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N.C. WYETH (1882-1945)

KÜNSTLER BIO ANFORDERNPDF HERUNTERLADEN
 
N.C. Wyeth’s extraordinary skills as an illustrator were borne of impeccable draftsmanship and as a painter, his warmly rich, harmonious sense of color, and ability to capture the quality of light itself. But it is his unmatched artistry in vivifying story and character with a powerful sense of mood that we admire most of all — the ability to transport himself to the world and time of his creation and to convey it with a beguiling sense of conviction. That ability is as apparent in the compositional complexities of Treasure Island’s “One More Step, Mr. Hands!” as it is here, in the summary account of a square-rigged, seventeenth-century merchant ship tossed upon the seas. The Coming of the Mayflower in 1620 is a simple statement of observable facts, yet Wyeth’s impeccable genius as an illustrator imbues it with the bracing salt air and taste that captures the adventuresome spirit of the men and women who are largely credited with the founding of America. That spirit is carried on the wind and tautly billowed sails, the jaunty heeling of the ship at the nose of a stiff gale, the thrusting, streamed-limned clouds, and the gulls jauntily arranged to celebrate an arrival as they are the feathered angels of providence guiding it to safe harbor.<br><br>The Coming of the Mayflower in 1620 was based on two studies, a composition drawing in graphite and a small presentation painting. The finished mural appears to have been installed in 1941. N.C. Wyeth’s extraordinary skills as an illustrator were borne of impeccable draftsmanship and as a painter, his warmly rich, harmonious sense of color, and ability to capture the quality of light itself. But it is his unmatched artistry in vivifying story and character with a powerful sense of mood that we admire most of all — the ability to transport himself to the world and time of his creation and to convey it with a beguiling sense of conviction. That ability is as apparent in the compositional complexities of Treasure Island’s “One More Step, Mr. Hands!” as it is here, in the summary account of a square-rigged, seventeenth-century merchant ship tossed upon the seas. The Coming of the Mayflower in 1620 is a simple statement of observable facts, yet Wyeth’s impeccable genius as an illustrator imbues it with the bracing salt air and taste that captures the adventuresome spirit of the men and women who are largely credited with the founding of America. That spirit is carried on the wind and tautly billowed sails, the jaunty heeling of the ship at the nose of a stiff gale, the thrusting, streamed-limned clouds, and the gulls jauntily arranged to celebrate an arrival as they are the feathered angels of providence guiding it to safe harbor.<br><br>The Coming of the Mayflower in 1620 was based on two studies, a composition drawing in graphite and a small presentation painting. The finished mural appears to have been installed in 1941. N.C. Wyeth’s extraordinary skills as an illustrator were borne of impeccable draftsmanship and as a painter, his warmly rich, harmonious sense of color, and ability to capture the quality of light itself. But it is his unmatched artistry in vivifying story and character with a powerful sense of mood that we admire most of all — the ability to transport himself to the world and time of his creation and to convey it with a beguiling sense of conviction. That ability is as apparent in the compositional complexities of Treasure Island’s “One More Step, Mr. Hands!” as it is here, in the summary account of a square-rigged, seventeenth-century merchant ship tossed upon the seas. The Coming of the Mayflower in 1620 is a simple statement of observable facts, yet Wyeth’s impeccable genius as an illustrator imbues it with the bracing salt air and taste that captures the adventuresome spirit of the men and women who are largely credited with the founding of America. That spirit is carried on the wind and tautly billowed sails, the jaunty heeling of the ship at the nose of a stiff gale, the thrusting, streamed-limned clouds, and the gulls jauntily arranged to celebrate an arrival as they are the feathered angels of providence guiding it to safe harbor.<br><br>The Coming of the Mayflower in 1620 was based on two studies, a composition drawing in graphite and a small presentation painting. The finished mural appears to have been installed in 1941. N.C. Wyeth’s extraordinary skills as an illustrator were borne of impeccable draftsmanship and as a painter, his warmly rich, harmonious sense of color, and ability to capture the quality of light itself. But it is his unmatched artistry in vivifying story and character with a powerful sense of mood that we admire most of all — the ability to transport himself to the world and time of his creation and to convey it with a beguiling sense of conviction. That ability is as apparent in the compositional complexities of Treasure Island’s “One More Step, Mr. Hands!” as it is here, in the summary account of a square-rigged, seventeenth-century merchant ship tossed upon the seas. The Coming of the Mayflower in 1620 is a simple statement of observable facts, yet Wyeth’s impeccable genius as an illustrator imbues it with the bracing salt air and taste that captures the adventuresome spirit of the men and women who are largely credited with the founding of America. That spirit is carried on the wind and tautly billowed sails, the jaunty heeling of the ship at the nose of a stiff gale, the thrusting, streamed-limned clouds, and the gulls jauntily arranged to celebrate an arrival as they are the feathered angels of providence guiding it to safe harbor.