The terms California Impressionism and California Plein-Air Painting illustrate the great movement of 20th-century California artists working outside the door (en plein air ), directly from nature in California, USA. Their work became popular in the San Francisco Bay Area and Southern California in the first three decades after the turn of the 20th century. Considered a regional variation on American Impressionism, painters from the Plein-Air School of California are also described as California Impressionists; term used interchangeably.
Video California Impressionism
History
The California Impressionist artists portray the California landscape - the foothills, mountains, beaches, and deserts of the inland and coastal areas. California Impressionism reached its peak of popularity in the years before the Great Depression. The Plein-Air California painters are generally painted with brightly colored palettes with the work of a "loose" painter brush showing the influence of French Impressionism and Post-Impressionism. These artists gather in art colonies in places such as Carmel-by-the-Sea and Laguna Beach as well as in cities like San Francisco, Los Angeles and Pasadena.
Organizations such as the California Art Club, the Painters and Sculpture Clubs, the San Francisco Club Sketch, the Carmel Art Association, the Laguna Beach Art Association and the Los Angeles Museum of History, Art and Science played an important role in popularizing the Plein -Air Painters of California. While Impressionist-influenced paintings remain popular in California, well after that in Europe or the Eastern United States, as the Depression worsens and a more modern new style becomes accepted, the movement falls into decline.
Artist
Most of the Plein Air painters came from the East, Midwest and Europe, and only a few early artists such as Guy Rose (1867-1925) were actually born and raised in California. Some of the most prominent names associated with the Plein-Air school are Rose, William Wendt (1865-1946), Granville Redmond (1871-1935), Arthur Cane (1865-1949), Edgar Payne, Armin Hansen (1886-1957) Jean Mannheim (1861-1945), John Marshall Gamble (1863-1957), Franz Bischoff (1864-1929), William Ritschel (1864-1949), Alson S. Clark (1876-1949), Hanson Puthuff (1875) -1972 ), Marion Wachtel (1875-1954), and Jack Wilkinson Smith (1873-1949). Most of these artists have been trained in art when they moved to California, arriving between the 1900s and early 1920s.
Maps California Impressionism
Sharpness and Impressionism Northern California
In the 1890s, paintings in Northern California began to evolve from the great landscape of certain locations that had been popular in the 1870s and 1880s, becoming more intimate scenery. The second generation of Northern California landscape artists is less concerned about the details of a particular location than about the color, atmospheric recordings, and feelings they experience as they sketch. William Keith, known as the "dean of Northern California painter," completed this transition in his own work. He started his career as a beautiful landscape painter, many of them large. Later, after traveling abroad, he began to concentrate on "mood", eliminating what he saw as unnecessary detail of his landscape. In the cool and foggy climate of the north, this aesthetic view is described as California Tonalism.
Many Northern California painters were influenced by the works of French painter Barbizon School, who worked in the southern woods of Paris in the mid-19th century, as well as American landscape master George Inness (1825-1894) and American expatriate James Abbott McNeill Whistler (1834-1903 ). The landscape of Tonalis Northern California can be identified with simplified compositions and limited palettes that give colors close to painting. Some of the other Northern Tonalist Californians are Arthur and Lucia Mathews, who led the Bay Area Movement of Arts and Crafts, the full-color moonter Charles Rollo Peters (1862-1928), flamboyant Xavier Martinez (1869-1943), and the painter and muralist Giuseppe Cadenasso (1858 -1918). While many Northern California painters paint extensively on the outside, most of the works are done in their studio, stylized and poetic vision, a step from the plein air type visual snapshot or school-like impression. French.
After 1915 and the Panama-Pacific International Exhibition, which brought many French and American Impressionist masterpieces to San Francisco, more Northern California painters adopted a more colorful palette and brush strokes closer to French Impressionism and they adopted important midday subjects. Some of the most famous painters of Northern California who worked in a more impressionistic way were marine painters Armin Hansen, coastal painter Bruce Nelson and E. Charlton Fortune (1885-1969), a gifted Monterey lady who gave up paintings of horses for decorative ecclesiastics. Joseph Raphael, a student of Arthur Mathews who lived for many years in Europe while maintaining relations with San Francisco, tested methods of Impressionism and Post-Impressionism, and perhaps "the best and most original of the country's Impressionists."
