America</span> surpass any of the paintings by the earlier ornithologist, Alexander Wilson and his nine-volume American Ornithology, of which only 268 species of birds are illustrated. Audubon’s depictions lack no detail and stray far from the stiff creations portrayed in Wilson’s work. He not only focuses his attention on birds and animals, but to the surrounding plant-life and environment in which they inhabited. The landscape and foliage are detailed, creating a natural scene and capturing his subjects in natural poses as how they appeared in the wild. Other factors contributing to the value, other than the style and beauty of the depictions, include his character, technique and the trends of the period.<br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_mkv6qlma4_Q/TRDUQ2bPJsI/AAAAAAAAB3I/3Y5eHW2U77E/s1600/baldeagle2.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 400px; height: 246px;" src="http://1.bp.blogspot.com/_mkv6qlma4_Q/TRDUQ2bPJsI/AAAAAAAAB3I/3Y5eHW2U77E/s400/baldeagle2.jpg" alt="" id="BLOGGER_PHOTO_ID_5553171726500570818" border="0" /></a><br /><br /><br />Audubon was born in Haiti in 1785 to a French sea captain and his French mistress, but was raised in France by his father and stepmother where his interests lay in exploring the outdoors, hunting and fishing. When he turned 18, he moved to the United States and settled at their family estate near Philadelphia, called Mill Grove. There, he studied and drew birds, hunted and met his wife, Lucy Bakewell.<br /><br />Misfortune struck nearly a decade later. His once-successful business of selling dry-goods took a turn for the worse and hard times ensued. Lacking a stable income and having been jailed briefly for bankruptcy, Audubon turned his hobby of bird-drawing into a serious project. Armed with only a gun, art materials and a young assistant, Audubon traveled down the Mississippi , living a rugged, hand-to-mouth existence, with the goal to paint all the birds of North America for future publication. By 1820, while Lucy supported the family by teaching, Audubon continued to work on <span style="font-style: italic;">Birds of America</span> and extended his travel to Alabama and Florida. In 1826, he sailed to England with his partly finished collection and became an overnight success. His life-size paintings and glorified tales of the American wilderness earned him the title “The American Woodsman” and instantly gave him credit for publication.<br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_mkv6qlma4_Q/TRDU6BmvTmI/AAAAAAAAB3Q/55AvFbt-P8c/s1600/crows.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 224px; height: 290px;" src="http://2.bp.blogspot.com/_mkv6qlma4_Q/TRDU6BmvTmI/AAAAAAAAB3Q/55AvFbt-P8c/s400/crows.jpg" alt="" id="BLOGGER_PHOTO_ID_5553172433876242018" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_mkv6qlma4_Q/TRDVL0d-UoI/AAAAAAAAB3Y/gqXp4VyW2Qk/s1600/woodpecker.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 201px; height: 293px;" src="http://4.bp.blogspot.com/_mkv6qlma4_Q/TRDVL0d-UoI/AAAAAAAAB3Y/gqXp4VyW2Qk/s400/woodpecker.jpg" alt="" id="BLOGGER_PHOTO_ID_5553172739587461762" border="0" /></a><br /><br /><br />For all his luck with money, Audubon was an ambitious character and naturalist. In the end, those qualities aided him greatly, enabling him to triumph over adversity and perform the tedious task of putting such a vast collection together. His experiences in the wilderness and his exquisite paintings collectively gave Audubon a name and instantly made his <span style="font-style: italic;">Birds of America</span> a work of value.<br /><br />His techniques in creating such realistic renderings of wildlife are also worth noting. On Audubon’s second trip into the wilderness, when visiting Alabama and Florida, he brought with him George Lehman, a professional Swiss landscape artist, to create some of the backgrounds and hired hunters to gather specimens for him. Rather than simply stuffing the specimens, Audubon would use wire to pose them in natural positions, often displaying them in action as if flying or feeding. Larger birds and animals would take hours for him to prepare and study before painting them. He would illustrate them in their natural habitats, ensuring an accurate adaptation of them through his personal observations.<br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_mkv6qlma4_Q/TRDVu7zzuwI/AAAAAAAAB3g/1WwOZoY9mQY/s1600/ducks.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 400px; height: 317px;" src="http://1.bp.blogspot.com/_mkv6qlma4_Q/TRDVu7zzuwI/AAAAAAAAB3g/1WwOZoY9mQY/s400/ducks.jpg" alt="" id="BLOGGER_PHOTO_ID_5553173342853511938" border="0" /></a><br /><br /><br />Due to his own posing method, Audubon was able to create natural-looking models and therefore, paint natural-looking illustrations; different from the stiff, flat images that Wilson exhibited. Although, some claim his poses to be quite theatrical, Audubon argued that it was an artistic choice, allowing him to showcase specific lines and curves otherwise unnoticed. His paintings were elaborate and consisted of mainly of watercolor and pastel. When they went for print, the process was quite laborious, with colorists having to apply each color individually in an assembly-line fashion to ensure an impressive reproduction similar to the original. Costs were high; however the end result was well worth it. The last print was issued in 1838, making any original copy of the book a valuable piece.<br /><br />The time period at which Audubon’s book was released also affected the value. At that time there was a great popular interest in science and the marvels of nature. The United States was still a mystery to Europeans and any story recounting the aspects of the American wilderness piqued interest. An insight into such a strange place was something that Audubon’s <span style="font-style:italic;">Birds of America </span>was able to provide for those curious. With the fame of the book, he became known as a “man of science” and the leading naturalist of America.<br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_mkv6qlma4_Q/TRDWIdD_E8I/AAAAAAAAB3o/6peMfOIcth4/s1600/swan.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 400px; height: 242px;" src="http://3.bp.blogspot.com/_mkv6qlma4_Q/TRDWIdD_E8I/AAAAAAAAB3o/6peMfOIcth4/s400/swan.jpg" alt="" id="BLOGGER_PHOTO_ID_5553173781276464066" border="0" /></a><br /><br /><br />Despite the book itself, Audubon’s initiative and personal achievement to complete such a collection, not to mention his technique and skill as an artist, and the 14 years and expense that it took to complete the process from the first painting to printing, have all contributed in determining the worth of <span style="font-style:italic;">Birds of America</span>. <br /><br /><br /><br /><br /><br /><br /><br />Works Cited:<br />http://www.audubon.org/john-james-audubon<br />http://www.audubonhouse.org/audubon/jja.cfm<br />http://www.notablebiographies.com/An-Ba/Audubon-John-James.html<br />Tyler, Ron. Visions of America: Pioneer Artists in a New Land, New York, 1983.<br /><br /><br />Researched and written by Shanna Seiberlich<br /><br /><br />MIR Appraisal Services, Inc.<br />Principal Appraiser: Farhad Radfar, ISA AM<br />307 N. Michigan Avenue, Suite 308<br />Chicago, IL 60601<br />(312) 814-8510<br /><br />MIR Appraisal Services, Inc., is located just steps from the Art Institute of Chicago and the Chicago Cultural Center; please do give us a ring to set up an appointment for a verbal evaluation of your most prized works of art.MIR Appraisal Services, Inc.http://www.blogger.com/profile/00573203865117385442noreply@blogger.comtag:blogger.com,1999:blog-7182786342778107206.post-80516586977469046562010-12-15T10:03:00.010-06:002010-12-15T10:21:55.491-06:00Le Cirque de Calder<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_mkv6qlma4_Q/TQjm80fdorI/AAAAAAAAB2A/FKDwRh6-eC0/s1600/calder.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 170px; height: 217px;" src="http://3.bp.blogspot.com/_mkv6qlma4_Q/TQjm80fdorI/AAAAAAAAB2A/FKDwRh6-eC0/s400/calder.jpg" alt="" id="BLOGGER_PHOTO_ID_5550940473291285170" border="0" /></a><br />Chicago is no stranger to the work of Alexander Calder; his 50-ton, red abstract stabile entitled Flamingo graces Chicago’s Federal Square. He was not only an abstract painter and sculptor, but infamous for designing the ‘mobile’.<br /><br />The foundation of his creativity and dangling artworks of wire can be attributed to his background in mechanical engineering. Calder first studied engineering at the Stevens Institute of Technology in New Jersey. After graduating in 1919 and working several odd jobs, he finally moved to New York in 1923 and enrolled at the Arts Students League. Thus, his career as an artist emerged.<br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_mkv6qlma4_Q/TQjnydgVZ2I/AAAAAAAAB2Q/nZelKh_jHbQ/s1600/flamingo.