الاستفسارالتاريخمجموعات المتحفالأعمال المماثلة
العودة

فريدريك كارل فريزيكي  (1874-1939)

الفنان بيو الاستفسارحميل PDF
 
Frederick Frieseke is often regarded as the finest American Impressionist painter of the figure. Yet when he came to study at Académie Juilian in 1898, several les Nabis painters remained a lingering presence, and it was the rich, decorative patterns of Edouard Vuillard and Pierre Bonnard that served as the blueprint for his early success. That influence is clearly demonstrated in the unrestrained repetition of the voluminous, pleated, striped umbrellas of Afternoon at the Beach, a canvas mural installed in the opulent Hotel Shelburne dining room overlooking the Atlantic City Boardwalk. The unifying impact of that repetitive element imbues the setting with cloud-like loft within a color scheme, evoking Vuillard and the richness of a Gobelin tapestry, rather than the effect of sunlight and broken color that mark his more familiar paintings from the decade of 1910 to 1920.<br><br>Afternoon at the Beach was installed under the artist’s direction in February 1906. It remained on view for decades at the swanky hotel that enticed “Diamond Jim” James Buchanan Brady to pay one thousand dollars a week for permanent residence and was an unfading memory for throngs of well-heeled socialites, financiers, and notables from Irving Berlin to John Philip Sousa and Ethel Barrymore to Al Jolson. Undoubtedly, its presence high on the grand dining room wall contributed to the artist’s popularity and renown.<br><br>Today, we may look upon this long, frieze-like composition as a delightful fin-de-siécle costume study or an informative expose of Victorian mores as suggested by the separate spheres of gender groupings. But mostly, Afternoon at the Beachrecounts the artist’s unbridled delight and appreciation of women, here, expressed within familial, maternal, and social contexts. It is the subject and theme that brought Frieseke acclaim and awards on both sides of the Atlantic and which, to this day, endears him to the many who count him among the most beloved of American figurative painters. Frederick Frieseke is often regarded as the finest American Impressionist painter of the figure. Yet when he came to study at Académie Juilian in 1898, several les Nabis painters remained a lingering presence, and it was the rich, decorative patterns of Edouard Vuillard and Pierre Bonnard that served as the blueprint for his early success. That influence is clearly demonstrated in the unrestrained repetition of the voluminous, pleated, striped umbrellas of Afternoon at the Beach, a canvas mural installed in the opulent Hotel Shelburne dining room overlooking the Atlantic City Boardwalk. The unifying impact of that repetitive element imbues the setting with cloud-like loft within a color scheme, evoking Vuillard and the richness of a Gobelin tapestry, rather than the effect of sunlight and broken color that mark his more familiar paintings from the decade of 1910 to 1920.<br><br>Afternoon at the Beach was installed under the artist’s direction in February 1906. It remained on view for decades at the swanky hotel that enticed “Diamond Jim” James Buchanan Brady to pay one thousand dollars a week for permanent residence and was an unfading memory for throngs of well-heeled socialites, financiers, and notables from Irving Berlin to John Philip Sousa and Ethel Barrymore to Al Jolson. Undoubtedly, its presence high on the grand dining room wall contributed to the artist’s popularity and renown.<br><br>Today, we may look upon this long, frieze-like composition as a delightful fin-de-siécle costume study or an informative expose of Victorian mores as suggested by the separate spheres of gender groupings. But mostly, Afternoon at the Beachrecounts the artist’s unbridled delight and appreciation of women, here, expressed within familial, maternal, and social contexts. It is the subject and theme that brought Frieseke acclaim and awards on both sides of the Atlantic and which, to this day, endears him to the many who count him among the most beloved of American figurative painters. Frederick Frieseke is often regarded as the finest American Impressionist painter of the figure. Yet when he came to study at Académie Juilian in 1898, several les Nabis painters remained a lingering presence, and it was the rich, decorative patterns of Edouard Vuillard and Pierre Bonnard that served as the blueprint for his early success. That influence is clearly demonstrated in the unrestrained repetition of the voluminous, pleated, striped umbrellas of Afternoon at the Beach, a canvas mural installed in the opulent Hotel Shelburne dining room overlooking the Atlantic City Boardwalk. The unifying impact of that repetitive element imbues the setting with cloud-like loft within a color scheme, evoking Vuillard and the richness of a Gobelin tapestry, rather than the effect of sunlight and broken color that mark his more familiar paintings from the decade of 1910 to 1920.<br><br>Afternoon at the Beach was installed under the artist’s direction in February 1906. It remained on view for decades at the swanky hotel that enticed “Diamond Jim” James Buchanan Brady to pay one thousand dollars a week for permanent residence and was an unfading memory for throngs of well-heeled socialites, financiers, and notables from Irving Berlin to John Philip Sousa and Ethel Barrymore to Al Jolson. Undoubtedly, its presence high on the grand dining room wall contributed to the artist’s popularity and renown.