<br><br>The Coming of the Mayflower in 1620 was based on two studies, a composition drawing in graphite and a small presentation painting. The finished mural appears to have been installed in 1941. N.C. Wyeth’s extraordinary skills as an illustrator were borne of impeccable draftsmanship and as a painter, his warmly rich, harmonious sense of color, and ability to capture the quality of light itself. But it is his unmatched artistry in vivifying story and character with a powerful sense of mood that we admire most of all — the ability to transport himself to the world and time of his creation and to convey it with a beguiling sense of conviction. That ability is as apparent in the compositional complexities of Treasure Island’s “One More Step, Mr. Hands!” as it is here, in the summary account of a square-rigged, seventeenth-century merchant ship tossed upon the seas. The Coming of the Mayflower in 1620 is a simple statement of observable facts, yet Wyeth’s impeccable genius as an illustrator imbues it with the bracing salt air and taste that captures the adventuresome spirit of the men and women who are largely credited with the founding of America. That spirit is carried on the wind and tautly billowed sails, the jaunty heeling of the ship at the nose of a stiff gale, the thrusting, streamed-limned clouds, and the gulls jauntily arranged to celebrate an arrival as they are the feathered angels of providence guiding it to safe harbor.<br><br>The Coming of the Mayflower in 1620 was based on two studies, a composition drawing in graphite and a small presentation painting. The finished mural appears to have been installed in 1941. N.C. Wyeth’s extraordinary skills as an illustrator were borne of impeccable draftsmanship and as a painter, his warmly rich, harmonious sense of color, and ability to capture the quality of light itself. But it is his unmatched artistry in vivifying story and character with a powerful sense of mood that we admire most of all — the ability to transport himself to the world and time of his creation and to convey it with a beguiling sense of conviction. That ability is as apparent in the compositional complexities of Treasure Island’s “One More Step, Mr. Hands!” as it is here, in the summary account of a square-rigged, seventeenth-century merchant ship tossed upon the seas. The Coming of the Mayflower in 1620 is a simple statement of observable facts, yet Wyeth’s impeccable genius as an illustrator imbues it with the bracing salt air and taste that captures the adventuresome spirit of the men and women who are largely credited with the founding of America. That spirit is carried on the wind and tautly billowed sails, the jaunty heeling of the ship at the nose of a stiff gale, the thrusting, streamed-limned clouds, and the gulls jauntily arranged to celebrate an arrival as they are the feathered angels of providence guiding it to safe harbor.<br><br>The Coming of the Mayflower in 1620 was based on two studies, a composition drawing in graphite and a small presentation painting. The finished mural appears to have been installed in 1941. N.C. Wyeth’s extraordinary skills as an illustrator were borne of impeccable draftsmanship and as a painter, his warmly rich, harmonious sense of color, and ability to capture the quality of light itself. But it is his unmatched artistry in vivifying story and character with a powerful sense of mood that we admire most of all — the ability to transport himself to the world and time of his creation and to convey it with a beguiling sense of conviction. That ability is as apparent in the compositional complexities of Treasure Island’s “One More Step, Mr. Hands!” as it is here, in the summary account of a square-rigged, seventeenth-century merchant ship tossed upon the seas. The Coming of the Mayflower in 1620 is a simple statement of observable facts, yet Wyeth’s impeccable genius as an illustrator imbues it with the bracing salt air and taste that captures the adventuresome spirit of the men and women who are largely credited with the founding of America. That spirit is carried on the wind and tautly billowed sails, the jaunty heeling of the ship at the nose of a stiff gale, the thrusting, streamed-limned clouds, and the gulls jauntily arranged to celebrate an arrival as they are the feathered angels of providence guiding it to safe harbor.