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 220px; height: 186px;" src="http://1.bp.blogspot.com/_mkv6qlma4_Q/TQjnydgVZ2I/AAAAAAAAB2Q/nZelKh_jHbQ/s400/flamingo.jpg" alt="" id="BLOGGER_PHOTO_ID_5550941394833860450" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_mkv6qlma4_Q/TQjoDbaHBzI/AAAAAAAAB2Y/q_aiBU2yeYA/s1600/mobile.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 279px; height: 185px;" src="http://3.bp.blogspot.com/_mkv6qlma4_Q/TQjoDbaHBzI/AAAAAAAAB2Y/q_aiBU2yeYA/s400/mobile.jpg" alt="" id="BLOGGER_PHOTO_ID_5550941686328657714" border="0" /></a><br /><span style="font-size:85%;">Calder's </span><span style="font-style: italic;font-size:85%;" >Flamingo </span><span style="font-size:85%;">in Chicago's Federal Plaza<br /></span><br /><br />The body of work that propelled him into such a success was a miniature circus that he designed called the <span style="font-style:italic;">Le Cirque de Calder</span>, in Paris in 1927. Calder took interest in the circus in his mid-twenties after he took an assignment with the New York Journal to publish a series of illustrations of the Ringling Brothers and Barnum & Bailey’s Circus. Upon moving to Paris in 1926, Calder’s fascination with circus life grew and his inspiration to replicate the show became a work in progress. During his studies at the Academie de la Grande Chaumiere, he constructed his first figure out of wire, wood and cloth and in the spring 1927, had completed an entire miniature circus, ring and all.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_mkv6qlma4_Q/TQjozsnSFOI/AAAAAAAAB2o/raAv_ADVaoU/s1600/calder%2Bcircus%2B2.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 289px; height: 301px;" src="http://3.bp.blogspot.com/_mkv6qlma4_Q/TQjozsnSFOI/AAAAAAAAB2o/raAv_ADVaoU/s400/calder%2Bcircus%2B2.jpg" alt="" id="BLOGGER_PHOTO_ID_5550942515581031650" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_mkv6qlma4_Q/TQjpHzAkMZI/AAAAAAAAB2w/4j1X52RT54E/s1600/calder%2Bcircus%2B3.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 296px; height: 298px;" src="http://2.bp.blogspot.com/_mkv6qlma4_Q/TQjpHzAkMZI/AAAAAAAAB2w/4j1X52RT54E/s400/calder%2Bcircus%2B3.jpg" alt="" id="BLOGGER_PHOTO_ID_5550942860895072658" border="0" /></a><br /><br />Complex and unique, this body of work consists of performers, animals and props fashioned out of wire, cloth, leather and other materials. The <span style="font-style:italic;">Cirque Calder</span> was manually operated by Calder, who manipulated the wire figurines into performing typical, death-defying acts found in real circuses. His first performance was held in Paris at his studio and attended by his peers and friends. With his wife working the gramophone, Calder amazed his audience with his ingenious mechanical devices and manipulation of the tiny, wire performers displayed as lion tamers, cowboys and acrobats. Figures walking the tightrope, getting shot out of a cannon, leaping and engaging in acrobatics in the ring were highlights of the elaborate, 2-hour show. <br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_mkv6qlma4_Q/TQjpkFtVQ5I/AAAAAAAAB24/xvgaEBjgh7k/s1600/calder%2Bcircus%2B1.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 400px; height: 237px;" src="http://4.bp.blogspot.com/_mkv6qlma4_Q/TQjpkFtVQ5I/AAAAAAAAB24/xvgaEBjgh7k/s400/calder%2Bcircus%2B1.jpg" alt="" id="BLOGGER_PHOTO_ID_5550943346951013266" border="0" /></a><br /><br />Calder’s rendering of the circus became a huge success and he presented <span style="font-style:italic;">Le Cirque de Calder</span> all over Paris and in New York. He continued to give performances well into the 1930s. Today, the circus is housed at the Whitney Museum in New York and continues to draw an audience. Over the years, at least two films have been created, documenting Calder’s performances. The more popular of the two is the 1961 film by Carlos Vilardebo entitled Calder’s Circus, which showcases Calder as the “Ringmaster” animating his toy-like figurines within the ring. <br /><br />Until his death in 1976, Calder went on to have many more successful and artistically productive decades, exhibiting his works at such museums and galleries as the Museum of Modern Art in New York, the George Walter Vincent Smith Gallery and at the Philadelphia Museum of Art’s Third International Exhibition of Sculpture. Working with wire for Le Cirque inspired Calder’s later projects, and his creations and sculptures became bigger and more unique. In the 1930s, he not only became renowned for inventing the mobile, but discovered a talent for creating large, outdoor sculptures, experimenting with wood and sheet metal. Although his mobiles launched a new art form and his sculptures are timeless, the most memorable and inspirational body of work produced by Calder remains to be <span style="font-style:italic;">Le Cirque de Calder</span>.<br /><br /><br /><br /><br />Works Cited<br />http://www.answers.com/topic/alexander-calder<br />http://www.pbs.org/wnet/americanmasters/episodes/alexander-calder/about-the-artist/78/<br />http://www.calder.org/home<br />http://rogallery.com/Calder_Alexander/calder-biography.htm<br /><br /><br />Written and researched by Shanna Seiberlich.<br /><br />MIR Appraisal Services, Inc.<br />Principal Appraiser: Farhad Radfar, ISA AM<br />307 N. Michigan Avenue, Suite 308<br />Chicago, IL 60601<br />(312) 814-8510<br /><br />MIR Appraisal Services, Inc., is located just steps from the Art Institute of Chicago and the Chicago Cultural Center; please do give us a ring to set up an appointment for a verbal evaluation of your most prized works of art.MIR Appraisal Services, Inc.http://www.blogger.com/profile/00573203865117385442noreply@blogger.comtag:blogger.com,1999:blog-7182786342778107206.post-43668179360039341892010-12-07T09:23:00.012-06:002010-12-07T10:03:12.230-06:00Carl Krafft<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_mkv6qlma4_Q/TP5Ssp7dUUI/AAAAAAAAB1Q/4SNA85HkPyI/s1600/portrait.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 168px; height: 243px;" src="http://4.bp.blogspot.com/_mkv6qlma4_Q/TP5Ssp7dUUI/AAAAAAAAB1Q/4SNA85HkPyI/s400/portrait.jpg" alt="" id="BLOGGER_PHOTO_ID_5547962718089990466" border="0" /></a><br />Carl Rudolph Krafft was an important American painter throughout the early 20th century. He belonged to a group of artists called the Ozark Painters, whose work focused on the Ozark Mountains. Born August 23, 1884 in Reading, Ohio, the son of a traveling Lutheran pastor, his family moved and settled on the south side of Chicago in 1890. He remained in the Chicago area for the rest of his life; moving in 1926 to Oak Park, a western suburb that was the center of much Prairie architecture and the birthplace of Ernest Hemingway. He was a popular and influential painter up to his death on October 18, 1938.<br /><br /><br /><br /><br />Despite being sco<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_mkv6qlma4_Q/TP5TDoqA93I/AAAAAAAAB1Y/P_woehrxx60/s1600/adam%2Bkraft.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 204px; height: 272px;" src="http://3.bp.blogspot.com/_mkv6qlma4_Q/TP5TDoqA93I/AAAAAAAAB1Y/P_woehrxx60/s400/adam%2Bkraft.jpg" alt="" id="BLOGGER_PHOTO_ID_5547963112885385074" border="0" /></a>lded by his teachers for drawing in his textbooks, Krafft was encouraged to pursue art from a young age. However, religion was a significant part of his upbringing and he initially began studies in the seminary before taking nightly art classes at the Art Institute of Chicago. He was not only an incredible artist, but a talented organist and considered studying music also. Krafft was not the first of his family to take an interest in the arts. His ancestor, Adam Krafft (c.1460 – 1509), was a master sculptor in Germany whose self-portrait is pictured to the left. He is featured below the sacramental shrine to Saint Lorenz in Saint Lorenz Church in Nuemburg, Germany.<br /><br />It wasn’t until Krafft visited relatives in Missouri that he became enamored with the beautiful Ozark Mountains. A lifelong love for painting the region ensued. He traveled annually to the mountains<br />to paint the transition from fall to winter, capturing the beautiful colors of the changing seasons. The painting pictured below is owned by Dominican University in River Forest, Illinois, just a few short blocks from the Oak Park Art League, which he founded in 1921.<br /><br /><br /><br /><br /><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_mkv6qlma4_Q/TP5XWqsYrfI/AAAAAAAAB1g/lKJprhFgZZ4/s1600/Krafft%2B%2Bdominican.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 311px; height: 272px;" src="http://3.bp.blogspot.com/_mkv6qlma4_Q/TP5XWqsYrfI/AAAAAAAAB1g/lKJprhFgZZ4/s400/Krafft%2B%2Bdominican.jpg" alt="" id="BLOGGER_PHOTO_ID_5547967837896224242" border="0" /></a><br /></div><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_mkv6qlma4_Q/TP5Xa-dRUxI/AAAAAAAAB1o/7E-j7LtmtBQ/s1600/Krafft1_sig.