<br><br>Today, we may look upon this long, frieze-like composition as a delightful fin-de-siécle costume study or an informative expose of Victorian mores as suggested by the separate spheres of gender groupings. But mostly, Afternoon at the Beachrecounts the artist’s unbridled delight and appreciation of women, here, expressed within familial, maternal, and social contexts. It is the subject and theme that brought Frieseke acclaim and awards on both sides of the Atlantic and which, to this day, endears him to the many who count him among the most beloved of American figurative painters. Frederick Frieseke is often regarded as the finest American Impressionist painter of the figure. Yet when he came to study at Académie Juilian in 1898, several les Nabis painters remained a lingering presence, and it was the rich, decorative patterns of Edouard Vuillard and Pierre Bonnard that served as the blueprint for his early success. That influence is clearly demonstrated in the unrestrained repetition of the voluminous, pleated, striped umbrellas of Afternoon at the Beach, a canvas mural installed in the opulent Hotel Shelburne dining room overlooking the Atlantic City Boardwalk. The unifying impact of that repetitive element imbues the setting with cloud-like loft within a color scheme, evoking Vuillard and the richness of a Gobelin tapestry, rather than the effect of sunlight and broken color that mark his more familiar paintings from the decade of 1910 to 1920.<br><br>Afternoon at the Beach was installed under the artist’s direction in February 1906. It remained on view for decades at the swanky hotel that enticed “Diamond Jim” James Buchanan Brady to pay one thousand dollars a week for permanent residence and was an unfading memory for throngs of well-heeled socialites, financiers, and notables from Irving Berlin to John Philip Sousa and Ethel Barrymore to Al Jolson. Undoubtedly, its presence high on the grand dining room wall contributed to the artist’s popularity and renown.<br><br>Today, we may look upon this long, frieze-like composition as a delightful fin-de-siécle costume study or an informative expose of Victorian mores as suggested by the separate spheres of gender groupings. But mostly, Afternoon at the Beachrecounts the artist’s unbridled delight and appreciation of women, here, expressed within familial, maternal, and social contexts. It is the subject and theme that brought Frieseke acclaim and awards on both sides of the Atlantic and which, to this day, endears him to the many who count him among the most beloved of American figurative painters. Frederick Frieseke is often regarded as the finest American Impressionist painter of the figure. Yet when he came to study at Académie Juilian in 1898, several les Nabis painters remained a lingering presence, and it was the rich, decorative patterns of Edouard Vuillard and Pierre Bonnard that served as the blueprint for his early success. That influence is clearly demonstrated in the unrestrained repetition of the voluminous, pleated, striped umbrellas of Afternoon at the Beach, a canvas mural installed in the opulent Hotel Shelburne dining room overlooking the Atlantic City Boardwalk. The unifying impact of that repetitive element imbues the setting with cloud-like loft within a color scheme, evoking Vuillard and the richness of a Gobelin tapestry, rather than the effect of sunlight and broken color that mark his more familiar paintings from the decade of 1910 to 1920.<br><br>Afternoon at the Beach was installed under the artist’s direction in February 1906. It remained on view for decades at the swanky hotel that enticed “Diamond Jim” James Buchanan Brady to pay one thousand dollars a week for permanent residence and was an unfading memory for throngs of well-heeled socialites, financiers, and notables from Irving Berlin to John Philip Sousa and Ethel Barrymore to Al Jolson. Undoubtedly, its presence high on the grand dining room wall contributed to the artist’s popularity and renown.<br><br>Today, we may look upon this long, frieze-like composition as a delightful fin-de-siécle costume study or an informative expose of Victorian mores as suggested by the separate spheres of gender groupings. But mostly, Afternoon at the Beachrecounts the artist’s unbridled delight and appreciation of women, here, expressed within familial, maternal, and social contexts. It is the subject and theme that brought Frieseke acclaim and awards on both sides of the Atlantic and which, to this day, endears him to the many who count him among the most beloved of American figurative painters. Frederick Frieseke is often regarded as the finest American Impressionist painter of the figure. Yet when he came to study at Académie Juilian in 1898, several les Nabis painters remained a lingering presence, and it was the rich, decorative patterns of Edouard Vuillard and Pierre Bonnard that served as the blueprint for his early success. That influence is clearly demonstrated in the unrestrained repetition of the voluminous, pleated, striped umbrellas of Afternoon at the Beach, a canvas mural installed in the opulent Hotel Shelburne dining room overlooking the Atlantic City Boardwalk. The unifying impact of that repetitive element imbues the setting with cloud-like loft within a color scheme, evoking Vuillard and the richness of a Gobelin tapestry, rather than the effect of sunlight and broken color that mark his more familiar paintings from the decade of 1910 to 1920.