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FRANK WESTON BENSON (1862-1951)

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<div><font face=Lato size=3 color=black><em>Girl in White (Seated Figure)</em> from 1896 is an elegant example of Frank Bensons gift for intimate portraiture, rendered with a refined palette and a masterful command of light and texture. The painting was originally a personal gift from Benson to his friend and fellow American artist Frederick P. Vinton, remaining in the Vinton family before later entering the distinguished collection of Paul Magriel, a renowned collector and scholar of American art. This early provenance underscores the works longstanding appreciation among artists and connoisseurs alike.</font></div> <br> <br><div> </div> <br> <br><div><font face=Lato size=3 color=black>The portrait relates closely to similar half-figure studies held in major institutional collections, including the Museum of Fine Arts Boston, the Farnsworth Art Museum, and the National Gallery of Art in Washington, D.C., all of which highlight Bensons importance within the American Impressionist tradition. In this work, the sitter is shown in profile against a simple, reduced background that allows the subtleties of color and drapery to command full attention. The warm, luminous modeling of the skin and the delicate, gossamer like fabric of the dress are heightened by Benson's economical use of tone, creating a sense of quiet focus and graceful restraint.</font></div> <br> <br><div> </div> <br> <br><div><font face=Lato size=3 color=black>Together, these qualities reveal the depth of Bensons skill during the 1890s and affirm <em>Girl in White (Seated Figure)</em> as a beautifully preserved and emotionally resonant example of his portrait practice.</font></div> <div><font face=Lato size=3 color=black><em>Girl in White (Seated Figure)</em> from 1896 is an elegant example of Frank Bensons gift for intimate portraiture, rendered with a refined palette and a masterful command of light and texture. The painting was originally a personal gift from Benson to his friend and fellow American artist Frederick P. Vinton, remaining in the Vinton family before later entering the distinguished collection of Paul Magriel, a renowned collector and scholar of American art. This early provenance underscores the works longstanding appreciation among artists and connoisseurs alike.</font></div> <br> <br><div> </div> <br> <br><div><font face=Lato size=3 color=black>The portrait relates closely to similar half-figure studies held in major institutional collections, including the Museum of Fine Arts Boston, the Farnsworth Art Museum, and the National Gallery of Art in Washington, D.C., all of which highlight Bensons importance within the American Impressionist tradition. In this work, the sitter is shown in profile against a simple, reduced background that allows the subtleties of color and drapery to command full attention. The warm, luminous modeling of the skin and the delicate, gossamer like fabric of the dress are heightened by Benson's economical use of tone, creating a sense of quiet focus and graceful restraint.</font></div> <br> <br><div> </div> <br> <br><div><font face=Lato size=3 color=black>Together, these qualities reveal the depth of Bensons skill during the 1890s and affirm <em>Girl in White (Seated Figure)</em> as a beautifully preserved and emotionally resonant example of his portrait practice.</font></div> <div><font face=Lato size=3 color=black><em>Girl in White (Seated Figure)</em> from 1896 is an elegant example of Frank Bensons gift for intimate portraiture, rendered with a refined palette and a masterful command of light and texture. The painting was originally a personal gift from Benson to his friend and fellow American artist Frederick P. Vinton, remaining in the Vinton family before later entering the distinguished collection of Paul Magriel, a renowned collector and scholar of American art. This early provenance underscores the works longstanding appreciation among artists and connoisseurs alike.</font></div> <br> <br><div> </div> <br> <br><div><font face=Lato size=3 color=black>The portrait relates closely to similar half-figure studies held in major institutional collections, including the Museum of Fine Arts Boston, the Farnsworth Art Museum, and the National Gallery of Art in Washington, D.C., all of which highlight Bensons importance within the American Impressionist tradition. In this work, the sitter is shown in profile against a simple, reduced background that allows the subtleties of color and drapery to command full attention. The warm, luminous modeling of the skin and the delicate, gossamer like fabric of the dress are heightened by Benson's economical use of tone, creating a sense of quiet focus and graceful restraint.