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 272px; height: 136px;" src="http://1.bp.blogspot.com/_mkv6qlma4_Q/TP5Xa-dRUxI/AAAAAAAAB1o/7E-j7LtmtBQ/s400/Krafft1_sig.jpg" alt="" id="BLOGGER_PHOTO_ID_5547967911921013522" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />After the stock market crashed in 1929, copies and fakes of Krafft’s original paintings were being circulated. To combat the forgery of his signature and the sale of these paintings under his name, he began marking his paintings with his thumbprint, along with his signature. Below are two images of Krafft’s earlier work. Although his use of rich color mirrors his later pieces, his signature lacks a thumbprint, indicating that they are indeed earlier paintings.<br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_mkv6qlma4_Q/TP5YvB89ZPI/AAAAAAAAB14/i0w7So1i-s4/s1600/autumn%2Bcolor%2Bon%2Bthe%2Bgasconade.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 263px; height: 263px;" src="http://2.bp.blogspot.com/_mkv6qlma4_Q/TP5YvB89ZPI/AAAAAAAAB14/i0w7So1i-s4/s400/autumn%2Bcolor%2Bon%2Bthe%2Bgasconade.jpg" alt="" id="BLOGGER_PHOTO_ID_5547969355968242930" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_mkv6qlma4_Q/TP5Yq-NcQoI/AAAAAAAAB1w/SAUDd-AFQow/s1600/blue%2Bmnt.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 294px; height: 233px;" src="http://4.bp.blogspot.com/_mkv6qlma4_Q/TP5Yq-NcQoI/AAAAAAAAB1w/SAUDd-AFQow/s400/blue%2Bmnt.jpg" alt="" id="BLOGGER_PHOTO_ID_5547969286244156034" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />Krafft enjoyed painting the transition between winter and fall in Ozarks. The cool, blue palette of the distant snow topped mountains showcases this lovely transition and captures the peaceful mood of the scene. The use of the color yellow highlights the tranquility of early morning in the wilderness. In contrast to that painting, the one to the right depicts an earlier fall landscape and features vibrant, autumn hues, creating a sense of warmth and comfort. Krafft’s colorful palette compliments his adaptation of the seasons, both of which were painted in the same area.<br /><br />Krafft’s talent in the arts would prove to be a secure source of living. As the demand for artists rose, he left his job as a commercial designer to focus solely on his artwork. Throughout his career as a painter he also turned to teaching, and was the founder and president of many art leagues and schools including The Municipal Art League, the Society of Painters of the Forest Preserve, the Society of Ozark Painters, and the Oak Park Art League, which is still active today. He also had the honor of exhibiting his works nationally at such venues as The Art Institute of Chicago, the St. Louis Museum, The John Herron Museum in Indianapolis, the National Academy of Design, Grand Central Art Galleries, and at the Allied Artists of America where he was awarded a gold medal in 1926.<br /><br />Today, Krafft’s work is still displayed in museums and private collections across the country. His works not only represent the beauty of the Ozark Mountains, but also the group of regionalist painters who devoted their energies to capturing the beauty and quiet spirit of the American Midwest landscape.<br /><br /><br /><br />Works Cited<br />http://www.krafft.us/An_Artists_Life/contents.html<br />http://opal-art.com/historical/krafffall.htm<br />http://thisoldpalette.blogspot.com/2010/08/carl-krafft.html<br />http://www.rhlovegalleries.com/site/epage/19599_472.htm<br /><br /><br />Written and researched by Rachel Swain.<br /><br />MIR Appraisal Services, Inc.<br />Principal Appraiser: Farhad Radfar, ISA AM<br />307 N. Michigan Avenue, Suite 308<br />Chicago, IL 60601<br />(312) 814-8510<br /><br />MIR Appraisal Services, Inc., is located just steps from the Art Institute of Chicago and the Chicago Cultural Center; please do give us a ring to set up an appointment for a verbal evaluation of your most prized works of art.MIR Appraisal Services, Inc.http://www.blogger.com/profile/00573203865117385442noreply@blogger.comtag:blogger.com,1999:blog-7182786342778107206.post-63315958850893223692010-11-30T08:45:00.008-06:002010-11-30T13:28:24.217-06:00George Edgar Ohr: "The Mad Potter"<div style="text-align: center;"><br /></div><br />George Edgar O<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_mkv6qlma4_Q/TPUQIUc6MSI/AAAAAAAAB1A/Rk2L_jShn5M/s1600/images.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 200px; height: 248px;" src="http://3.bp.blogspot.com/_mkv6qlma4_Q/TPUQIUc6MSI/AAAAAAAAB1A/Rk2L_jShn5M/s400/images.jpg" alt="" id="BLOGGER_PHOTO_ID_5545356251291595042" border="0" /></a>hr (1857-1918) may not be well known internationally, but his artistic production was prolific to say the least. Proud to hold the moniker “Mad Potter of Biloxi” Ohr was always convinced that he would eventually be recognized as a genius, even if it occurred after his death. For the past few years, work was being done on a new museum in his honor to showcase his prodigious oeuvre.<br /><br />Ohr was born in Mississippi and moved to New Orleans in 1850 where he first experimented in ceramics. He studied under the potter Joseph Fortune Meyer and in the 1880s, traveled all over the states to acquaint himself with the work and interest of other potters. Upon returning to Biloxi in 1883, Ohr built a pottery shop next to his father’s house in hopes of earning a living creating art, not pots. “Pot-Ohr-E” was unsuccessful to say the least. Employing local, red clay from the banks of the Tchoutacabouffa River, Ohr’s creat<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_mkv6qlma4_Q/TPUO7uZls-I/AAAAAAAAB0w/EMqAUNA64Xk/s1600/george_ohr.jpg"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 201px; height: 254px;" src="http://3.bp.blogspot.com/_mkv6qlma4_Q/TPUO7uZls-I/AAAAAAAAB0w/EMqAUNA64Xk/s400/george_ohr.jpg" alt="" id="BLOGGER_PHOTO_ID_5545354935407064034" border="0" /></a>ions ranged from ordinary pitchers and planters to his pride and joy, “mud babies”. These were pieces formed into fantastic shapes and glazed with vibrant colors. Although his craftsmanship was remarkable and unmatched by any other potter, Ohr’s style was unappreciated by other artists of the time, lacking the classical style that was popular. Many were interested in his work, but because Ohr refused to sell his pieces for less than what they were worth in gold, his shop faired poorly. The world was not yet worthy for the eccentric and contemporary works of George Edgar Ohr.<br /><br />After a fire left his pottery shop in ruins, Ohr vigorously labored to complete thousands of pieces, most between the years 1895 and 1905. His created numerous pots, pitchers and vases, all of which mirrored his eccentricity. They were outrageous and amazing, and consisted of wild hues and colors. Their shapes and design were anything but symmetrical and often had a crumpled-bag look to them. Even the handles for his vases and pitchers were unusual. He showcased them at fairs and exhibitions, employing unconventional and wacky advertisements to lure customers, boasting “no two alike”.<br /><br />As much time a<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_mkv6qlma4_Q/TPUPYjZ1Y7I/AAAAAAAAB04/fSva_VTQuNo/s1600/ohr%2Bpic%2Bvase.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 180px; height: 250px;" src="http://3.bp.blogspot.com/_mkv6qlma4_Q/TPUPYjZ1Y7I/AAAAAAAAB04/fSva_VTQuNo/s400/ohr%2Bpic%2Bvase.jpg" alt="" id="BLOGGER_PHOTO_ID_5545355430671508402" border="0" /></a>nd effort Ohr placed on advertising, he hated selling his pieces. Often not wanting to depart from his most beloved works, he would put extravagant prices on them in hopes of deterring any sale. In the rare occasion when a customer did purchase one of his ceramics, he would go to extremes to retrieve the item back, even chasing them down the street, their money in hand. In 1909, at the age of 52, after not selling a “mud baby” for nearly 25 years, Ohr closed his shop and never threw another pot. He spent the rest of his life in madness until he died at the age of 60 of throat cancer.<br /><br />His “mad” creations and goofy portraits characterize him today as the Salvador Dali of pottery. A self-proclaimed oddball, he thrived on imperfection and often patronized the art world by deliberately distorting his perfectly made objects. Locals thought him insane, while artists of the time simply misunderstood him. He described his work as "unequaled, undisputed, unrivaled”. By the 1950s, a school of Abstract Expressionism ceramics had been born and artists began to take notice of Ohr’s work. Today, his abstract pieces are highly coveted and his work sells for thousands. The world finally accepted Ohr as the great potter he always knew he was.<br /><br /><br /><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_mkv6qlma4_Q/TPURyhNNyWI/AAAAAAAAB1I/SeckRSMjMqM/s1600/william%2Bwoodward.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 400px; height: 313px;" src="http://3.bp.blogspot.com/_mkv6qlma4_Q/TPURyhNNyWI/AAAAAAAAB1I/SeckRSMjMqM/s400/william%2Bwoodward.jpg" alt="" id="BLOGGER_PHOTO_ID_5545358075781564770" border="0" /></a><span style="font-style: italic;font-size:85%;" >William Woodward’s “Biloxi Art Pottery,” 1890s. Oil painting. Collection of the Biloxi Public Library.