E. Charlton Fortune helped develop the art colonies of Carmel County, brought William Merritt Chase there to teach. Two of the most prominent California Impressionists who live in Carmel are William Ritschel and Paul Dougherty. Both are known for their marine subjects, and have developed a national reputation long before they moved west.
Southern California Impressionism
Los Angeles developed slower than San Francisco, where the California Gold Rush led to a rapid expansion of wealth and art, so there were fewer artists and even fewer collectors in the years before the turn of the 20th century. As the first, the Painting Club (1906) and later the California Art Club (1909) were established and the first commercially opened gallery, Southern California began drawing artists and customers and a bright and airy impressionist aesthetic became dominant. This coincided with an extraordinary population explosion in Southern California. From the beginning of the 20th century, Southern California painters generally work in keys that are much higher than their counterparts in Northern California. This seems almost natural, because Southland is a land with almost endless sunshine. Painters do not need the earth tones favored by Northern California painters and instead adopt colorful palettes that help them capture the brilliant light that bathed the hills and valleys of Southern California. William Wendt is a stylist famous for his painting of California in the spring. Franz Bischoff of Austria and Jean Mannheim who were born in Alsatian were both converted to California Impressionism. Guy Rose, whose father is a prominent breeder is a native of Los Angeles who trained in San Francisco and Paris and while in France he became an enthusiastic supporter of Impressionism. He returned home in 1914, after years of living in the Giverny art colony. Also trained in Paris, Benjamin Brown, whose work suggests that Impressionism reminds of Childe Hassam, who settled in California in the 1890s.
The well-educated and educated Midand of Fernand Lungren (1859-1932), after living in Philadelphia, New York, Cincinnati and Europe, moved west to Santa Fe, New Mexico, eventually settling in Santa Barbara, California, in 1906. He is very famous for his impressionist painting of the California desert in various seasons and times of the day; he also played a leading role in establishing the Santa Barbara School of Art in 1920.
Perhaps the most famous Impressionist painter to settle in Southern California is Richard E. Miller. Miller came to Pasadena to teach with Rose, with whom he worked at Giverny. The colors and designs have a major influence on other California artists.
After studying with Chase in New York and then going to Europe, Maurice Braun moved to San Diego in 1909. His patterned landscape is well known for their bright sunshine and subtle mysticism. For William H. Gerdts, Braun is "not only the best Impressionist of the San Diego area, but arguably the most brilliant landscape artist of his generation working in California."
Decline in California Impressionism
California Plein-Air Movement's decline gradually. While art historians describe the long-standing popularity of California Impressionism as the "Summer of American Impressionism," the movement has finally begun to make way for more modern movements, both in the media and among collectors. The Great Depression hurts the art market. The economy accelerated the decrease of plein-water paintings, and modernism began to replace the artists of the Southland art organization.
Rising interest in Early California Impressionism
Historically, since then the interest of the first generation of Plein-Air Painters such as Edgar Payne, William Wendt and Marion Wachtel began to dwindle in the 1930s, there has been little interest in Early California paintings for over thirty years. When Southland artists of the 1920s were discussed, they were often mockingly called The Eucalyptus School . Led by a number of pioneer art historians such as Nancy Moure, then with the Los Angeles County Museum of Art in Southern California and Harvey Jones from the Oakland Museum of California in Northern California, the authors began to realize that the main movements of painters influenced by Impressionist influences. has been active in California between 1910 and 1940. Plein-Air California painter's interests are aided by the historic conservation movement and interest in the Arts and Crafts Movement in California.
As interest in the American Art and Handicraft Movement increased and historic preservation became popular, young curators, art historians and merchants began to put up exhibitions and write books and articles on California-Air Painting. In the 1980s, there was widespread interest in California Impressionism. Under the direction of Jean Stern, current Irvine Museum Executive Director and California Impressionism expert, Gallery Peterson in Beverly Hills holds a retrospective exhibition for Franz Bischoff and other artists from Plein-Air school with a small color catalog, indicating that early Los Angeles painters deserve attention scientific and commercial. In 1977, the Laguna Art Museum held a retrospective for William Wendt, the most important figure in Los Angeles's early painting, curated by Nancy Moure. The following year Moure released it Dictionary of Art and Artists in Southern California Before 1930 . Moure also curated a retrospective exhibit for the Laguna Beach Museum with illustrations of works by dozens of painters who have been active there.
