Arshile Gorky (1904-1948)
GENERAL DESCRIPTION
Born in an Armenian village in 1904, Arshile Gorky was only about sixteen years old when he arrived in America and began one of the legendary careers in artistic self-education. His schools were the museums and galleries of New York; there, he apprenticed himself to a succession of modern masters — Ingres, Picasso, Léger, de Chirico, Kandinsky, and Miró.
Francis Guy (1760-1820)
GENERAL DESCRIPTION
British-born Francis Guy came to the United States in September 1795, after working as a silk dyer in London. He continued that career in New York and in Baltimore until a 1799 fire destroyed his business. His subsequent decision to become a full-time painter was surprising, since Guy had no formal art training.
Stuart Davis (1892-1964)
GENERAL DESCRIPTION
Stuart Davis lived most of his life in New York City, and the majority of his work echoes the sights and sounds of metropolitan America. Dixieland jazz, blinking neon, glaring billboards, and even gasoline pumps appear in his canvases. An artist deeply attuned to his environment, Davis reflected the idiom of modern America.
Marsden Hartley, (1877-1943)
GENERAL DESCRIPTION
Born in Lewiston, Maine, in 1877, Marsden Hartley's interest in painting began early in his life. Hartley moved to Cleveland in 1893 and there studied painting with John Semon and Cullen Yates and attended classes at the Cleveland School of Art.
John Sennhauser (1909-1978)
GENERAL DESCRIPTION
The Swiss-born painter John Sennhauser belonged to the group of American artists who experimented with geometric abstraction in the 1930s and 40s. He immigrated to the United States in 1928 following two years of study at the Royal Academy in Venice. After settling in New York City he pursued further studies at the Cooper Union Art School (1930-1933) where he began experimenting with non-objective form as a means of expression.
George Lovett Kingsland Morris (1905-1975)
GENERAL DESCRIPTION
George L.K. Morris (1905-1975) was a founding member of the American Abstract Artists (AAA) group, and an influential art critic for the Partisan Review. He wrote frequently of abstraction as the next logical development in the visual arts and believed that all art throughout history was abstract, but American art had a particularly strong tradition of abstract values reaching back to the colonial period.
Charles Biederman (1906-2004)
GENERAL DESCRIPTION
Opinionated, driven, and always intellectually engaged, Charles Biederman was an artist acclaimed at his debut as one of America's most promising Modernists, whose relocation to rural Minnesota after 1942 took him out of the mainstream of critical discourse in this country, even while his refinements of style (and voluminous self-published theoretical opinions) brought acclaim from European Modernists—and now, belatedly, from his comp
Victor Higgins (1884-1949)
GENERAL DESCRIPTION
A painter of the Taos school, Victor Higgins was born in Shelbyville, Indiana, in 1884. He studied at the Art Institute in Chicago, the Chicago Academy of Fine Arts, the Académie de la Chaumiere in Paris, and in Munich under Hans von Hyedk. Many of his early attitudes toward art were influenced by his contact with the progressive ideas of Robert Henri and his followers in New York.
Pre-Raphaelite Brotherhood
GENERAL DESCRIPTION
In the autumn of 1848 Dante Gabriel Rossetti, William Holman Hunt, and John Everett Millais joined together to form a small collective of artists with a few commonalities: they disliked what they viewed as the stale, monotonous works displayed by the Royal Academy, they appreciated early Italian works that they studied by examining etchings such as those by late-18th, early-19th-century engravers Carlo Lasinio and Benozz
Albrecht Dürer (1471–1528)
GENERAL DESCRIPTION
A key figure of the Renaissance, German artist Albrecht Dürer (1471–1528) achieved success as a painter, printmaker, and theorist.Dürer left a profound mark on the course of art history through his contributions to the field of printmaking.In the fifteenth century, reproducible woodcuts and engravings were made possible by new technologies and became accessible to a fairly wide audience.