</span><br /></div><br /><br /><br /><br /><br />Researched and written Shanna Seiberlich.<br /><br />MIR Appraisal Services, Inc.<br />Principal Appraiser: Farhad Radfar, ISA AM<br />307 N. Michigan Avenue, Suite 308<br />Chicago, IL 60601<br />(312) 814-8510<br /><br />MIR Appraisal Services, Inc., is located just steps from the Art Institute of Chicago and the Chicago Cultural Center; please do give us a ring to set up an appointment for a verbal evaluation of your most prized works of art.MIR Appraisal Services, Inc.http://www.blogger.com/profile/00573203865117385442noreply@blogger.comtag:blogger.com,1999:blog-7182786342778107206.post-62155068438480456182010-11-23T09:09:00.009-06:002010-11-23T09:38:44.782-06:00<div style="text-align: center;font-family:georgia;"><span style="font-weight: bold;">George Catlin</span></div><br /><br /><span style="font-family:arial;">As we prepare for Thanksgiving, MIR would like to highlight an influen</span><span style="font-family:arial;">tial</span><span style="font-family:arial;"> artist whose depictions of the Old West and portraits of Native Americans remi</span><span style="font-family:arial;">nd us of the origins </span><span style="font-family:arial;">of the Harvest Feast Holiday. W</span><span style="font-family:arial;">hile Thanksgiving is a time for feasts and </span><span style="font-family:arial;">giving thanks, MIR giv</span><span style="font-family:arial;">es thank</span><span style="font-family:arial;">s to this prolific artist as he reminds us of the beauty of American Indian culture.</span><br /><br /><span style="font-family:arial;"><br /></span><br /><span style="font-family:arial;"><span style="font-family:arial;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_mkv6qlma4_Q/TOvdBN4VgRI/AAAAAAAAB0g/CRn_8K4vn1Y/s1600/catlin2.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 329px; height: 400px;" src="http://3.bp.blogspot.com/_mkv6qlma4_Q/TOvdBN4VgRI/AAAAAAAAB0g/CRn_8K4vn1Y/s400/catlin2.jpg" alt="" id="BLOGGER_PHOTO_ID_5542766779385086226" border="0" /></a></span></span><span style="font-family:arial;"><br /><span style="font-family:georgia;">George Catlin was born in Pennsylvania in 1796 to a mother who helped foster </span></span><span style="font-family:arial;">his fascination for the American Indians. 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mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} </style> <![endif]--><span style="font-family:arial;">Catlin was inspired by what he called a ‘vanishing race’ and began collecting artifacts and studying the cultures of many tribes throughout North America. He became, by most standards, a historian of Native Americans. </span> <p style="font-family: georgia;" class="FreeForm" face="arial">He first studied art at the Philadelphia Academy of Fine Arts and painted members of the Seneca tribe living on a nearby Indian Reservation. Catlin was mostly a portrait painter, depicting the ‘true Americans’ in full garb and face paint to show off their culture and beauty. The portraits he produced included men, women and children from many different tribes including Pawnee, Mandan, Hidatsa, Sioux, Ponca, Arikara, Plains Ojibwa, Plains Cree, Santee, Seminole, Iroquois and countless others. </p><br />In 1830, Catlin traveled to St. Louis and met William Clark. He accompanied him to Upper Mississippi, Leavenworth and Ft. Laramie, all the while recording what he saw with both pen and paint. His writings became as famous as his paintings, recounting colorful tales of Indian life and entertaining stories of Catlin’s interactions with the tribesmen and women. His writings, so detailed and thoughtful, would often help him to finish his paintings, re-doing them at a later date to better evoke the realism that his pen took note of.<br /><br />His writings, paintings, and numerous artifacts ended up, in 1838, in Catlin’s Indian Gallery on display. Catlin wanted to relay all he had learned from his travels out West, and so the artist and writer began giving lectures and recounting his tales of the lives of the American Indians. He also wrote of his experiences in a published book from 1848, titled <span style="font-style: italic;">Illustrations of the Manners, Customs, and Conditions of the North American Indians</span>.<br /><br /><br /><span style="font-family:arial;"><span style="font-family:arial;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_mkv6qlma4_Q/TOvd3N0dR2I/AAAAAAAAB0o/2NtSbZd3CEU/s1600/catlin_struttingpigeon.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 300px; height: 385px;" src="http://3.bp.blogspot.com/_mkv6qlma4_Q/TOvd3N0dR2I/AAAAAAAAB0o/2NtSbZd3CEU/s400/catlin_struttingpigeon.jpg" alt="" id="BLOGGER_PHOTO_ID_5542767707081754466" border="0" /></a></span></span><br /><br />The images George Catlin left behind are colorfully detailed accounts of the American West in the mid 19th century. His passion for the American Indians, their culture, and their impact on North America has spurred countless paintings, writings, and historical documentation from this artist and historian.<br /><br />The contents from the Indian Gallery now reside in the Smithsonian American Art Museum and American Museum of Natural History in New York City.<br /><br />So as we all prepare our turkeys on the 25th of November, we should also think back to the influential people who are responsible for Thanksgiving. While many of us think of pilgrims and Indians, what better way to remember than to see the art of George Catlin.<br /><br /><br /><br /><br />Researched and written Taylor Maatman.<br /><br />MIR Appraisal Services, Inc.<br />Principal Appraiser: Farhad Radfar, ISA AM<br />307 N. Michigan Avenue, Suite 308<br />Chicago, IL 60601<br />(312) 814-8510<br /><br />MIR Appraisal Services, Inc., is located just steps from the Art Institute of Chicago and the Chicago Cultural Center; please do give us a ring to set up an appointment for a verbal evaluation of your most prized works of art.MIR Appraisal Services, Inc.http://www.blogger.com/profile/00573203865117385442noreply@blogger.comtag:blogger.com,1999:blog-7182786342778107206.post-16086582500585808622010-11-16T09:10:00.005-06:002010-11-16T09:56:22.648-06:00Getting Ready for Winter with Edward Willis Redfield<p><a href="http://3.bp.blogspot.com/_mkv6qlma4_Q/TOKmcC5-gJI/AAAAAAAABzg/C7N4msYEkeY/s1600/snow.jpg"><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 433px; DISPLAY: block; HEIGHT: 324px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5540173492365721746" border="0" alt="" src="http://3.bp.blogspot.com/_mkv6qlma4_Q/TOKmcC5-gJI/AAAAAAAABzg/C7N4msYEkeY/s400/snow.jpg" /></a><br />The enchanting landscapes of Edward Willis Redfield are some of the most popular American Impressionist paintings in history. The artist was born in Delaware in late December of 1869. He exhibited artistic talent at a young age and attended the Pennsylvania Academy of Fine Arts and later traveled abroad to England and France. While in France, Refield took influences from Impressionist painters Monet, Pissarro, and Thaulow, an artist most famous for his winter scenes. These painters’ technique of painting en plain-air served as a model for Redfield, and like many Impressionists before him, the Fountainebleu Forest became the subject of his first major break. Road-Forest of Fountainebleu was a turning point in Redfield’s career and helped him procure his first solo show at the Doll and Richards Gallery in Boston. The painting was the first snow scene Redfield took directly from nature, a theme the artist would continue throughout his career.<br /><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 400px; DISPLAY: block; HEIGHT: 319px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5540174421696981554" border="0" alt="" src="http://1.bp.blogspot.com/_mkv6qlma4_Q/TOKnSI70KjI/AAAAAAAABzo/NxeeKhT-C-A/s400/snowscene.JPG" /><br />In 1893, Redfield married a woman from London whom he met while travelling abroad. Economic difficulties of the late 19th century forced the couple to move to a farm in Center Bridge, Pennsylvania. The necessity of living off the land and dealing with nature’s unpredictability became inspiration again for the artist. While the shift in economy created an urban world of impersonality and loss of self-discovery, Redfield’s respect for nature deepened. His winter landscapes, perhaps the most compelling of his paintings, were painted in zero degree weather, with blowing winds and freezing snowfall. In an article from 1906, writer B.J.O. Flower proclaimed that Redfield was a man who confronted life with directness and intensity. This sentiment was shared by many Americans at the time, for the differences between city and country life were always at the forefront of their minds. Even for painters, the difference in character came from a difference in environment. </p><p><br />From 1900 to 1910, Redfield painted a number of snow scenes outdoors in one sitting. The artist wanted to capture the spontaneity of light and color of one day or just a part of a day. In doing so Redfield creates some of the most memorable Impressionist snowscapes from the early 1900’s. In Hillside at Center Bridge from 1904, Redfield depicts the transient effects of light and atmosphere. His swift technique is evident as quick brushstrokes create the dead grasses along the bank, making the painting an immediate experience of the viewer.