<br><br>Afternoon at the Beach was installed under the artist’s direction in February 1906. It remained on view for decades at the swanky hotel that enticed “Diamond Jim” James Buchanan Brady to pay one thousand dollars a week for permanent residence and was an unfading memory for throngs of well-heeled socialites, financiers, and notables from Irving Berlin to John Philip Sousa and Ethel Barrymore to Al Jolson. Undoubtedly, its presence high on the grand dining room wall contributed to the artist’s popularity and renown.<br><br>Today, we may look upon this long, frieze-like composition as a delightful fin-de-siécle costume study or an informative expose of Victorian mores as suggested by the separate spheres of gender groupings. But mostly, Afternoon at the Beachrecounts the artist’s unbridled delight and appreciation of women, here, expressed within familial, maternal, and social contexts. It is the subject and theme that brought Frieseke acclaim and awards on both sides of the Atlantic and which, to this day, endears him to the many who count him among the most beloved of American figurative painters. Frederick Frieseke is often regarded as the finest American Impressionist painter of the figure. Yet when he came to study at Académie Juilian in 1898, several les Nabis painters remained a lingering presence, and it was the rich, decorative patterns of Edouard Vuillard and Pierre Bonnard that served as the blueprint for his early success. That influence is clearly demonstrated in the unrestrained repetition of the voluminous, pleated, striped umbrellas of Afternoon at the Beach, a canvas mural installed in the opulent Hotel Shelburne dining room overlooking the Atlantic City Boardwalk. The unifying impact of that repetitive element imbues the setting with cloud-like loft within a color scheme, evoking Vuillard and the richness of a Gobelin tapestry, rather than the effect of sunlight and broken color that mark his more familiar paintings from the decade of 1910 to 1920.<br><br>Afternoon at the Beach was installed under the artist’s direction in February 1906. It remained on view for decades at the swanky hotel that enticed “Diamond Jim” James Buchanan Brady to pay one thousand dollars a week for permanent residence and was an unfading memory for throngs of well-heeled socialites, financiers, and notables from Irving Berlin to John Philip Sousa and Ethel Barrymore to Al Jolson. Undoubtedly, its presence high on the grand dining room wall contributed to the artist’s popularity and renown.<br><br>Today, we may look upon this long, frieze-like composition as a delightful fin-de-siécle costume study or an informative expose of Victorian mores as suggested by the separate spheres of gender groupings. But mostly, Afternoon at the Beachrecounts the artist’s unbridled delight and appreciation of women, here, expressed within familial, maternal, and social contexts. It is the subject and theme that brought Frieseke acclaim and awards on both sides of the Atlantic and which, to this day, endears him to the many who count him among the most beloved of American figurative painters. Frederick Frieseke is often regarded as the finest American Impressionist painter of the figure. Yet when he came to study at Académie Juilian in 1898, several les Nabis painters remained a lingering presence, and it was the rich, decorative patterns of Edouard Vuillard and Pierre Bonnard that served as the blueprint for his early success. That influence is clearly demonstrated in the unrestrained repetition of the voluminous, pleated, striped umbrellas of Afternoon at the Beach, a canvas mural installed in the opulent Hotel Shelburne dining room overlooking the Atlantic City Boardwalk. The unifying impact of that repetitive element imbues the setting with cloud-like loft within a color scheme, evoking Vuillard and the richness of a Gobelin tapestry, rather than the effect of sunlight and broken color that mark his more familiar paintings from the decade of 1910 to 1920.<br><br>Afternoon at the Beach was installed under the artist’s direction in February 1906. It remained on view for decades at the swanky hotel that enticed “Diamond Jim” James Buchanan Brady to pay one thousand dollars a week for permanent residence and was an unfading memory for throngs of well-heeled socialites, financiers, and notables from Irving Berlin to John Philip Sousa and Ethel Barrymore to Al Jolson. Undoubtedly, its presence high on the grand dining room wall contributed to the artist’s popularity and renown.