American (?), 19th – 20th century, male.
Active in San Francisco.
Born 1859; died 1935.
American (?), 19th – 20th century, male.
Active in San Francisco.
Born 1859; died 1935.
American, 19th – 20th century, male.
Born 31 August 1850, in Manchester, New Hampshire; died 1921, in Lynn (Massachusetts).
Painter, illustrator, teacher.
William Johnson Bixbee studied at the Lowell Institute with Tommaso Inglaris, and in Boston under the supervision of Waterman and Triscott. He was a member of the Boston Art Club. He served in the Navy and travelled all over the world, especially to Japan and South America. His landscapes and seascapes such as ( ...
(b Williamsburg, IN, Nov 1, 1849; d New York, Oct 25, 1916).
American painter and printmaker. Chase received his early training in Indianapolis from the portrait painter Barton S. Hays (1826–75). In 1869 he went to New York to study at the National Academy of Design where he exhibited in 1871. That year he joined his family in St Louis, where John Mulvaney (1844–1906) encouraged him to study in Munich. With the support of several local patrons, enabling him to live abroad for the next six years, Chase entered the Königliche Akademie in Munich in 1872. Among his teachers were Alexander von Wagner (1838–1919), Karl Theodor von Piloty and Wilhelm von Diez (1839–1907). Chase also admired the work of Wilhelm Leibl. The school emphasized bravura brushwork, a technique that became integral to Chase’s style, favoured a dark palette and encouraged the study of Old Master painters, particularly Diego Velázquez and Frans Hals. Among Chase’s friends in Munich were the American artists Walter Shirlaw, J. Frank Currier and Frederick Dielman (...
(b Veracruz, Mar 13, 1880; d Stamford, CT, Jan 10, 1961).
Mexican illustrator, writer, gallery owner, and publisher, active in the USA. He was the son of a wealthy Mexican lawyer and publisher. De Zayas started his career as an artist by providing drawings for his father’s newspaper in Veracruz. In 1906 he moved on to Mexico City’s leading newspaper, El Diario, but a year later, after the ascension of the dictator Porfirio Diaz, whom the newspaper had opposed, he fled to the USA. There he landed a position making caricatures for the New York Evening World. Shortly after his arrival in the USA, he came into contact with Alfred Stieglitz, who staged solo shows of De Zayas’s caricatures at his gallery Gallery 291 in 1909 and 1910, both of which proved to be huge popular successes.
In 1910 De Zayas traveled to Paris, where he stayed almost a year, scouting out adventurous forms of modern art for Stieglitz, notably the cubist work of Picasso and African sculpture. On his return, equipped with knowledge of European modern art and inspired by the work of the French modernist ...
American, 19th – 20th century, female.
Born 25 November 1863, in Houtsville (Alabama).
Cornelia Earle was a pupil of G.L. Noyes and was awarded first prize by the Columbia Art Association in 1922.
Alternative art space founded by Stefan Eins (b 1943) at 2803 Third Avenue near 147th Street in the South Bronx, New York, from 1978 to 1993. Eins arrived in New York from Austria in 1967. He referred to Fashion Moda as a museum of “Science, Art, Technology, Invention, and Fantasy,” the title of its inaugural exhibition in 1979. He had previously run a downtown storefront art space called the Mercer Street Store at 3 Mercer Street from 1971 to 1978. Black downtown artist, poet and musician Joe Lewis served as Co-Director of the space with Eins, and William Scott, then a teenager from the neighborhood, served as Junior Director. Their collaborative ventures attempted to connect the street culture of the South Bronx, by then a neighborhood in the midst of massive economic decline, to an international cultural scene.
From its opening in 1978, annually funded with grants from the National Endowment for the Arts, the New York State Council of the Arts and other sources, Fashion Moda held auctions, performances, seminars and other events. Joe Lewis described it as “an outlet for the disenfranchised, a Salon des Réfusés that cut across the uptown/downtown dichotomy, across the black/white/Hispanic isolation.” Although its glass storefront was located in a neighborhood far from the Soho gallery district, its impact has been measured largely by its effect on the more mainstream art world of the 1980s and early 1990s. It introduced and exhibited a number of artists including Charles Ahearn, John Ahearn (...
(b Buffalo, NY, 1950).
Tuscarora artist, writer, educator, and museum director. Hill studied at the Art Institute of Chicago (1968–70), and was awarded a Master of Arts degree from SUNY, Buffalo, NY (1980).
Intrigued with Seneca General Ely Parker (General Grant’s Military Secretary), Hill investigated Parker’s life, which took him to Washington, DC, for two years. Hill began to identify with Parker’s experience and realized he would devote himself to enlightening others about Native American arts, knowledge, education, and culture.
Hill was skilled in painting, photography, carving, beading, and basket weaving, and many of these works are located at the Canadian Museum of Civilizations, Quebec; the Woodland Indian Cultural Center, Brantford, Ontario; the Cleveland Museum of Art; the Philbrook Museum of Art, Tulsa, OK; the Indian Arts and Crafts Board, Washington, DC; and the Seneca Iroquois National Museum, Salamanca, NY. He taught at McMaster University, Mohawk College, Six Nations Polytechnic, and SUNY at Buffalo. Hill developed a culturally based Seneca Language curriculum and training models for teaching....