<br />At the apex of his career he had exhibited at fifteen solo shows and was awarded over twenty-seven prizes for his paintings. His paintings now hang in some of the most prestigious museums in the world.<br /><br /><em>(The painting below, titled “Snow Scene: Lumberville, Pennsylvania” sold for $163,800 at auction in June of 2009.) </em></p><p><em></em> </p><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 400px; DISPLAY: block; HEIGHT: 352px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5540176662719516850" border="0" alt="" src="http://1.bp.blogspot.com/_mkv6qlma4_Q/TOKpUlZOULI/AAAAAAAABzw/_9D6LnAeK5s/s400/snow%2Bagain.JPG" /><br /><p></p>MIR Appraisal Services, Inc.http://www.blogger.com/profile/00573203865117385442noreply@blogger.comtag:blogger.com,1999:blog-7182786342778107206.post-3948426651523443422010-11-11T12:17:00.006-06:002010-11-11T13:16:26.347-06:00<div style="text-align: center;">Getting Ready for Winter with Edward Willis Redfield<br /></div><br /><br /><br /><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_mkv6qlma4_Q/TNw30vIfeeI/AAAAAAAABzA/lK9V8sBUcA8/s1600/redfield3.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 400px; height: 309px;" src="http://4.bp.blogspot.com/_mkv6qlma4_Q/TNw30vIfeeI/AAAAAAAABzA/lK9V8sBUcA8/s400/redfield3.jpg" alt="" id="BLOGGER_PHOTO_ID_5538363020903676386" border="0" /></a><span style="font-size:85%;"><span style="font-style: italic;">Home by the River</span></span><br /></div><br />The enchanting landscapes of Edward Willis Redfield are some of the most popular American Impressionist paintings in history. The artist was born in Delaware in late December of 1869. He exhibited artistic talent at a young age and attended the Pennsylvania Academy of Fine Arts and later traveled abroad to England and France. In France, Refield took influences from Impressionist painters Monet, Pissarro, and Thaulow, an artist most famous for his winter scenes.<br /><br />These painters’ technique of painting en plain-air served as a model for Redfield, and like many Impressionists before him, the Fountainebleu Forest became the subject of his first major break. Road-Forest of Fountainebleu was a turning point in Redfield’s career and helped him procure his first solo show at the Doll and Richards Gallery in Boston. The painting was the first snow scene Redfield took directly from nature, a theme the artist would continue throughout his career.<br /><br /><br /><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_mkv6qlma4_Q/TNw4azp8giI/AAAAAAAABzI/5Q__hdStCWY/s1600/Edward-Willis-Redfield-The-Village-of-Center-Bridge.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 400px; height: 323px;" src="http://2.bp.blogspot.com/_mkv6qlma4_Q/TNw4azp8giI/AAAAAAAABzI/5Q__hdStCWY/s400/Edward-Willis-Redfield-The-Village-of-Center-Bridge.jpg" alt="" id="BLOGGER_PHOTO_ID_5538363674952761890" border="0" /></a><span style="font-size:85%;"><span style="font-style: italic;">The Village of Center Bridge</span></span><br /></div><br /><br />By 1893, Redfield was married to a London woman he met in his travels abroad. The economic difficulties of the late 19th century drove the couple to the country. Living on a farm in Center Bridge, Pennsylvania, the necessity to live off the land and deal with nature’s unpredictability became inspiration again for the artist. While the shift in economy created an urban world of impersonality and loss of self-discovery, Redfield’s respect for nature deepened. His winter landscapes, perhaps the most compelling of his paintings, were painted in zero degree weather, with blowing winds and freezing snowfall.<br /><br />In an article from 1906, writer B.J.O. Flower proclaimed that Redfield was a man who confronted life with directness and intensity. This sentiment was shared by many Americans at the time, for the differences between city and country life were always at the forefront of their minds. Even for painters, the difference in character came from a difference in environment.<br /><br /><br /><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_mkv6qlma4_Q/TNw97YQ_KsI/AAAAAAAABzQ/BulnK0tHwYI/s1600/redfield%2B4.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 400px; height: 284px;" src="http://3.bp.blogspot.com/_mkv6qlma4_Q/TNw97YQ_KsI/AAAAAAAABzQ/BulnK0tHwYI/s400/redfield%2B4.jpg" alt="" id="BLOGGER_PHOTO_ID_5538369732094143170" border="0" /></a><span style="font-size:85%;"><span style="font-style: italic;">Hillside at Center Bridge</span></span><br /></div><br /> From 1900 to 1910, Redfield painted a number of snow scenes outdoors in one sitting. The artist wanted to capture the spontaneity of light and color of one day or just a part of a day. In doing so Redfield creates some of the most memorable Impressionist snowscapes from the early 1900’s. In Hillside at Center Bridge from 1904, Redfield depicts the transient effects of light and atmosphere. His swift technique is evident as quick brushstrokes create the dead grasses along the bank, making the painting an immediate experience of the viewer.<br /><br /> The painter was now in the apex of his career. He exhibited at fifteen solo shows and was awarded over twenty-seven prizes for his paintings. His paintings now hang in some of the most prestigious museums in the world.<br /><br />(The painting below, titled <span style="font-style: italic;">Snow Scene: Lumberville, Pennsylvania</span> sold for $163,800 at auction in June of 2009.)<br /><br /><br /><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_mkv6qlma4_Q/TNw-kBYUN1I/AAAAAAAABzY/7M6Y8DQf-ww/s1600/Redfield1.GIF"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 400px; height: 352px;" src="http://3.bp.blogspot.com/_mkv6qlma4_Q/TNw-kBYUN1I/AAAAAAAABzY/7M6Y8DQf-ww/s400/Redfield1.GIF" alt="" id="BLOGGER_PHOTO_ID_5538370430325503826" border="0" /></a><span style="font-style: italic;font-size:85%;" >Snow Scene: Lumberville, Pennsylvania</span><br /><br /></div><br /><br /><br /><br />Works Cited:<br /><br />Kimmerle, Constance, and Edward Willis Redfield. Edward W. Redfield: Just Values and Fine Seeing. Doylestown, PA: James A. Michener Art Museum, 2004. Print.<br /><br />http://www.questroyalfineart.com/artist/edward-willis-redfieldMIR Appraisal Services, Inc.http://www.blogger.com/profile/00573203865117385442noreply@blogger.comtag:blogger.com,1999:blog-7182786342778107206.post-80935398400555546182010-11-05T10:08:00.007-05:002010-11-05T10:22:44.193-05:00Grandma Moses: A Unique Artist<!--[if !mso]> <style> v\:* {behavior:url(#default#VML);} o\:* {behavior:url(#default#VML);} w\:* {behavior:url(#default#VML);} .shape {behavior:url(#default#VML);} </style> <![endif]-->Grandma Moses, born Anna Mary Robertson in 1860, in New York, was a renowned American folk artist in the early 20<sup>th</sup>century. Her images are easily recognizable and popular in demand, emitting a sense of comfort and nostalgia. What makes Grandma Moses such a unique artist is that she did not bloom as a painter until her late 70s. 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mso-hansi-theme-font:minor-latin;} </style> <![endif]--> </a></p><p class="MsoNormal" style="line-height: normal;">Grandma Moses depicted simple scenes that reflected rural life and the countryside in the 1800s. 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<o:shapedefaults ext="edit" spidmax="1027"> </xml><![endif]--><!--[if gte mso 9]><xml> <o:shapelayout ext="edit"> <o:idmap ext="edit" data="1"> </o:shapelayout></xml><![endif]--> <p class="MsoNormal" style="line-height: normal;"><span style="font-style: italic;">A Beautiful World</span><br /></p><p class="MsoNormal" style="line-height: normal;">Most all of Grandma Moses’ paintings were painted on old pieces of wood, adding a certain authenticity to the composition. Her paintings were popular images for the holidays and were soon reproduced on Christmas cards, tiles and fabrics and distributed all over the world. 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</w:LatentStyles> </xml><![endif]--><!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin;} </style> <![endif]--> </p><p class="MsoNormal"><span style="font-style: italic;">A Checkered House </span><br /></p><p class="MsoNormal">During the Depression she was trying to sell her paintings at the Women’s Exchange, when she was discovered by an art collector.