<br><br>Today, we may look upon this long, frieze-like composition as a delightful fin-de-siécle costume study or an informative expose of Victorian mores as suggested by the separate spheres of gender groupings. But mostly, Afternoon at the Beachrecounts the artist’s unbridled delight and appreciation of women, here, expressed within familial, maternal, and social contexts. It is the subject and theme that brought Frieseke acclaim and awards on both sides of the Atlantic and which, to this day, endears him to the many who count him among the most beloved of American figurative painters. Frederick Frieseke is often regarded as the finest American Impressionist painter of the figure. Yet when he came to study at Académie Juilian in 1898, several les Nabis painters remained a lingering presence, and it was the rich, decorative patterns of Edouard Vuillard and Pierre Bonnard that served as the blueprint for his early success. That influence is clearly demonstrated in the unrestrained repetition of the voluminous, pleated, striped umbrellas of Afternoon at the Beach, a canvas mural installed in the opulent Hotel Shelburne dining room overlooking the Atlantic City Boardwalk. The unifying impact of that repetitive element imbues the setting with cloud-like loft within a color scheme, evoking Vuillard and the richness of a Gobelin tapestry, rather than the effect of sunlight and broken color that mark his more familiar paintings from the decade of 1910 to 1920.<br><br>Afternoon at the Beach was installed under the artist’s direction in February 1906. It remained on view for decades at the swanky hotel that enticed “Diamond Jim” James Buchanan Brady to pay one thousand dollars a week for permanent residence and was an unfading memory for throngs of well-heeled socialites, financiers, and notables from Irving Berlin to John Philip Sousa and Ethel Barrymore to Al Jolson. Undoubtedly, its presence high on the grand dining room wall contributed to the artist’s popularity and renown.<br><br>Today, we may look upon this long, frieze-like composition as a delightful fin-de-siécle costume study or an informative expose of Victorian mores as suggested by the separate spheres of gender groupings. But mostly, Afternoon at the Beachrecounts the artist’s unbridled delight and appreciation of women, here, expressed within familial, maternal, and social contexts. It is the subject and theme that brought Frieseke acclaim and awards on both sides of the Atlantic and which, to this day, endears him to the many who count him among the most beloved of American figurative painters. Frederick Frieseke is often regarded as the finest American Impressionist painter of the figure. Yet when he came to study at Académie Juilian in 1898, several les Nabis painters remained a lingering presence, and it was the rich, decorative patterns of Edouard Vuillard and Pierre Bonnard that served as the blueprint for his early success. That influence is clearly demonstrated in the unrestrained repetition of the voluminous, pleated, striped umbrellas of Afternoon at the Beach, a canvas mural installed in the opulent Hotel Shelburne dining room overlooking the Atlantic City Boardwalk. The unifying impact of that repetitive element imbues the setting with cloud-like loft within a color scheme, evoking Vuillard and the richness of a Gobelin tapestry, rather than the effect of sunlight and broken color that mark his more familiar paintings from the decade of 1910 to 1920.<br><br>Afternoon at the Beach was installed under the artist’s direction in February 1906. It remained on view for decades at the swanky hotel that enticed “Diamond Jim” James Buchanan Brady to pay one thousand dollars a week for permanent residence and was an unfading memory for throngs of well-heeled socialites, financiers, and notables from Irving Berlin to John Philip Sousa and Ethel Barrymore to Al Jolson. Undoubtedly, its presence high on the grand dining room wall contributed to the artist’s popularity and renown.<br><br>Today, we may look upon this long, frieze-like composition as a delightful fin-de-siécle costume study or an informative expose of Victorian mores as suggested by the separate spheres of gender groupings. But mostly, Afternoon at the Beachrecounts the artist’s unbridled delight and appreciation of women, here, expressed within familial, maternal, and social contexts. It is the subject and theme that brought Frieseke acclaim and awards on both sides of the Atlantic and which, to this day, endears him to the many who count him among the most beloved of American figurative painters.
بعد الظهر على الشاطئ1905/1906 فرنسا60 × 178 بوصة. (152.4 × 452.12 سم) زيت على قماش
الاصل
بتكليف من رودمان واناميكر لفندق شيلبورن في أتلانتيك سيتي ديفيد غاليري، فيلادلفيا
مجموعة خاصة، كاليفورنيا
هيذر جيمس الفن التشكيلي
معرض
متحف تيلفير للفنون، سافانا، جورجيا، فريدريك كارل فريزيكي. تطور الانطباعي الأمريكي، 2000/2001؛ السفر إلى معرض ديكسون وحدائقه، ممفيس، تينيسي، 2001؛ متحف سان دييغو للفنون، سان دييغو، كاليفورنيا، 2001؛ متحف تيرا للفنون، شيكاغو، إلينوي، 2001
الادب
ن. كيلمر، فريدريك كارل فريزيكي؛ تطور الانطباعي الأمريكي، برينستون يو... اكثر...() مطبعة niversity Press، 2000، استنسخت ص 139. استوديو دولي مجلة مصورة للفنون الجميلة والتطبيقية، المجلد الثالث والأربعين، تتألف مارس, أبريل, مايو ويونيو 1911; الأرقام من 169 إلى 172؛ "فنانون أمريكيون في باريس" صفحات 263-270. ل آرت ديكوريف، ريفو مينسيل دارت كونتيمبورين، 8مي آن، 2 سيميتري، جويليت 1906- كانون الأول/ديسمبر 1906؛ صفحة "لا ديكور دن فندق أمريكان" 195-200... اقل...
العودة
الاستفسار

