American, 20th century, male.
Born 10 July 1868, in Boston; died 1962, in New Jersey.
Draughtsman, illustrator, poster artist. Toys.
Art Nouveau.
Will Bradley was the son of a caricaturist who worked on the Daily Item, a newspaper published in Lynn, Massachusetts. At the age of 12, he became apprentice to a printer and then began drawing and illustrating, making this his full-time occupation ...
(b Minden, Jan 15, 1902; d Austin, TX, Dec 8, 1985).
American painter of German birth. Kelpe moved to Hannover to study art and architecture in 1919. In the early 1920s he was exposed to the leading abstract trends in European modernism, including Suprematism and Constructivism. Kelpe developed an abstract painting vocabulary characterized by geometric order, hard edges, overlapping planes, and interpenetrating shapes before immigrating to the United States in 1925. He eventually settled in Chicago, where he had his first solo exhibition in 1932 at the Little Gallery. In the late 1920s Kelpe applied found objects to his paintings, as exemplified by Construction with Lock and Key (1927; Washington, DC, Hirshhorn). He abandoned such constructions by the early 1930s in favor of integrating in paint recognizable gears, wheels and machine parts into his abstract compositions. Machine Elements (1934; Newark, NJ, Mus.), with its stacked semi-abstract machine and factory forms, is representative of his work during the period. Kelpe worked for the Public Works of Art Project in ...
(b Brooklyn, NY, Oct 27, 1877; d White Plains, NY, July 13, 1949).
American painter, illustrator and lithographer. As an organizer of the Armory Show (1913) alongside Arthur B. Davies, he played an integral role in unveiling European modernism to the USA. While he painted landscapes of Maine, Cézanne-inspired still lifes and a series based on the American West, his expressive portraits of circus and vaudeville performers remain his best-known works.
In 1901, he trained at the Académie Colarossi in Paris, but soon transferred to the Akademie der Bildenden Künste in Munich where he studied under Barbizon painter Heinrich von Zügel (1850–1941) until 1903. Upon returning to New York in 1903, he worked as an illustrator for publications such as Life and Puck, exhibited at the Salmagundi Club (1905) and organized artists’ balls for the Kit Kat Club. Working in an Impressionist style, he participated with Robert Henri in the Exhibition of Independent Artists (1910)....
[MoMA] (New York)
The Museum of Modern Art (MoMA) was founded in 1929 by patrons Lillie P(lummer) Bliss, Cornelius J. Sullivan and Rockefeller family §(1) to establish an institution devoted to modern art. Over the next ten years the Museum moved three times and in 1939 settled in the Early Modern style building (1938–9) designed by Philip S. Goodwin and Edward Durell Stone that it still occupies at 11 West 53 Street. Subsequent renovations and expansions occurred in the 1950s and 1960s by Philip Johnson, in 1984 by Cesar Pelli and in 2002–4 by Yoshirō Taniguchi (b 1937). MoMA QNS, the temporary headquarters during this project, was subsequently used to provide art storage. In 2000, MoMA and the contemporary art space, P.S.1, Long Island City, Queens, announced their affiliation. Recent projects are shown at P.S.1 in Queens in a renovated public school building.
According to founding director, Alfred H(amilton) Barr...
American, 20th century, male.
Born 24 October 1883, in New York; died 18 November 1945, in Brandenburg.
Painter, engraver, draughtsman, decorative designer. Figures. Designs for ceramics, stage sets.
Jugendstil, Art Deco.
Paul Scheurich studied at the arts academy in Berlin from 1902 to 1904. In ...
(William IV)
(b Breckenridge, MN, Oct 6, 1937; d Scottsdale, AZ, Feb 10, 2005).
American painter, printmaker and photographer. He studied art in high school under Oscar Howe (b 1915), the Sioux modernist painter, and later with Wayne Thiebaud at Sacramento City College, CA (1957–8). After participating in the Southwest Indian Art Project sponsored by the Rockefeller Foundation in 1961, Scholder acknowledged his Native American heritage and taught at the Institute of American Indian Art in Santa Fe (1964–9). In 1967 he achieved recognition for his Indian Series: fluid, painterly, semi-abstract portraits that challenged both the romantic stereotype of the Noble Savage and the strictures of traditional Native American painting. These sensuously coloured, but troubling images, such as Indian No. 1 (1967; Washington, DC, priv. col., see Taylor and others, 1982, p. 54) are subjected to violent Expressionist distortions resulting from rapid, bravura brushwork.
From 1970 Scholder made lithographs, for example the Indians Forever Suite (1970–71...