</font></div> <br> <br><div> </div> <br> <br><div><font face=Lato size=3 color=black>Together, these qualities reveal the depth of Bensons skill during the 1890s and affirm <em>Girl in White (Seated Figure)</em> as a beautifully preserved and emotionally resonant example of his portrait practice.</font></div> <div><font face=Lato size=3 color=black><em>Girl in White (Seated Figure)</em> from 1896 is an elegant example of Frank Bensons gift for intimate portraiture, rendered with a refined palette and a masterful command of light and texture. The painting was originally a personal gift from Benson to his friend and fellow American artist Frederick P. Vinton, remaining in the Vinton family before later entering the distinguished collection of Paul Magriel, a renowned collector and scholar of American art. This early provenance underscores the works longstanding appreciation among artists and connoisseurs alike.</font></div> <br> <br><div> </div> <br> <br><div><font face=Lato size=3 color=black>The portrait relates closely to similar half-figure studies held in major institutional collections, including the Museum of Fine Arts Boston, the Farnsworth Art Museum, and the National Gallery of Art in Washington, D.C., all of which highlight Bensons importance within the American Impressionist tradition. In this work, the sitter is shown in profile against a simple, reduced background that allows the subtleties of color and drapery to command full attention. The warm, luminous modeling of the skin and the delicate, gossamer like fabric of the dress are heightened by Benson's economical use of tone, creating a sense of quiet focus and graceful restraint.</font></div> <br> <br><div> </div> <br> <br><div><font face=Lato size=3 color=black>Together, these qualities reveal the depth of Bensons skill during the 1890s and affirm <em>Girl in White (Seated Figure)</em> as a beautifully preserved and emotionally resonant example of his portrait practice.</font></div> <div><font face=Lato size=3 color=black><em>Girl in White (Seated Figure)</em> from 1896 is an elegant example of Frank Bensons gift for intimate portraiture, rendered with a refined palette and a masterful command of light and texture. The painting was originally a personal gift from Benson to his friend and fellow American artist Frederick P. Vinton, remaining in the Vinton family before later entering the distinguished collection of Paul Magriel, a renowned collector and scholar of American art. This early provenance underscores the works longstanding appreciation among artists and connoisseurs alike.</font></div> <br> <br><div> </div> <br> <br><div><font face=Lato size=3 color=black>The portrait relates closely to similar half-figure studies held in major institutional collections, including the Museum of Fine Arts Boston, the Farnsworth Art Museum, and the National Gallery of Art in Washington, D.C., all of which highlight Bensons importance within the American Impressionist tradition. In this work, the sitter is shown in profile against a simple, reduced background that allows the subtleties of color and drapery to command full attention. The warm, luminous modeling of the skin and the delicate, gossamer like fabric of the dress are heightened by Benson's economical use of tone, creating a sense of quiet focus and graceful restraint.</font></div> <br> <br><div> </div> <br> <br><div><font face=Lato size=3 color=black>Together, these qualities reveal the depth of Bensons skill during the 1890s and affirm <em>Girl in White (Seated Figure)</em> as a beautifully preserved and emotionally resonant example of his portrait practice.</font></div> <div><font face=Lato size=3 color=black><em>Girl in White (Seated Figure)</em> from 1896 is an elegant example of Frank Bensons gift for intimate portraiture, rendered with a refined palette and a masterful command of light and texture. The painting was originally a personal gift from Benson to his friend and fellow American artist Frederick P. Vinton, remaining in the Vinton family before later entering the distinguished collection of Paul Magriel, a renowned collector and scholar of American art. This early provenance underscores the works longstanding appreciation among artists and connoisseurs alike.