In 1981 in conjunction with Los Angeles Bicentennial, an early California painting exhibition was held at the Los Angeles County Art Museum. In 1982 Plein-Air Painters of California: The Southland was published by Ruth Lilly Westphal. Westphal followed the first book with Plein-Air Painters of California: The North , in 1986.
California en plein air revival
In the late 1970s Peter Seitz Adams (b) 1950), Arny Karl (1940-2000) and Tim Solliday (b) 1952) became art students of Theodore Lukits (1897-1992). Adams, Karl and Solliday started taking sketches of the journey together and ultimately helped revive the movement of contemporary air painting. Moreover, in 1993 Adams was instrumental in reviving the California Art Club, which rapidly expanded to include hundreds of artists practicing in the air. In line with Lukits is the Russian Impressionist Sergei Bongart (1918-1985), who taught many students from his studio in Santa Monica and Idaho. In Santa Barbara, a group of emerging air painters sought inspiration from regionalist Ray Strong (1905-2006).
The California Plein-Air Revival is an art movement that began in the 1980s. Artists are inspired by renewed interest in the California Plein-Air Schools 1900-1940. The resurrection included young artists who were studied with or influenced by Theodore N. Lukits (1897-1992), Ray Stanford Strong (1905-2006) and Sergei Bongart (1918-1985). The three teachers emphasize working out the door, straight from nature. Group exhibitions by several commercial galleries, the formation of a number of different artist organizations and the rise of California Art Club all play a role in spreading the artistic philosophy and influence of the style of early California painters and creating a commercial market for artists who are part of the same tradition.
California Plein-Air Original School
There are a number of influences that gradually lead to the revival of the interest of artists working directly from nature, not from photographs or other references. The great influence in what has been described as the Neo-Plein-Air Movement or the Plein-Air Revival is the rehabilitation of the artistic reputation of the original painter of the Plein-Air School of California. This is an artist, also known as the California Impressionist, who was actively painting in California in the years after the turn of the 20th century. Some of these artists are natives; most migrate from the East, the Middle West or Europe. From their training in the United States or in some cases in Europe, they carry the tradition of working directly from nature or "en plein-air" as the French call it. Some of the original Plein-Air California painters were inspired by the work of en plein air from the Barbizon School, but most of them work in a broad movement now known as American Impressionism. For comparison styles with contemporary adherents to this style, some of these painters are: California-born Guy Rose, William Wendt, who came to Southern California from Chicago and Missouri-born Edgar Payne. The artists are part of the California Art Club, which was formed to spread Impressionist style in Southern California. The California Plein-Air Painters held an annual exhibition at the Museum of History, Science, and the Arts of California and sold their work through an increasing number of commercial galleries and they remained popular in the 1920s. The decline of California's Plein-Air Movement is gradual and as a more traditional and representative form of art, it finally begins to pave the way for more modern movements, both in the press and among collectors. The Great Depression was a severe blow to the art market. The economy makes artists difficult and the lack of sales accelerates the decrease of the Plein-Air school. Later, modernism began to replace artists from the Southland art organization in museums and larger exhibition venues. By the late 1940s, most of the artists that had been widely exhibited in 1910-1930 had died and the remaining painters were often reduced to perform in lower places along with amateur artists. In the 1960s, the California-Air movement was largely forgotten.
Rehabilitation of Early California Impressionists
Since interest in the first generation of Plein-Air Painters began to diminish, there has been little interest in Early California paintings over the years. When Southland painters in the 1920s were discussed, they were often ridiculed as The Eucalyptus School because of the popularity of the tree in many of their works. With art historians such as Nancy Moure, leading in Southern California and Harvey Jones of the Oakland Museum of California in Northern California, dealers, collectors of artists began to realize that the main moves of Impressionist influenced painters had been active in California between 1910 and 1940. Interest on the Plein-California Air Painters assisted by the historic preservation movement and interest in the Arts and Crafts Movement in California, led by authorities such as Robert Winters.