<br><br>The Coming of the Mayflower in 1620 was based on two studies, a composition drawing in graphite and a small presentation painting. The finished mural appears to have been installed in 1941. N.C. Wyeth’s extraordinary skills as an illustrator were borne of impeccable draftsmanship and as a painter, his warmly rich, harmonious sense of color, and ability to capture the quality of light itself. But it is his unmatched artistry in vivifying story and character with a powerful sense of mood that we admire most of all — the ability to transport himself to the world and time of his creation and to convey it with a beguiling sense of conviction. That ability is as apparent in the compositional complexities of Treasure Island’s “One More Step, Mr. Hands!” as it is here, in the summary account of a square-rigged, seventeenth-century merchant ship tossed upon the seas. The Coming of the Mayflower in 1620 is a simple statement of observable facts, yet Wyeth’s impeccable genius as an illustrator imbues it with the bracing salt air and taste that captures the adventuresome spirit of the men and women who are largely credited with the founding of America. That spirit is carried on the wind and tautly billowed sails, the jaunty heeling of the ship at the nose of a stiff gale, the thrusting, streamed-limned clouds, and the gulls jauntily arranged to celebrate an arrival as they are the feathered angels of providence guiding it to safe harbor.<br><br>The Coming of the Mayflower in 1620 was based on two studies, a composition drawing in graphite and a small presentation painting. The finished mural appears to have been installed in 1941. N.C. Wyeth’s extraordinary skills as an illustrator were borne of impeccable draftsmanship and as a painter, his warmly rich, harmonious sense of color, and ability to capture the quality of light itself. But it is his unmatched artistry in vivifying story and character with a powerful sense of mood that we admire most of all — the ability to transport himself to the world and time of his creation and to convey it with a beguiling sense of conviction. That ability is as apparent in the compositional complexities of Treasure Island’s “One More Step, Mr. Hands!” as it is here, in the summary account of a square-rigged, seventeenth-century merchant ship tossed upon the seas. The Coming of the Mayflower in 1620 is a simple statement of observable facts, yet Wyeth’s impeccable genius as an illustrator imbues it with the bracing salt air and taste that captures the adventuresome spirit of the men and women who are largely credited with the founding of America. That spirit is carried on the wind and tautly billowed sails, the jaunty heeling of the ship at the nose of a stiff gale, the thrusting, streamed-limned clouds, and the gulls jauntily arranged to celebrate an arrival as they are the feathered angels of providence guiding it to safe harbor.<br><br>The Coming of the Mayflower in 1620 was based on two studies, a composition drawing in graphite and a small presentation painting. The finished mural appears to have been installed in 1941. N.C. Wyeth’s extraordinary skills as an illustrator were borne of impeccable draftsmanship and as a painter, his warmly rich, harmonious sense of color, and ability to capture the quality of light itself. But it is his unmatched artistry in vivifying story and character with a powerful sense of mood that we admire most of all — the ability to transport himself to the world and time of his creation and to convey it with a beguiling sense of conviction. That ability is as apparent in the compositional complexities of Treasure Island’s “One More Step, Mr. Hands!” as it is here, in the summary account of a square-rigged, seventeenth-century merchant ship tossed upon the seas. The Coming of the Mayflower in 1620 is a simple statement of observable facts, yet Wyeth’s impeccable genius as an illustrator imbues it with the bracing salt air and taste that captures the adventuresome spirit of the men and women who are largely credited with the founding of America. That spirit is carried on the wind and tautly billowed sails, the jaunty heeling of the ship at the nose of a stiff gale, the thrusting, streamed-limned clouds, and the gulls jauntily arranged to celebrate an arrival as they are the feathered angels of providence guiding it to safe harbor.<br><br>The Coming of the Mayflower in 1620 was based on two studies, a composition drawing in graphite and a small presentation painting. The finished mural appears to have been installed in 1941.
Die Ankunft der Mayflower im Jahr 16201941104 1/2 x 158 3/4 Zoll.(265,43 x 403,23 cm) Öl auf Leinwand
Provenienz
MetLife, Inc. Corporate Collection (in Auftrag gegeben für die New Yorker Büros)
Heather James Bildende Kunst, New York
Ausstellung
New York, NY, 1985, Nr. 13, "Die Ankunft der Mayflower"
Literaturhinweise
"The Days of the Pilgrims Live Again in Our Murals", The Home Office (Publikation der Metropolitan Life Insurance Co.), Bd. 23, Nr. 7 (Dez. 1941)
N. C. Wyeth, Einkommenssteuererklärungen für 1941 (unveröffentlicht, Brandywine River Museum Library)
Douglas Allen und Douglas Allen, Jr., N. C. Wyeth, The Collected Paintings, Illustrations and Murals (New York: Crown Publishers, 1972),...Mehr..... S. 169-172, Abb. s/w S. 169
Robert San Souci, N. C. Wyeth's Pilgrims (San Francisco, CA: Chronicle Books, 1991), Detailabbildungen. Auf dem Frontispiz
Christine B. Podmaniczky, N. C. Wyeth, A Catalogue Raisonné of Paintings (London: Scala, 2008), M.67, S. 629
...WENIGER.....
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Fragen Sie