</font></div> <br> <br><div> </div> <br> <br><div><font face=Lato size=3 color=black>The portrait relates closely to similar half-figure studies held in major institutional collections, including the Museum of Fine Arts Boston, the Farnsworth Art Museum, and the National Gallery of Art in Washington, D.C., all of which highlight Bensons importance within the American Impressionist tradition. In this work, the sitter is shown in profile against a simple, reduced background that allows the subtleties of color and drapery to command full attention. The warm, luminous modeling of the skin and the delicate, gossamer like fabric of the dress are heightened by Benson's economical use of tone, creating a sense of quiet focus and graceful restraint.</font></div> <br> <br><div> </div> <br> <br><div><font face=Lato size=3 color=black>Together, these qualities reveal the depth of Bensons skill during the 1890s and affirm <em>Girl in White (Seated Figure)</em> as a beautifully preserved and emotionally resonant example of his portrait practice.</font></div> <div><font face=Lato size=3 color=black><em>Girl in White (Seated Figure)</em> from 1896 is an elegant example of Frank Bensons gift for intimate portraiture, rendered with a refined palette and a masterful command of light and texture. The painting was originally a personal gift from Benson to his friend and fellow American artist Frederick P. Vinton, remaining in the Vinton family before later entering the distinguished collection of Paul Magriel, a renowned collector and scholar of American art. This early provenance underscores the works longstanding appreciation among artists and connoisseurs alike.</font></div> <br> <br><div> </div> <br> <br><div><font face=Lato size=3 color=black>The portrait relates closely to similar half-figure studies held in major institutional collections, including the Museum of Fine Arts Boston, the Farnsworth Art Museum, and the National Gallery of Art in Washington, D.C., all of which highlight Bensons importance within the American Impressionist tradition. In this work, the sitter is shown in profile against a simple, reduced background that allows the subtleties of color and drapery to command full attention. The warm, luminous modeling of the skin and the delicate, gossamer like fabric of the dress are heightened by Benson's economical use of tone, creating a sense of quiet focus and graceful restraint.</font></div> <br> <br><div> </div> <br> <br><div><font face=Lato size=3 color=black>Together, these qualities reveal the depth of Bensons skill during the 1890s and affirm <em>Girl in White (Seated Figure)</em> as a beautifully preserved and emotionally resonant example of his portrait practice.</font></div> <div><font face=Lato size=3 color=black><em>Girl in White (Seated Figure)</em> from 1896 is an elegant example of Frank Bensons gift for intimate portraiture, rendered with a refined palette and a masterful command of light and texture. The painting was originally a personal gift from Benson to his friend and fellow American artist Frederick P. Vinton, remaining in the Vinton family before later entering the distinguished collection of Paul Magriel, a renowned collector and scholar of American art. This early provenance underscores the works longstanding appreciation among artists and connoisseurs alike.</font></div> <br> <br><div> </div> <br> <br><div><font face=Lato size=3 color=black>The portrait relates closely to similar half-figure studies held in major institutional collections, including the Museum of Fine Arts Boston, the Farnsworth Art Museum, and the National Gallery of Art in Washington, D.C., all of which highlight Bensons importance within the American Impressionist tradition. In this work, the sitter is shown in profile against a simple, reduced background that allows the subtleties of color and drapery to command full attention. The warm, luminous modeling of the skin and the delicate, gossamer like fabric of the dress are heightened by Benson's economical use of tone, creating a sense of quiet focus and graceful restraint.</font></div> <br> <br><div> </div> <br> <br><div><font face=Lato size=3 color=black>Together, these qualities reveal the depth of Bensons skill during the 1890s and affirm <em>Girl in White (Seated Figure)</em> as a beautifully preserved and emotionally resonant example of his portrait practice.</font></div> <div><font face=Lato size=3 color=black><em>Girl in White (Seated Figure)</em> from 1896 is an elegant example of Frank Bensons gift for intimate portraiture, rendered with a refined palette and a masterful command of light and texture. The painting was originally a personal gift from Benson to his friend and fellow American artist Frederick P. Vinton, remaining in the Vinton family before later entering the distinguished collection of Paul Magriel, a renowned collector and scholar of American art. This early provenance underscores the works longstanding appreciation among artists and connoisseurs alike.