William Glackens (1870-1938) Tulips signed and dated 'W. Glackens / 35' (lower right) oil on canvas 24 x 19 3/4in (61 x 50.2cm) Painted in 1935. Fußnoten Provenance The artist. Kraushaar Galleries, New York. Collection of Lincoln Isham, Dorset, Vermont. Sale, Parke-Bernet Galleries, New York, May 24, 1972, lot 167. Frances Aronson Fine Art, Atlanta, Georgia. Acquired by the present owner from the above, 1994. Exhibited Pittsburgh, Pennsylvania, Carnegie Institute, International Exhibition of Paintings, October 15-December 6, 1936, no. 32. Literature American Magazine of Art, January 1936, v. 29, no. 1, p. 717, illustrated. Carnegie Magazine, October 1936, vol. 10, front cover illustration. William Glackens is famously known for his association with the group of American painters who identified as The Eight and were later among the Ashcan School of painters. Members of the group included Robert Henri (1865-1929), John Sloan (1871-1951), Everett Shinn (1876-1953), George Luks (1869-1933), Ernest Lawson (1873-1939), Maurice Brazil Prendergast (1858-1924) and Arthur B. Davies (1862-1928). Codified by their group exhibition in 1908 at Macbeth Gallery in New York, the group displayed a series of paintings that rejected the formality and gentility of 19th-century academic art and instead put a spotlight on working and middle class metropolitan life. Their focus was realistic depictions of everyday life in New York City. By 1910, Glackens began to break away from the Ashcan stylistic approach to art and instead concentrated on his highly personal colorist style. He drew his inspiration from the colorful and loose brushstrokes of the Impressionists and Post-Impressionists whose works he encountered during his first trip to Europe in 1895 with Henri and others. During the time that Glackens began to shift his artistic style, his dear friend from his days at Central High School and famed millionaire Albert C. Barnes (1872-1951) began to study and collect modern art. Barnes consulted with Glackens on his newfound interest and called on him to travel to Paris to acquire advanced works for his collection. Glackens returned successful with almost twenty paintings that included works by Paul Cézanne (1839-1906), Édouard Manet (1832-1883), Henri Matisse (1869-1954), and Pierre Auguste Renoir (1841-1919), an artist he would be compared with later in life. These works would later form the core of the Barnes Foundation Collection in Philadelphia, Pennsylvania. Glackens continued to travel to France between 1925 and 1935 to study the work of the Impressionists and Post-Impressionists. By the early 1930s, Glackens became well known for his portraits and genre scenes that were more academic in nature and less socially critical, such as his widely celebrated work The Soda Fountain (Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania) painted in 1935, the same year as the present work. During this period, Glackens also focused on still life paintings, often featuring intricate floral arrangements. The present work is an accomplished and prime example of Galckens' still life paintings from this mature period and demonstrates his mastery of the colorful palette and feathery brushstrokes influenced by his admiration for Renoir among the other Impressionists he spent a great deal of his life studying. In the present work, Glackens employs a lively brushstroke technique to construct his floral arrangement consisting of yellow, purple, and red tulips mingled with delicate greenery all contained within a glass vase and set amidst a simple, warm backdrop. Tulips is a testament to Glackens' ability in his later work to emphasize the beauty in the simple everyday things that surround us and has done so in a way that still resonates with collectors today. The present work was exhibited the year after it was painted in the International Exhibition of Paintings at the Carnegie Institute in Pittsburgh and was awarded the Allegheny County Garden Club P
William Glackens (1870-1938) Tulips signed and dated 'W. Glackens / 35' (lower right) oil on canvas 24 x 19 3/4in (61 x 50.2cm) Painted in 1935. Fußnoten Provenance The artist. Kraushaar Galleries, New York. Collection of Lincoln Isham, Dorset, Vermont. Sale, Parke-Bernet Galleries, New York, May 24, 1972, lot 167. Frances Aronson Fine Art, Atlanta, Georgia. Acquired by the present owner from the above, 1994. Exhibited Pittsburgh, Pennsylvania, Carnegie Institute, International Exhibition of Paintings, October 15-December 6, 1936, no. 32. Literature American Magazine of Art, January 1936, v. 29, no. 1, p. 717, illustrated. Carnegie Magazine, October 1936, vol. 10, front cover illustration. William Glackens is famously known for his association with the group of American painters who identified as The Eight and were later among the Ashcan School of painters. Members of the group included Robert Henri (1865-1929), John Sloan (1871-1951), Everett Shinn (1876-1953), George Luks (1869-1933), Ernest Lawson (1873-1939), Maurice Brazil Prendergast (1858-1924) and Arthur B. Davies (1862-1928). Codified by their group exhibition in 1908 at Macbeth Gallery in New York, the group displayed a series of paintings that rejected the formality and gentility of 19th-century academic art and instead put a spotlight on working and middle class metropolitan life. Their focus was realistic depictions of everyday life in New York City. By 1910, Glackens began to break away from the Ashcan stylistic approach to art and instead concentrated on his highly personal colorist style. He drew his inspiration from the colorful and loose brushstrokes of the Impressionists and Post-Impressionists whose works he encountered during his first trip to Europe in 1895 with Henri and others. During the time that Glackens began to shift his artistic style, his dear friend from his days at Central High School and famed millionaire Albert C. Barnes (1872-1951) began to study and collect modern art. Barnes consulted with Glackens on his newfound interest and called on him to travel to Paris to acquire advanced works for his collection. Glackens returned successful with almost twenty paintings that included works by Paul Cézanne (1839-1906), Édouard Manet (1832-1883), Henri Matisse (1869-1954), and Pierre Auguste Renoir (1841-1919), an artist he would be compared with later in life. These works would later form the core of the Barnes Foundation Collection in Philadelphia, Pennsylvania. Glackens continued to travel to France between 1925 and 1935 to study the work of the Impressionists and Post-Impressionists. By the early 1930s, Glackens became well known for his portraits and genre scenes that were more academic in nature and less socially critical, such as his widely celebrated work The Soda Fountain (Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania) painted in 1935, the same year as the present work. During this period, Glackens also focused on still life paintings, often featuring intricate floral arrangements. The present work is an accomplished and prime example of Galckens' still life paintings from this mature period and demonstrates his mastery of the colorful palette and feathery brushstrokes influenced by his admiration for Renoir among the other Impressionists he spent a great deal of his life studying. In the present work, Glackens employs a lively brushstroke technique to construct his floral arrangement consisting of yellow, purple, and red tulips mingled with delicate greenery all contained within a glass vase and set amidst a simple, warm backdrop. Tulips is a testament to Glackens' ability in his later work to emphasize the beauty in the simple everyday things that surround us and has done so in a way that still resonates with collectors today. The present work was exhibited the year after it was painted in the International Exhibition of Paintings at the Carnegie Institute in Pittsburgh and was awarded the Allegheny County Garden Club P
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