"Ich hoffe, dass nie die Zeit kommen wird, in der ich zufrieden sein werde. Das Ziel der eigenen Ambitionen zu erreichen, muss tragisch sein." - N.C. Wyeth

Über die Ankunft der Mayflower im Jahr 1620

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  • Komposition Zeichnung

    Komposition Zeichnung

    N.C. Wyeths Kompositionszeichnung für das Metropolitan Life Wandgemälde "The Coming of the Mayflower" (1940/1941).
  • Zu sehen in unserer Galerie

    Zu sehen in unserer Galerie

    "Die Ankunft der Mayflower im Jahr 1620" (1941) in unserer Galerie in Palm Desert, Kalifornien, zu sehen.

N.C. Wyethsaußergewöhnliche Fähigkeiten als Illustrator beruhen auf seiner tadellosen Zeichenkunst und als Maler auf seinem warmherzigen, harmonischen Farbensinn und seiner Fähigkeit, die Qualität des Lichts selbst einzufangen. Am meisten bewundern wir jedoch seine unübertroffene Kunstfertigkeit, Geschichten und Charaktere mit einem starken Gefühl für Stimmungen zu beleben - die Fähigkeit, sich in die Welt und die Zeit seiner Schöpfung zu versetzen und sie mit einem betörenden Gefühl der Überzeugung zu vermitteln. Diese Fähigkeit zeigt sich in der kompositorischen Komplexität von "One More Step, Mr. Hands!" in der Schatzinsel ebenso wie hier in der zusammenfassenden Schilderung eines quadratisch getakelten Handelsschiffs aus dem siebzehnten Jahrhundert, das auf das Meer geworfen wird. Die Ankunft der Mayflower im Jahr 1620 ist eine schlichte Auflistung beobachtbarer Fakten, doch Wyeths tadelloses Genie als Illustrator verleiht ihr die belebende salzige Luft und den Geschmack, der den abenteuerlichen Geist der Männer und Frauen einfängt, denen die Gründung Amerikas weitgehend zugeschrieben wird. Dieser Geist wird vom Wind und den straff geblähten Segeln getragen, von der kühnen Krängung des Schiffes in der Nase eines steifen Sturms, von den vorwärtsdrängenden, von Bächen umrandeten Wolken und von den Möwen, die fröhlich eine Ankunft feiern, als wären sie die gefiederten Engel der Vorsehung, die das Schiff in einen sicheren Hafen führen.

Die Ankunft der Mayflower im Jahr 1620 basiert auf zwei Studien, einer Kompositionszeichnung in Graphit und einem kleinen Präsentationsgemälde. Das fertige Wandgemälde scheint 1941 angebracht worden zu sein.