(b Brooklyn, New York, 1934).
American performance artist, educator and founder of El Museo del Barrio, New York. Ortiz grew up in New York and received his BFA and MFA from Pratt Institute in 1964, and his PhD in Fine Arts and Fine Arts in Higher Education at the Teachers College of Columbia University, 1982.
In the late 1950s, Ortiz began exploring ritual and destruction. Taking found filmstrips, he placed them in a medicine bag and used a hatchet to cut them into pieces. He then spliced them together in random order, creating a series of short, cut-up films. This led to his first private, ritually transformed domestic objects between 1959 and 1961, which often included cushions, chairs and sofas from his studio worked over several days, and the Archaeological Finds series between 1961 and 1967. He authored Destructivism: A Manifesto between 1957 and 1962.
Carrying out public Destruction Ritual Realizations between 1965 and 1970...
Founded in 1871 by a small group of artists in New York City, the Salmagundi Club is one of the oldest professional art clubs in America. The Salmagundi Club began as a sketch class that met in the Broadway studio of sculptor Jonathan Scott Hartley (1845–1912). Incorporated in 1880, the club was apparently named after a dish called salmigandos (a stew of different meats). From the start, the club offered its members important opportunities to critique each other’s work, paint, sketch, socialize and exhibit together. Early members included such renowned artists as George Inness Jr. (1854–1926), Thomas Moran , Frederick Church, William Merritt Chase, Childe Hassam, Tiffany family §2 and Howard Pyle.
For more than 40 years the Salmagundi Club led a nomadic existence, exhibiting and meeting at various locations in Greenwich Village. In 1917 the members helped raise funds to buy a brownstone at 47 Fifth Avenue (built in ...
American family of Philadelphia printmakers, printers, painters, and educators. John Sartain and his children, Emily and William, played an important role in the art world of Philadelphia for over a century. Their influence on American art lies primarily in the impact of their work example and leadership on others, and somewhat less from the value placed on their own artistic output. The patriarch, John Sartain (b London, 24 Oct 1808; d Philadelphia, PA, 25 Oct 1897), arrived in Philadelphia at the age of 22. By 1850 he was the city’s premier engraver of illustrations for a wide range of publications. His brilliant mezzotint engravings, often reproducing the work of others, brought graphic art into the homes of all classes. Reproductive engravings, either framed or in books, were widely popular before the advent of photography. Many writers promulgated the display of such prints as a means to refine and enlighten society. Sartain’s most successful endeavours in this field were his large and elaborate framing prints, commissioned by painters, collectors, and publishers to disseminate important works. The finest of these is ...
Culture of images and visuality that creates meaning in our world today. This includes media forms such as photography, film, television, and digital media; art media such as painting, drawing, prints, and installations; architecture and design; comic books and graphic novels; fashion design, and other visual forms including the look of urban life itself. It also encompasses such social realms as art, news, popular culture, advertising and consumerism, politics, law, religion, and science and medicine. The term visual culture also refers to the interdisciplinary academic field of study that aims to study and understand the role that images and visuality play in our society; how images, gazes, and looks make meaning socially, culturally, and politically; how images are integrated with other media; and how visuality shapes power, meaning, and identity in contemporary global culture.
The emergence of the concept of visual culture as a means to think about the role of images in culture and as an academic field of study is a relatively recent phenomenon, emerging in the late 1980s and becoming established by the late 1990s. There were numerous factors that contributed to the idea that images should be understood and analysed across social arenas rather than as separate categories, including the impact of digital media on the circulation of images across social realms, the modern use of images from other social arenas (such as news and advertising) in art, and the cross-referencing of cultural forms displayed in popular culture and art. It was also influenced by the increasingly visible role played by images in political conflict and a general trend toward interdisciplinarity in academia....
(b Atlanta, GA, Nov 2, 1902; d Washington, DC, Jan 20, 1993).
American printmaker, painter and educator. Wells’s 70-year career had a major impact on the development of African American art in the 20th century. He studied at the National Academy of Design, Columbia University Teachers College and the Atelier 17 printmaking workshop, both in New York. In 1929 he began teaching at Howard University, Washington, DC, where he remained an influential professor of art until his retirement in 1968.
One of the first black artists to embrace modernism, Wells’s early linocuts such as African Phantasy (1928) and Sisters (1929) embody the spirit of the Harlem Renaissance as African American artists looked toward African ancestral arts for inspiration. His graphic works were included in journals such as The Crisis, Opportunity and New Masses and became central to the visual culture of the New Negro Movement. Wells’s graphic style was influenced by European Expressionism, African and Egyptian art as well as popular Art Deco motifs. His extensive repertoire as a printmaker incorporated lithography, linoleum cut and wood engraving; his subjects included Bible stories, the urban worker, mythology, Africa and the nude. Also known for his expressionistic painting style, the Harmon Foundation awarded Wells a gold medal in ...