"إنها أشعة الشمس ... التي كنت مهتما بها بشكل أساسي. إذا كان بإمكاني فقط إعادة إنتاجه تماما كما أراه ، فسأكون راضيا. "- فريدريك فريسيك

التاريخ

غالبا ما يعتبر فريدريك فريسيك أفضل رسام انطباعي أمريكي لهذا الشكل. ومع ذلك ، عندما جاء للدراسة في أكاديمية جوليان في عام 1898 ، ظل العديد من رسامي les Nabis حاضرين ، وكانت الأنماط الزخرفية الغنية لإدوارد فويلارد وبيير بونارد هي التي كانت بمثابة مخطط لنجاحه المبكر. ويتجلى هذا التأثير بوضوح في التكرار غير المقيد للمظلات الضخمة المطوية والمخططة في فترة ما بعد الظهر على الشاطئ، وهي لوحة جدارية قماشية مثبتة في غرفة الطعام الفخمة في فندق شيلبورن المطلة على ممشى أتلانتيك سيتي. إن التأثير الموحد لهذا العنصر المتكرر يشبع الإعداد بدور علوي يشبه السحابة داخل نظام ألوان ، مما يستحضر Vuillard وثراء نسيج Gobelin ، بدلا من تأثير أشعة الشمس والألوان المكسورة التي تميز لوحاته الأكثر دراية من عقد 1910 إلى 1920.