"Es war ganz natürlich, dass mein Geist und mein Herz nach Plymouth und zu den Pilgervätern als passendes Thema für eine Serie von Gemälden aus Neuengland fliegen sollten. Wenn also die Wärme und Anziehungskraft dieser Gemälde für diejenigen, die sie betrachten, offensichtlich ist, dann vor allem deshalb, weil sie in gewisser Weise eine Aussage über mein eigenes Leben und meine Herkunft sind." - N.C. Wyeth

Geschichte

Bevor es das Fernsehen gab und zu einer Zeit, als der Film noch in den Kinderschuhen steckte, elektrisierten die Illustrationen von N. C. Wyethdie Geschichten, die er visuell gestaltete und kommentierte. Wer kann schon als junger Leser der "Schatzinsel" den Drang leugnen, die nächste Hochglanzillustration zu lesen? Oder in aufgeregter Erwartung die Seiten wiederholt durchblättern, um die Bilder zu sehen, die so lebendig und anschaulich und voller Anmut sind?  

1939 bot die Metropolitan Life Company Wyeth einen Auftrag ganz anderer Art an: eine Reihe von Wandgemälden, die sich weniger auf Angeberei stützen sollten, sondern vielmehr auf ein tiefes Gefühl für Zeit und Ort. Sie sollten eine energiegeladene und großartige Vision bieten und den Geist des Nationalstolzes zum Ausdruck bringen, indem sie die starken Werte feierten, die zum Ausdruck bringen, was es bedeutet, Amerikaner zu sein. Wyeth war begeistert. Die vierzehn Wandtafeln, die er anfertigen wollte, sollten die Welt der Pilger zum Leben erwecken und "als grafischer und dramatischer Ausdruck des Geistes von Neuengland dienen" (Douglas Allen, et al., N. C. Wyeth: The Collected Paintings, Illustrations, and Murals, S . 169). Wyeth, ein Künstler von unvergleichlichem Können und von der Authentizität der Figuren, die seine Erzählungen bevölkern, überzeugt, genoss die Gelegenheit, seinen Stolz auf die Vergangenheit seiner Vorfahren zu vermitteln.

"Die Romantik der frühen Kolonisierung, insbesondere die der Pilger in Massachusetts, hat mich schon immer begeistert. Mein Vorfahre, Nicholas Wyeth, kam 1647 aus Wales nach Massachusetts. Der Geist der frühen Tage an der Küste von Massachusetts war ein oft diskutiertes Thema in meinem Elternhaus. Ich wurde in Needham geboren, nicht weit von der Stadt Plymouth entfernt, in die ich als Junge oft gepilgert bin und aufregende Tage in und um dieses historische Gebiet verbracht habe. Vor diesem Hintergrund war es nur natürlich, dass mein Geist und mein Herz nach Plymouth und zu den Pilgervätern als passendes Thema für eine Serie von Neuengland-Gemälden fliegen sollten. Wenn also die Wärme und Anziehungskraft dieser Gemälde für diejenigen, die sie betrachten, offensichtlich ist, dann vor allem deshalb, weil sie in gewisser Weise eine Aussage über mein eigenes Leben und meine Herkunft sind." (Douglas Allen, et al., N. C. Wyeth: The Collected Paintings, Illustrations and Murals, S. 171)

Mehr
"Das Kleine zum Großen zu erheben, ist genial." - N.C. Wyeth

MARKTEINBLICKE

  • Die von Art Market Research erstellte Grafik zeigt, dass die Gemälde von N.C. Wyeth seit 1976 mit einer durchschnittlichen jährlichen Wachstumsrate von 11 % gestiegen sind.

  • Der Rekordpreis für N.C. Wyeth bei einer Auktion wurde 2018 aufgestellt, als Portrait of a Farmer, ein kleineres Gemälde aus dem Jahr 1943, für fast 6 Millionen Dollar verkauft wurde.

  • Bisher wurden noch keine Gemälde von N.C. Wyeth in so monumentalem Maßstab versteigert.