<span style=""> </span>By 1939, she had three showing at the Museum of Modern Art in New York City.<span style=""> </span>She became a national icon in the 1950s and was cited by the National Press Club as being one of the five most newsworthy women of 1950.<span style=""> </span>She even made an appearance on the Edward R. Murrow television show and her photo graced the cover of <i style="">Time</i> magazine in 1953. Despite her fame, Grandma Moses remained dedicated to her family and true to herself. “If people want to make a fuss over me, I let’em, but I was the same person before as I am now,” she once told reporters.<span style=""> </span></p> <p class="MsoNormal" style="line-height: normal;"></p>MIR Appraisal Services, Inc.http://www.blogger.com/profile/00573203865117385442noreply@blogger.comtag:blogger.com,1999:blog-7182786342778107206.post-15805802551041702642010-10-29T11:15:00.017-05:002010-10-29T14:08:36.406-05:00Erté and the Art Deco style<div align="justify"><a href="http://2.bp.blogspot.com/_mkv6qlma4_Q/TMsE27hxpqI/AAAAAAAAByE/8pgFxdf4A04/s1600/Erte-harpers.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 243px; FLOAT: left; HEIGHT: 315px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5533521908893591202" border="0" alt="" src="http://2.bp.blogspot.com/_mkv6qlma4_Q/TMsE27hxpqI/AAAAAAAAByE/8pgFxdf4A04/s400/Erte-harpers.jpg" /></a> In the early 20th century Art Nouveau gave way to Art Deco. The shift in style and design was heavily influenced by a Russian-born, French artist and designer known as Erté. Born Romain de Tirtoff in St. Petersburg, Russia in 1892, he chose to be known under the pseudonym Erté; how the French pronounced his initials R.T.<br /></div><br /><br /><div align="justify"></div><br /><br /><div align="justify">Erté thrived in the 20th century. His innovative designs were elegant and sophisticated, and appealed to the popular culture and style of the time. Erté’s versatility as an artist and transitional designs catapulted his career in the 1920's. </div><br /><div align="justify"></div><div align="justify"></div><div align="justify"></div><div align="justify"></div><div align="justify"></div><div align="justify"></div><div align="justify">November 1929 issue of Harper’s Bazaar<em> </em><div align="justify"><em></em></div><br /></div><div align="justify"><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 320px; DISPLAY: block; HEIGHT: 387px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5533522232054865074" border="0" alt="" src="http://3.bp.blogspot.com/_mkv6qlma4_Q/TMsFJvZbXLI/AAAAAAAAByM/XQAU7llsASE/s400/Erte-+symphonyblack.jpg" /></div><br /><div align="justify"><em></em></div><br /><div align="justify"><em></em></div><br /><div align="justify"><em>Symphony in Black</em></div><br /><div align="justify"><em></em></div><div align="justify">Ertè’s designs and unique style were influenced by a childhood fascination with his father’s collection of Persian miniatures. Colorful and exotic with intricate patterns, he was drawn to them. As he developed as an artist, they became his source of inspiration.<br />Over 200 of his illustrations graced the cover of Harper’s Bazaar magazine between 1915 and 1937 and also appeared in other publications such as Cosmopolitan, Vogue, and Ladies’ Home Journal. His images feature delicate and glamorous women in decorative clothing and style, and showcase Ertè’s appreciation for the graceful, lyrical form of a woman. The most popular of his drawings, Symphony in Black, has been reproduced and copied countless times. </div><br /><div align="justify">Ertè not only contributed illustrations to the art world, but influenced theatre, film and fashion. He designed sets and extravagant costumes for films and for the stage at such venues as New York’s Radio City Music Hall, the Folies-Bergère in Paris and George White’s Scandals in New York, and for such films as Ben Hur, The Mystic and the silent film, Paris. He also created original fashion designs that were worn by the Hollywood and Broadway elite including, Joan Crawford, Marion Davies, Anna Pavlova and Irène Bordoni. </div><div align="justify"></div><br /><br /><div align="justify"><a href="http://1.bp.blogspot.com/_mkv6qlma4_Q/TMr49iWCf8I/AAAAAAAABxc/hOzOc07uecc/s1600/Erte-fashion2.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 292px; FLOAT: left; HEIGHT: 400px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5533508828253028290" border="0" alt="" src="http://1.bp.blogspot.com/_mkv6qlma4_Q/TMr49iWCf8I/AAAAAAAABxc/hOzOc07uecc/s400/Erte-fashion2.jpg" /></a></div><br /><br /><br /><br /><div align="justify"><a href="http://4.bp.blogspot.com/_mkv6qlma4_Q/TMr5TDvLr0I/AAAAAAAABxs/5JpdvQGgudo/s1600/Erte-fashion.jpg"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 180px; FLOAT: right; HEIGHT: 240px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5533509197994110786" border="0" alt="" src="http://4.bp.blogspot.com/_mkv6qlma4_Q/TMr5TDvLr0I/AAAAAAAABxs/5JpdvQGgudo/s400/Erte-fashion.jpg" /></a><br /><br /></div><br /><br /><br /><br /><div align="justify"><a href="http://1.bp.blogspot.com/_mkv6qlma4_Q/TMr49iWCf8I/AAAAAAAABxc/hOzOc07uecc/s1600/Erte-fashion2.jpg"></a></div><br /><br /><br /><br /><div align="justify"><br /></div><br /><br /><br /><br /><div align="justify"><br /></div><br /><br /><br /><br /><div align="justify"></div><div align="justify"></div><br /><div align="justify">Besides contributing art for magazines, designs for fashion, theatre stages and film sets, Ertè most importantly influenced the art movement of “Art Deco”, which was revived in the 1960s. Art Deco incorporated interior design and fashion and had a modern style that was defined by glamour and functionality. Everything from art and fashion to furniture and architecture was influenced by Art Deco in the 1920s and 1930s, and Ertè was among the pioneers. </div><br /><div align="justify"></div><div align="justify"></div><div align="justify">Set design for <em>Machinerie</em>, The Tabarin, Paris, 1948 (left) Pearl of the Orient (right)</div><br /><div align="justify"></div><div align="justify"></div><div align="justify"><a href="http://1.bp.blogspot.com/_mkv6qlma4_Q/TMr518uVd7I/AAAAAAAABx0/-ckzh39F1wo/s1600/Erte-+set+design.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 282px; FLOAT: left; HEIGHT: 400px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5533509797406930866" border="0" alt="" src="http://1.bp.blogspot.com/_mkv6qlma4_Q/TMr518uVd7I/AAAAAAAABx0/-ckzh39F1wo/s400/Erte-+set+design.jpg" /></a> <a href="http://3.bp.blogspot.com/_mkv6qlma4_Q/TMr_GsYYLzI/AAAAAAAABx8/fJmDJgv-EGE/s1600/erte-Mir.jpg"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 215px; FLOAT: right; HEIGHT: 400px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5533515582635781938" border="0" alt="" src="http://3.bp.blogspot.com/_mkv6qlma4_Q/TMr_GsYYLzI/AAAAAAAABx8/fJmDJgv-EGE/s400/erte-Mir.jpg" /></a></div><br /><br /><br /><br /><div align="justify"></div><br /><br /><br /><br /><div align="justify"></div><br /><br /><br /><br /><div align="justify"></div><br /><br /><br /><br /><div align="justify"></div><br /><br /><br /><br /><div align="justify"></div><br /><br /><br /><div align="justify"></div><br /><div align="justify">Late in his career, he continued to create and designed revues, ballets and operas. He also turned to the mediums of bronze and serigraphy to remake designs of his youth. As an international success, his work can be seen in exhibits and museums all over the world.</div>MIR Appraisal Services, Inc.http://www.blogger.com/profile/00573203865117385442noreply@blogger.comtag:blogger.com,1999:blog-7182786342778107206.post-38295390048517105322010-10-26T09:06:00.008-05:002010-10-26T09:24:51.791-05:00From Miniature to Micro: Louis Rosenthal and Willard Wigan<div><div><div>Louis Rosenthal was a master sculptor in the early 20th century. His miniature bronze sculptures received international acclaim for being no more than an inch in height. Even the Royal Society of Miniature Painters changed their name in 1923 to the Royal Society of Miniature Painters & Sculptors solely to allow in the American sculptor.<br /><br /></div><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 169px; DISPLAY: block; HEIGHT: 169px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5532357532894591250" border="0" alt="" src="http://1.bp.blogspot.com/_mkv6qlma4_Q/TMbh3U6jeRI/AAAAAAAABwU/hBlnl__-Lng/s400/Rosenthal.jpg" />Miniature silver deer bust and <em>Bacchantes</em> in bronze.<br /><br />Today, Rosenthal’s tiny works of art are being challenged in size and in awe by micro sculptor, Willard Wigan. Born in Birmingham, England in 1957, Wigan suffered from dyslexia and learning disabilities, and found solace in creating art of minute proportions.<br />“It began when I was five years old,” says Willard. “I started making houses for ants because I thought they needed somewhere to live. Then I made them shoes and hats. It was a fantasy world I escaped to where my dyslexia didn’t hold me back and my teachers couldn’t criticise me. That’s how my career as a micro-sculptor began.”