</font></div> <br> <br><div> </div> <br> <br><div><font face=Lato size=3 color=black>The portrait relates closely to similar half-figure studies held in major institutional collections, including the Museum of Fine Arts Boston, the Farnsworth Art Museum, and the National Gallery of Art in Washington, D.C., all of which highlight Bensons importance within the American Impressionist tradition. In this work, the sitter is shown in profile against a simple, reduced background that allows the subtleties of color and drapery to command full attention. The warm, luminous modeling of the skin and the delicate, gossamer like fabric of the dress are heightened by Benson's economical use of tone, creating a sense of quiet focus and graceful restraint.</font></div> <br> <br><div> </div> <br> <br><div><font face=Lato size=3 color=black>Together, these qualities reveal the depth of Bensons skill during the 1890s and affirm <em>Girl in White (Seated Figure)</em> as a beautifully preserved and emotionally resonant example of his portrait practice.</font></div> <div><font face=Lato size=3 color=black><em>Girl in White (Seated Figure)</em> from 1896 is an elegant example of Frank Bensons gift for intimate portraiture, rendered with a refined palette and a masterful command of light and texture. The painting was originally a personal gift from Benson to his friend and fellow American artist Frederick P. Vinton, remaining in the Vinton family before later entering the distinguished collection of Paul Magriel, a renowned collector and scholar of American art. This early provenance underscores the works longstanding appreciation among artists and connoisseurs alike.</font></div> <br> <br><div> </div> <br> <br><div><font face=Lato size=3 color=black>The portrait relates closely to similar half-figure studies held in major institutional collections, including the Museum of Fine Arts Boston, the Farnsworth Art Museum, and the National Gallery of Art in Washington, D.C., all of which highlight Bensons importance within the American Impressionist tradition. In this work, the sitter is shown in profile against a simple, reduced background that allows the subtleties of color and drapery to command full attention. The warm, luminous modeling of the skin and the delicate, gossamer like fabric of the dress are heightened by Benson's economical use of tone, creating a sense of quiet focus and graceful restraint.</font></div> <br> <br><div> </div> <br> <br><div><font face=Lato size=3 color=black>Together, these qualities reveal the depth of Bensons skill during the 1890s and affirm <em>Girl in White (Seated Figure)</em> as a beautifully preserved and emotionally resonant example of his portrait practice.</font></div>
Girl in White (Seated Figure)189630 x 25 in.(76.2 x 63.5 cm) oil on canvas
Provenance
Frederick P. Vinton (artist), gifted by the Artist
Vinton family, by descent from the above
Paul Magriel Collection, New York, New York, through 1970
Private Collection, Massachusetts until 2001
Private Collection
Literature
Faith Andrews Bedford, The Art of Frank W. Benson, American Impressionist, Salem, Massachusetts, 1999,p. 18, fig. 5
Girl in White (Seated Figure) from 1896 is an elegant example of Frank Bensons gift for intimate portraiture, rendered with a refined palette and a masterful command of light and texture. The painting was originally a personal gift from Benson to his friend and fellow American artist Frederick P. Vinton, remaining in the Vinton family before later entering the distinguished collection of Paul Magriel, a renowned collector and scholar of American art. This early provenance underscores the works longstanding appreciation among artists and connoisseurs alike.


 


The portrait relates closely to similar half-figure studies held in major institutional collections, including the Museum of Fine Arts Boston, the Farnsworth Art Museum, and the National Gallery of Art in Washington, D.C., all of which highlight Bensons importance within the American Impressionist tradition. In this work, the sitter is shown in profile against a simple, reduced background that allows the subtleties of color and drapery to command full attention. The warm, luminous modeling of the skin and the delicate, gossamer like fabric of the dress are heightened by Benson's economical use of tone, creating a sense of quiet focus and graceful restraint.


 


Together, these qualities reveal the depth of Bensons skill during the 1890s and affirm Girl in White (Seated Figure) as a beautifully preserved and emotionally resonant example of his portrait practice.
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