Top-Ergebnisse für N.C. Wyeth bei Auktionen

Tempera auf Renaissance-Paneel, 40 x 60 cm. Verkauft bei Sotheby's New York: 23. Mai 2018.

"Porträt eines Farmers (Pennsylvania Farmer)" (1943) wurde für 5.985.900 USD verkauft.

Tempera auf Renaissance-Paneel, 40 x 60 cm. Verkauft bei Sotheby's New York: 23. Mai 2018.
Öl auf Leinwand, 43 x 30 cm. Verkauft bei Christie's New York: 22. November 2016.

"Hände hoch" (1906) wurde für 4.951.500 USD verkauft.

Öl auf Leinwand, 43 x 30 cm. Verkauft bei Christie's New York: 22. November 2016.
Öl auf Leinwand, 46 x 69 1/4 Zoll. Verkauft bei Christie's New York: 28. Oktober 2020.

"Indian Love Call" (1927) wurde für 3.510.000 USD verkauft.

Öl auf Leinwand, 46 x 69 1/4 Zoll. Verkauft bei Christie's New York: 28. Oktober 2020.

N.C. Wyeth-Gemälde in Museumssammlungen

"Der Hummermann (The Doryman)" (1944), Eitempera auf Holz, 23 1/4 x 47 1/4 Zoll.

Metropolitan Museum of Art, New York

"Der Hummermann (The Doryman)" (1944), Eitempera auf Holz, 23 1/4 x 47 1/4 Zoll.
Unser Leben hing von unserem Steuermann ab (1940) Öl auf Hartfaserplatte (Renaissance-Paneel), 30 x 20 1/2 Zoll.

Philadelphia Kunstmuseum, Pennsylvania

Unser Leben hing von unserem Steuermann ab (1940) Öl auf Hartfaserplatte (Renaissance-Paneel), 30 x 20 1/2 Zoll.
"Inselbegräbnis" (1939), Eitempera und Öl auf Hartfaserplatte, 44 1/2 x 52 3/8 Zoll.

Brandywine River Museum of Art, Chadds Ford, Pennsylvania

"Inselbegräbnis" (1939), Eitempera und Öl auf Hartfaserplatte, 44 1/2 x 52 3/8 Zoll.
"Sie nahmen ihre Ehefrauen mit auf ihre Kreuzfahrten" (ca. 1938), Öl auf Karton, 34 x 24 Zoll.

Peabody Essex Museum, Salem, Massachusetts

"Sie nahmen ihre Ehefrauen mit auf ihre Kreuzfahrten" (ca. 1938), Öl auf Karton, 34 x 24 Zoll.
"Das Wasserbegräbnis" (1906), Öl auf Leinwand, 24 x 38 cm.

Gilcrease Museum, Tulsa, Oklahoma

"Das Wasserbegräbnis" (1906), Öl auf Leinwand, 24 x 38 cm.
"Das Kleine zum Großen zu erheben, ist genial." - N.C. Wyeth

Bild-Galerie

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Zusätzliche Ressourcen

Lesen Sie diese Biografie über N.C. Wyeth, geschrieben von Andrew Wyeth, dem berühmten Maler und Sohn von N.C. Wyeth.

"Mein Vater" von Andrew Wyeth

Lesen Sie diese Biografie über N.C. Wyeth, geschrieben von Andrew Wyeth, dem berühmten Maler und Sohn von N.C. Wyeth.
In diesem Video des Brandywine River Museum of Art können Sie das Haus und das Atelier des Künstlers in Chadds Ford, Pennsylvania, virtuell besichtigen.

Das N.C. Wyeth Haus & Atelier

In diesem Video des Brandywine River Museum of Art können Sie das Haus und das Atelier des Künstlers in Chadds Ford, Pennsylvania, virtuell besichtigen.
Siehe die Kompositionszeichnung zu diesem Gemälde, "Die Ankunft der Mayflower im Jahre 1620" (1941).

Komposition Zeichnung

Siehe die Kompositionszeichnung zu diesem Gemälde, "Die Ankunft der Mayflower im Jahre 1620" (1941).

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