<br /><br /></div><div><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 400px; DISPLAY: block; HEIGHT: 300px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5532357800806539490" border="0" alt="" src="http://3.bp.blogspot.com/_mkv6qlma4_Q/TMbiG69vYOI/AAAAAAAABwc/CGhx6VqkMac/s400/WWwizardofoz.jpg" /><em>Wizard of Oz<br /><br /></em>Wigan’s sculptures cannot be seen with the naked eye and therefore, viewed under a microscope. Each piece sits within the eye of a needle or on a pin head. The effort put into making each piece is inconceivable. In order to achieve the detail on such a miniature scale, Wigan enters a meditative state to slow his heartbeat, which in turn, reduces hand tremors and increases concentration. He works at night when there are less distractions and minimal disturbances. On average it takes about eight weeks to complete a sculpture.<br /><br /><a href="http://1.bp.blogspot.com/_mkv6qlma4_Q/TMbimGkcsJI/AAAAAAAABwk/gYhdt1vshok/s1600/WWthinker.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 257px; FLOAT: left; HEIGHT: 249px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5532358336497627282" border="0" alt="" src="http://1.bp.blogspot.com/_mkv6qlma4_Q/TMbimGkcsJI/AAAAAAAABwk/gYhdt1vshok/s400/WWthinker.jpg" /></a><br /><br /><br /><a href="http://1.bp.blogspot.com/_mkv6qlma4_Q/TMbi8SNHnZI/AAAAAAAABws/s7v7sfo5Xqk/s1600/PeterPanMini.jpg"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 280px; FLOAT: right; HEIGHT: 219px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5532358717578124690" border="0" alt="" src="http://1.bp.blogspot.com/_mkv6qlma4_Q/TMbi8SNHnZI/AAAAAAAABws/s7v7sfo5Xqk/s400/PeterPanMini.jpg" /></a><br /><br /><br /><br /><br /><br /></div><br /><br /><div></div><br /><br /><div></div><br /><br /><div></div><div><em>The Thinker (L) </em> <em>Peter Pan (R)</em> </div><div><br />While Rosenthal used wax cast in bronze for his miniatures, Wigan’s micro sculpting warrants using untraditional materials such as grains of sand, nylon, dust fibers and spider’s cobweb to construct his sculptures. He uses such handmade tools as a hair off a housefly’s back and a human eyelash for painting.<br /><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 400px; DISPLAY: block; HEIGHT: 180px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5532359351901713090" border="0" alt="" src="http://2.bp.blogspot.com/_mkv6qlma4_Q/TMbjhNPpcsI/AAAAAAAABw0/xVZgWD10YXo/s400/WillardWigancarvedtheStBartholomews.jpg" /><em>Church of St. Bartholomew<br /><br /></em>Wigan’s pieces relate to all audiences. His subject matter ranges from popular culture to classical inspirations, such as, Michelangelo’s David, to Disney characters, to replicating historical events. Although Wigan’s sculpting methods are unorthodox and his work barely visible, his art has become an international fascination and his creations have taken sculpting to the extreme. Nearly a century apart, the sculptures of Rosenthal and Wigan stunned the world in their own time. Different in style, technique and material, both sculptors realized the potential and true meaning of their art; that size does not define art, but vitality, conception and spirit go along way. </div></div>MIR Appraisal Services, Inc.http://www.blogger.com/profile/00573203865117385442noreply@blogger.comtag:blogger.com,1999:blog-7182786342778107206.post-46540001360984260442010-10-15T09:40:00.021-05:002010-10-15T11:06:52.715-05:00<!--[if gte mso 9]><xml> <w:worddocument> <w:view>Normal</w:View> <w:zoom>0</w:Zoom> <w:trackmoves/> <w:trackformatting/> <w:punctuationkerning/> <w:validateagainstschemas/> <w:saveifxmlinvalid>false</w:SaveIfXMLInvalid> <w:ignoremixedcontent>false</w:IgnoreMixedContent> <w:alwaysshowplaceholdertext>false</w:AlwaysShowPlaceholderText> <w:donotpromoteqf/> <w:lidthemeother>EN-US</w:LidThemeOther> <w:lidthemeasian>X-NONE</w:LidThemeAsian> <w:lidthemecomplexscript>X-NONE</w:LidThemeComplexScript> <w:compatibility> <w:breakwrappedtables/> <w:snaptogridincell/> 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Grid Accent 6"> <w:lsdexception locked="false" priority="19" semihidden="false" unhidewhenused="false" qformat="true" name="Subtle Emphasis"> <w:lsdexception locked="false" priority="21" semihidden="false" unhidewhenused="false" qformat="true" name="Intense Emphasis"> <w:lsdexception locked="false" priority="31" semihidden="false" unhidewhenused="false" qformat="true" name="Subtle Reference"> <w:lsdexception locked="false" priority="32" semihidden="false" unhidewhenused="false" qformat="true" name="Intense Reference"> <w:lsdexception locked="false" priority="33" semihidden="false" unhidewhenused="false" qformat="true" name="Book Title"> <w:lsdexception locked="false" priority="37" name="Bibliography"> <w:lsdexception locked="false" priority="39" qformat="true" name="TOC Heading"> </w:LatentStyles> </xml><![endif]--><!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin;} </style> <![endif]--><span style="line-height: 115%;font-family:";font-size:130%;" ><br /><br />The Domestic Interior--Roman Painting, Rococo, and Matisse</span> <p class="MsoNormal"><span style="line-height: 115%;font-family:";font-size:100%;" >Since the beginning of human existence, people have required shelter.<span style=""> </span>This fact has not changed, though the way people choose to adorn their domestic surroundings certainly has.<span style=""> </span>Decorating one’s home to reflect personal i</span><a href="http://1.bp.blogspot.com/_mkv6qlma4_Q/TLhygFkas4I/AAAAAAAABv0/8ehm5foXVgg/s1600/4th+style.JPG"><br /></a><span style="line-height: 115%;font-family:";font-size:100%;" >nterests, for the purpose of entertaining or doing business, or to display wealth and power is a practice that dates back to the beginning of civilization.<span style=""> </span>This post will contrast some examples of various artistic movements that have contributed to the way we construct our int</span><span style="line-height: 115%;font-family:";font-size:100%;" >erior environments.</span></p> <p class="MsoNormal"><span style="line-height: 115%;font-family:";font-size:100%;" >Roman Painting—Four Styles of Wall Décor</span></p> <p class="MsoNormal"><span style="line-height: 115%;font-family:";font-size:100%;" >Roman homes were constructed with the specific needs of the owners in mind.<span style=""> </span>Certain rooms were designated for business meetings, others were for entertaining.<span style=""> </span>The paintings that adorned the walls of Roman homes developed over the course of centuries.<span style=""> </span>The paintings are categorized into four styles, which correspon</span><span style="line-height: 115%;font-family:";font-size:100%;" >d to the dates at which they were popular.<span style=""> </span>The mai</span><span style="line-height: 115%;font-family:";font-size:100%;" >n factors that distinguish the styles are levels of ornament, perspective, and human presence.</span></p><p class="MsoNormal"><span style="line-height: 115%;font-size:100%;" ><a href="http://upload.wikimedia.org/wikipedia/commons/e/e2/Herculaneum_Wall_1.Style.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 292px; height: 218px;" src="http://upload.wikimedia.org/wikipedia/commons/e/e2/Herculaneum_Wall_1.Style.jpg" alt="" border="0" /></a></span></p><p class="MsoNormal"> <span 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Emphasis"> <w:lsdexception locked="false" priority="21" semihidden="false" unhidewhenused="false" qformat="true" name="Intense Emphasis"> <w:lsdexception locked="false" priority="31" semihidden="false" unhidewhenused="false" qformat="true" name="Subtle Reference"> <w:lsdexception locked="false" priority="32" semihidden="false" unhidewhenused="false" qformat="true" name="Intense Reference"> <w:lsdexception locked="false" priority="33" semihidden="false" unhidewhenused="false" qformat="true" name="Book Title"> <w:lsdexception locked="false" priority="37" name="Bibliography"> <w:lsdexception locked="false" priority="39" qformat="true" name="TOC Heading"> </w:LatentStyles> </xml><![endif]--><!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin;} </style> <![endif]--> </p><p class="MsoNormal"><span style="line-height: 115%;font-family:";font-size:100%;" >Our knowledge of Roman Painting largely comes from the remarkable amount of stunning artifacts that were preserved by the volcanic eruption of Mount Vesuvius in Pompeii in 79 AD.<span style=""> </span>When the volcano erupted, it completed smothered the Roman city with volcanic ash, completely preserving the city and providing us with an unparalleled tool for the study of ancient times.<span style=""> </span>Thanks to the homes preserved in Pompeii, many examples of Roman painting styles can be observed today, allowing scholars access to information about the way ancient Roman citizens lived that might have otherwise been unavailable.