تم تثبيت فترة ما بعد الظهر على الشاطئ تحت إشراف الفنان في فبراير 1906. وظل معروضا لعقود في الفندق الفخم الذي أغرى "دايموند جيم" جيمس بوكانان برادي بدفع ألف دولار في الأسبوع للإقامة الدائمة وكان ذكرى لا تتلاشى لحشود من الاجتماعيين الأثرياء والممولين والوجهاء من إيرفينغ برلين إلى جون فيليب سوزا وإيثيل باريمور إلى آل جولسون. مما لا شك فيه أن وجودها العالي على جدار غرفة الطعام الكبرى ساهم في شعبية الفنان وشهرته.

اليوم ، قد ننظر إلى هذا التكوين الطويل الشبيه بالإفريز كدراسة أزياء رائعة أو عرض غني بالمعلومات للأعراف الفيكتورية كما تقترحها المجالات المنفصلة للتجمعات الجنسانية. ولكن في الغالب ، يروي Afternoon at the Beach فرحة الفنان الجامحة وتقديره للنساء ، هنا ، والتي يتم التعبير عنها في السياقات العائلية والأمومية والاجتماعية. إنه الموضوع والموضوع الذي جلب لفريسكي الإشادة والجوائز على جانبي المحيط الأطلسي والذي ، حتى يومنا هذا ، يحببه إلى الكثيرين الذين يعتبرونه من بين أكثر الرسامين التصويريين الأمريكيين المحبوبين. 

الاستفسار

لوحات في مجموعات المتحف

"مظلة الحديقة" (حوالي 1910) ، زيت على قماش ، 57 1/8 × 77 بوصة.

متحف نورث كارولينا للفنون ، رالي

"مظلة الحديقة" (حوالي 1910) ، زيت على قماش ، 57 1/8 × 77 بوصة.
"استريح عند الظهر" (حوالي 1911) ، زيت على قماش ، 26 × 32 بوصة.

متحف مقاطعة لوس أنجلوس للفنون

"استريح عند الظهر" (حوالي 1911) ، زيت على قماش ، 26 × 32 بوصة.
"Hollyhocks" (c.1912-1913) ، زيت على قماش ، 31 3/4 × 31 3/4 بوصة.

المتحف الوطني تيسن-بورنيميسزا، مدريد

"Hollyhocks" (c.1912-1913) ، زيت على قماش ، 31 3/4 × 31 3/4 بوصة.
"حمام شمس" (حوالي 1913) ، زيت على قماش ، 28 7/8 × 36 1/2in.

متحف الفنون الجميلة ، هيوستن

"حمام شمس" (حوالي 1913) ، زيت على قماش ، 28 7/8 × 36 1/2in.
"الصيف" (1914) ، زيت على قماش ، 45 3/16 × 57 3/4 بوصة.

متحف المتروبوليتان للفنون، نيويورك

"الصيف" (1914) ، زيت على قماش ، 45 3/16 × 57 3/4 بوصة.
"امرأة جالسة في حديقة" (1914) ، زيت على قماش ، 26 × 32 بوصة.

ذا هنتنغتون، سان مارينو، كاليفورنيا

"امرأة جالسة في حديقة" (1914) ، زيت على قماش ، 26 × 32 بوصة.
"ذكريات" (1915) ، زيت على قماش ، 51 3/4 × 51 5/16 بوصة.

المعرض الوطني للفنون ، واشنطن العاصمة .C.

"ذكريات" (1915) ، زيت على قماش ، 51 3/4 × 51 5/16 بوصة.
"على الضفة" (حوالي 1915) ، زيت على قماش ، 40 1/2 × 57 1/2 بوصة.

معهد شيكاغو للفنون

"على الضفة" (حوالي 1915) ، زيت على قماش ، 40 1/2 × 57 1/2 بوصة.

معرض الصور

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المصادقه

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يمكن العثور على بعد الظهر على الشاطئ في الصفحة 139 من كتالوج ليندا ماكووتر لمعرض فريدريك كارل فريسيك: تطور انطباعي أمريكي. تم إنتاج المعرض والكتالوج المقابل له من قبل متحف تلفير للفنون في سافانا ، جورجيا. يشير الكتالوج إلى فترة ما بعد الظهيرة في الأصول الفريدة للشاطئ كلوحة جدارية لفندق شلبورن التاريخي.

الاستفسار

الاستعلام - الفن واحد

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