As interest in the American Art and Craft Movement increased and historic preservation became popular, a number of young curators, researchers, art historians and art dealers began to exhibit and write books and articles on California-Air Painting. In the 1980s, there was widespread interest in California Impressionism. Today, there are dozens of commercial galleries specializing in this group of artists, a vast collector base, museums with vast collections and hundreds of scientific books and "coffee tables" about the movement. In the late 1970s, galleries and antique "pickers" began to acknowledge that the Plein-Air School is a great business because there are thousands of paintings coming out of aging people's homes and becoming available at auction, at flea markets and second - hand shop. Second-generation Jean Stern, then at the helm of Gallery Peterson in Beverly Hills, held a retrospective exhibition for Franz Bischoff and other artists from the Plein-Air School with a small color catalog, indicating that the early Los Angeles painter deserves academic and commercial attention. Jean Stern's sister, George Stern, a lawyer, opened the George Stern Gallery in Encino and Ray Redfern, another second-generation merchant, took over the family company from his mother and began specializing in the works of the Laguna Beach painter. Marian Bowater opens the Bowater Gallery in La Cienega Boulevard's "Gallery Row" and starts specializing on Plein-Air Painters. The restorer Dee McCall also started not only restoring the works of the California painter but selling it, eventually opening the retail gallery. There is also a lot of interest in California painting from the auction house. Company San Francisco, Butterfield & amp; Butterfield began holding popular auctions in California and Pasadena company John Moran Fine Art & amp; Antique Auctioneers began holding a popular California Auction at the California Center in Pasadena. In 1977, the Laguna Art Museum held a retrospective for William Wendt, the most important figure in Los Angeles's early painting, curated by Nancy Moure. The following year, Moure released his monument Dictionary of Art and Artists in Southern California Before 1930 , which, for the first time enabled collectors to know whose work they were observing. Moure also curated a retrospective exhibit for the Laguna Beach Museum with illustrations of works by dozens of painters who have been active there.
In 1981 in conjunction with Los Angeles Bicentennial, an early California painting exhibition was held at the Los Angeles County Art Museum and commercial venues such as Peterson Gallery and Morseburg Gallery also organized exhibits that were part of the city's official activities. In 1982 Plein-Air Painters of California: The Southland was published by Ruth Lilly Westphal. With the introductory essay by Terry DeLapp, Thomas Kenneth Enman, Nancy Moure, Martin Peterson and Jean Stern, the book, which has a short essay on dozens of painters, has the effect of separating the values ​​of the painters whose work is included in the books of the painters. which is not, perhaps thanks to the mix, but it also gives the new collector a bunch of names to take. Westphal followed the first book with Plein-Air Painters of California: The North in 1986. Magazines such as the history magazine of California, California, Antiques and Fine Arts, Art and Antiques and Tom Kellaway are reorganized by The American Art Review also played an important role in publishing articles about California Plein-Air Painters and carrying advertisements from galleries that spread awareness of movement. Museum exhibitions, new books, and gallery scenes have a powerful influence on a number of painters who find themselves inspired by the landscape of early California painters.
Master forms a bridge between the Plein-Air School and the Plein-Air Revival
Some of the older artists act as a bridge between historic painting traditions in the United States and Europe as well as the younger generation of artists. Sergei Bongart is a painter from Ukraine. He actually went to school in Russia in the years before World War II and later in Europe in the post-war years. He came to the United States, first settled in Memphis, Tennessee and then in Los Angeles, California. Bongart is a good painter and an influential teacher who teaches hundreds of students. He emphasized working outside the door and during workshops and one-on-one instructions, he took students out of the field, showing his extensive techniques and criticizing their work. Sergei Bongart's students include his wife Patricia LeGrande Bongart, Thai-born painter Sunny Apinchapong Yang, Dan Pinkham, and McCaw, Joseph Mendez and Del Gish Theodore Lukits born in Transylvania, raised in St. Louis and trained at the Art Institute of Chicago, where he studied with a number of American Impressionist painters and proponents of Decorative Impressionism. He moved to California in 1921 and opened the Lukits Academy in 1924. Lukits performed over a thousand pastel plein waters at the scene and also took his students out on the scene, with an emphasis on faster arrests. natural effects. He taught until 1990 and some of his students included Peter Seitz Adams, Arny Karl, Tim Solliday. Another artist who plays a key role is the Central California Coast painter Ray Strong (1905-2006) who helped set up Oak Group in the 1980s and inspired many painters from the Santa Barbara area.