</span></p><p class="MsoNormal"><a href="http://1.bp.blogspot.com/_mkv6qlma4_Q/TLhygFkas4I/AAAAAAAABv0/8ehm5foXVgg/s1600/4th+style.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 348px; height: 326px;" src="http://1.bp.blogspot.com/_mkv6qlma4_Q/TLhygFkas4I/AAAAAAAABv0/8ehm5foXVgg/s400/4th+style.JPG" alt="" id="BLOGGER_PHOTO_ID_5528294438173586306" border="0" /></a></p><p class="MsoNormal" style="font-family:arial;"><span style="font-size:100%;"> <span style="font-size:85%;">Fourth Style painting</span></span></p><p class="MsoNormal"><!--[if gte mso 9]><xml> <w:worddocument> <w:view>Normal</w:View> <w:zoom>0</w:Zoom> <w:trackmoves/> <w:trackformatting/> <w:punctuationkerning/> <w:validateagainstschemas/> <w:saveifxmlinvalid>false</w:SaveIfXMLInvalid> 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priority="37" name="Bibliography"> <w:lsdexception locked="false" priority="39" qformat="true" name="TOC Heading"> </w:LatentStyles> </xml><![endif]--><!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin;} </style> <![endif]--> </p><p class="MsoNormal"><span style="line-height: 115%;font-family:";font-size:100%;" >Rococo</span></p> <p class="MsoNormal"><span style="line-height: 115%;font-family:";font-size:100%;" >In 18<sup>th</sup> century France, the Rococo movement reinvented many aspects of Roman Interiors.<span style=""> </span>The arabesque is one type of depiction in particular that was inspired by Roman Painting, but features more elaborate and ornate displays of wealth in a Baroque fashion.<span style=""> </span>The term arabesque refers to a decorative scene painted on panels built into the walls of a home.<span style=""> </span>The scenes usually feature aristocratic characters, often engaged in leisure activities.<span style=""> </span>The narratives are then surrounded with organic patterns that mirror the second style of Roman painting.<span style=""> </span>Where Roman paintings used renderings of fabric or organic material to frame painted scenes, Rococo interiors boasted gold leaf and relief sculpture.<span style=""> </span>The paintings of the Baroque period were equally ornate.<span style=""> </span>Francois Boucher depicted scenes of robust nudes in lush organic settings, with light color palettes made up primarily of pinks and other pastels. <span style=""> </span>Jean-Honore Fragonard was famous for portraits with a distinctly quick and expressive brushstroke.<span style=""> </span>He also painted vibrant landscape scenes with organic environments that seemed to have a life of their own.<span style=""> </span>One example is his famous piece entitled <i style="">The Swing</i>, pictured below.<span style=""> </span>Like arabesques, <i style="">The Swing</i> features an aristocratic scene of leisure.</span></p><p class="MsoNormal"><!--[if gte mso 9]><xml> <w:worddocument> <w:view>Normal</w:View> <w:zoom>0</w:Zoom> <w:trackmoves/> <w:trackformatting/> <w:punctuationkerning/> <w:validateagainstschemas/> <w:saveifxmlinvalid>false</w:SaveIfXMLInvalid> <w:ignoremixedcontent>false</w:IgnoreMixedContent> <w:alwaysshowplaceholdertext>false</w:AlwaysShowPlaceholderText> 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</w:LatentStyles> </xml><![endif]--><!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin;} </style> <![endif]--> </p><p class="MsoNormal"><a href="http://3.bp.blogspot.com/_mkv6qlma4_Q/TLhzrDWM7NI/AAAAAAAABwE/mpiVNZfB4e8/s1600/Swing.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 266px; height: 326px;" src="http://3.bp.blogspot.com/_mkv6qlma4_Q/TLhzrDWM7NI/AAAAAAAABwE/mpiVNZfB4e8/s400/Swing.JPG" alt="" id="BLOGGER_PHOTO_ID_5528295726067281106" border="0" /></a><span style="line-height: 115%;font-family:";font-size:100%;" > </span><span style="line-height: 115%;font-family:";font-size:85%;" >Fragonard, <i style="">The Swing</i></span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:100%;"><span style="line-height: 115%;">Matisse</span></span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:100%;"><span style="line-height: 115%;">One of the great modern masters specialized in unique portrayals of interior spaces, namely Henri Matisse.<span style=""> </span>As a post-impressionist, specifically a Fauvist, Matisse used vibrant color palettes and focused more on surface rendering than perspective.<span style=""> </span>His famous piece entitled “Harmony in Red (Red Room)” features a continuous pattern that stretches across both 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mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin;} </style> <![endif]--> </p><p class="MsoNormal"><span style="font-size:100%;"><a href="http://2.bp.blogspot.com/_mkv6qlma4_Q/TLh0Gc028bI/AAAAAAAABwM/68yoFLJHrcA/s1600/redroom.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 378px; height: 326px;" src="http://2.bp.blogspot.com/_mkv6qlma4_Q/TLh0Gc028bI/AAAAAAAABwM/68yoFLJHrcA/s400/redroom.JPG" alt="" id="BLOGGER_PHOTO_ID_5528296196763218354" border="0" /></a></span><span style="line-height: 115%;font-family:";font-size:100%;" > <span style=";font-family:arial;font-size:85%;" >Henri Matisse, <i style="">Harmony in Red (Red Walls)</i></span></span></p><p class="MsoNormal"><br /></p><p class="MsoNormal"><br /></p><span style="font-family:arial;">Researched and written by Emma Stein</span>.<br /><br /><span style="font-family:arial;">MIR Appraisal Services, Inc. is a fine art and antiques appraisal company that places a premium on research and client satisfaction. Employing a team of experts knowledgeable in various fine arts objects, MIR’s employees go the extra mile and dig deep into the interesting histories of the pieces brought to their attention by clients. Far from just giving an accurate monetary appraisal MIR offers clients true insight into the deeper value of their treasured items. </span><br /><br /><br /><span style="font-family:arial;">MIR Appraisal Services, Inc.</span><br /><span style="font-family:arial;">Principal Appraiser: Farhad Radfar, ISA AM</span><br /><span style="font-family:arial;">307 N. Michigan Avenue, Suite 308</span><br /><span style="font-family:arial;">Chicago, IL 60601</span><br /><span style="font-family:arial;">(312) 814-8510 </span>MIR Appraisal Services, Inc.http://www.blogger.com/profile/00573203865117385442noreply@blogger.comtag:blogger.com,1999:blog-7182786342778107206.post-22552909304814439952010-10-11T09:28:00.004-05:002010-10-11T09:52:54.672-05:00An Introspective look at Artist Werner DrewesWerner Drewes was born on July 27, 1899 in Germany. During his youth, he attended the Bauhaus, a German art institution famous for its approach to design. Drewes studied alongside famed artists Klee and Kandinsky. He completed his time at the Bauhaus in 1929 and emigrated to the United States in 1930. The years of the great depression hurt most, but Drewes flourished when he first settled in New York City. Known for his printmaking, he taught his craft at the Brooklyn Museum School. He also taught at Columbia University, and later at Washington University in St. Louis.<br /><br /><p><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 400px; DISPLAY: block; HEIGHT: 209px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5526797560531681330" border="0" alt="" src="http://3.bp.blogspot.com/_mkv6qlma4_Q/TLMhGVz8gDI/AAAAAAAABvc/GLXsdRTd7eo/s400/thanksgiving.jpg" />Werner Drewes, <em>Thanksgiving</em>, 1969<br /><br />Influenced by Kandinsky, Drewes’ paintings were abstract and full of bright color. He also involved elements of Cubism in many of his creations. The painting below, entitled <em>Collage #304</em>, functions as a cubist inspired piece. Collage,first introduced by Pablo Picasso, was startling to critics of the time for its intent to heighten the importance of craft to that of “high art” and all together abolish the hand of the artist. In Drewes <em>Collage #304</em>, he uses a dynamic composition, with strong diagonals and geometry to excite the viewer. Bright solid colors becomes the subject matter here.<br /></p><p><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 400px; DISPLAY: block; HEIGHT: 285px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5526800875959094418" border="0" alt="" src="http://3.bp.blogspot.com/_mkv6qlma4_Q/TLMkHUvcDJI/AAAAAAAABvk/fMSgQJItMsE/s400/collage.jpg" />Drewes, <em>Collage #304</em>, 1977.<br /><br /><br />Drewes’ use of color is a defining characteristic of his style, where bold blocks of color combine with abstract shapes. His compositions became increasingly more abstracted as the years went on. After retiring from teaching, Drewes settled in Virginia and stayed there until his death in 1985. During this time, the artist was recognized with a number of exhibitions at major galleries, and even a retrospective devoted entirely to his printmaking at the Smithsonian American Art Museum.<br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /></p>MIR Appraisal Services, Inc.http://www.blogger.com/profile/00573203865117385442noreply@blogger.com