The Origin of Plein-Air California Revival
In the 1970s, there was a small movement of painters in California and the West who worked in the tradition of plein air, some of them old artists who were active in the end times of the original movement and some young painters at the age of two dozens and thirties. Some of these artists are active in the California Art Club and their membership as old painters. However, there is little momentum or interest ahead of the art galleries or collectors. In 1985, a painter named Denise Burns formed the Plein-Air Painters of America (PAPA) and in 1986, he and a group of painters began holding an annual exhibition at Santa Catalina Island, off the coast of Southern California. In the late 1980s, due to the tremendous interest in early California's early Plein-Air painters and rising prices, collectors became interested in young painters working in the same tradition. In the case of Peter Seitz Adams (b. 1950), Arny Karl (1940-2000) and Tim Solliday (b) 1952) the artists were students of one of the original Plein-Air Painters, portrait artists and en plein air Pastelist Theodore Lukits as mentioned above and these three artists have been sketching together since the 1970s. In the case of Dan Pinkham, Joseph Mendez and Sunny Apinchapong-Yang, they had studied under Russian Impressionist Sergei Bongart (1918-1985) while Ojai painter Richard Rackus (b.1922) had studied in the late 1930s and early 1940s when many of the original California Impressionists still teach. Al Londerville, who has studied with Theodore Lukits and Nicolai Fechin, also works on active painting in pastels. This lax group of en plein air shows their work in a number of commercial galleries including Poulsen Gallery at Pasadena Gallery and Morseburg in Los Angeles. At the same time, a number of out-door painters formed a new organization, Plein-Air of America ("PAPA"). Meanwhile, the Annual Plein-Air Painters Festival in Catalina, hosted by Denise Burns, with the help of Roy Rose becomes even more successful. In Santa Barbara, a group of young painters also gathered, clustered around the senior regionalist Ray Strong (1905-2006). The group of artists was formalized as Oak Group in 1985 and spread the interest in en plein air paintings promoting environmental awareness in Central California Coast.
Reorganization from California Art Club
In the early 1990s, Peter Seitz Adams and a number of other Contemporary Traditional Artists saw the need for an organization that could help curb what they saw as a traditional art movement resurfacing in California. Adams, his wife Elaine and Jeffrey Morseburg have discussed the need for an organization that can hold exhibitions and promote artists who revive the Plein-Air California Paintings. In 1993, when Verna Guenther, a member of the historic Art Club of California, came to Morseburg to see if he knew a younger man who would be able to take over an esteemed organization which later consisted of an aging group of painters, Morseburg suggested Peter and Elaine Adams. The Adams sees value in taking over existing organizations to promote traditional art rather than forming new ones. Peter Adams soon received the Presidency of the California Art Club and has served in that capacity ever since. To rearrange California Art Club, Adams recruited the vast majority of active professional landscape and figurative painters he knew. The core group of artists who are members of the reorganized California Art Club consists mainly of students of Theodore Lukits or Sergei Bongart. Among the first group of painters to join the CAC included Tim Solliday, Bill Stout, Stephen Mirich, Steve Houston, Dan Goozee, Daniel W. Pinkham, Sunny Apinchapong, Richard Rackus (born 1922) and Russian painter Alexander Orlov and Alexey Steele. Due to the large number of academically trained Chinese painters in California, Adams and CAC add painters like Mian Situ, Michael Situ, and Jove Wang to the list. Several artists who had become important members of the California Art Club before the Adams administration, such as Don and Wanda Durborow and Rolf and Evelyn Zilmner, who were the Chairpersons of the Gold Medal Exhibition, played an important role in the revitalization. The reorganized California Art Club immediately began organizing museum events aimed at historic and contemporary members and soon the Los Angeles Museum of Natural History, the Frederick R. Weissman Museum at Pepperdine and other institutions are exhibiting. A bulletin with articles by recognized scholars and exhibition catalogs contributes to making the works of CAC's Plein-Air Painters and other artists more widely known. The organization also often holds a "cat out" where artists meet and work on site as a group. As the California Art Club is rearranged, the emphasis on the painting of en plein air, the focus of many artists has begun to shift as more and more figurative artists join the organization. In 2000, the cut-off date for artists in the list below, the California Art Club is a highly diverse organization, reflecting the extraordinary power of the Pacific Rim. There are young artists in their twenties and older painters in the eighties, men and women, artists from Europe, Russia, throughout Asia and throughout the United States.
Plein-Air Show
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