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FREDERICK CARL FRIESEKE (1874-1939)

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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.
Ein Nachmittag am Strand1905/1906 Frankreich60 x 178 in.(152,4 x 452,12 cm) Öl auf Leinwand
Provenienz
Im Auftrag von Rodman Wanamaker für das Hotel Shelburne in Atlantic City David David Gallery, Philadelphia
Privatsammlung, Kalifornien
Heather James Fine Art
Ausstellung
Telfair Museum Of Art, Savannah, Georgia, Frederick Carl Frieseke; The Evolution Of An American Impressionist, 2000/2001; Wanderausstellung in der Dixon Gallery & Gardens, Memphis, Tennessee, 2001; San Diego Museum Of Art, San Diego, California, 2001; Terra Museum Of Art, Chicago, Illinois, 2001
Literaturhinweise
N. Kilmer, Frederick Carl Frieseke; The Evolution Of An American Impressionist, Princeton U...Mehr.....niversity Press, 2000, reproduziert S. 139. International Studio An Illustrated Magazine Of Fine And Applied Art, Volume Forty-Three, Comprising March, April, May & June 1911; Nummern 169 bis 172; "American Artists In Paris", Seiten 263-270. L'Art Decoratif, Revue Mensuelle D'Art Contemporain, 8me Annee, 2 Semestre, Juillet 1906-Dezember 1906; "La Decoration D'un Hotel Americain" Seite 195-200...WENIGER.....
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Fragen Sie

"Es ist der Sonnenschein, der mich am meisten interessiert. Wenn ich ihn nur genau so wiedergeben könnte, wie ich ihn sehe, wäre ich zufrieden." - Frederick Frieseke

Geschichte

Frederick Frieseke wird oft als der beste amerikanische Maler des Impressionismus angesehen, der die Figur darstellt. Doch als er 1898 an der Académie Juilian studierte, waren einige der Nabis-Maler noch sehr präsent, und es waren die reichen, dekorativen Muster von Edouard Vuillard und Pierre Bonnard, die ihm als Vorlage für seinen frühen Erfolg dienten. Dieser Einfluss zeigt sich deutlich in der hemmungslosen Wiederholung der voluminösen, gefalteten, gestreiften Regenschirme von Afternoon at the Beach, einem Wandbild, das im opulenten Speisesaal des Hotel Shelburne mit Blick auf den Atlantic City Boardwalk installiert wurde. Die vereinheitlichende Wirkung dieses sich wiederholenden Elements verleiht der Szenerie ein wolkenartiges Loft innerhalb eines Farbschemas, das eher an Vuillard und den Reichtum einer Gobelin-Tapisserie erinnert als an den Effekt des Sonnenlichts und der gebrochenen Farbe, die seine bekannteren Gemälde aus den Jahren 1910 bis 1920 kennzeichnen.

Afternoon at the Beach wurde im Februar 1906 unter der Leitung des Künstlers installiert. Es blieb jahrzehntelang in dem protzigen Hotel zu sehen, das "Diamond Jim" James Buchanan Brady dazu verleitete, tausend Dollar pro Woche für einen ständigen Wohnsitz zu zahlen, und war eine unvergängliche Erinnerung für Scharen von gut betuchten Persönlichkeiten, Finanziers und Prominenten von Irving Berlin bis John Philip Sousa und Ethel Barrymore bis Al Jolson. Zweifellos trug die Präsenz des Bildes an der Wand des großen Speisesaals zur Popularität und Bekanntheit des Künstlers bei.

Heute können wir diese lange, friesartige Komposition als reizvolle Kostümstudie des Fin-de-Siècle oder als aufschlussreiche Darstellung der viktorianischen Sitten betrachten, wie sie durch die getrennten Sphären der Geschlechtergruppen angedeutet werden. Vor allem aber zeugt Afternoon at the Beach vonder ungezügelten Freude und Wertschätzung des Künstlers gegenüber Frauen, die hier im familiären, mütterlichen und sozialen Kontext zum Ausdruck kommen. Es ist das Thema, das Frieseke auf beiden Seiten des Atlantiks Beifall und Auszeichnungen einbrachte und das ihn bis heute zu den beliebtesten amerikanischen figurativen Malern macht. 

Fragen Sie

Gemälde in Museumssammlungen

"Der Garten-Sonnenschirm" (um 1910), Öl auf Leinwand, 57 1/8 x 77 Zoll.

Das Kunstmuseum von North Carolina, Raleigh

"Der Garten-Sonnenschirm" (um 1910), Öl auf Leinwand, 57 1/8 x 77 Zoll.
"Ruhe am Mittag" (um 1911), Öl auf Leinwand, 26 x 32 cm.

Los Angeles County Museum für Kunst

"Ruhe am Mittag" (um 1911), Öl auf Leinwand, 26 x 32 cm.
"Stockrosen" (ca. 1912-1913), Öl auf Leinwand, 31 3/4 x 31 3/4 Zoll.

El Museuo Nacional Thyssen-Bornemisza, Madrid

"Stockrosen" (ca. 1912-1913), Öl auf Leinwand, 31 3/4 x 31 3/4 Zoll.
"Sonnenbad" (um 1913), Öl auf Leinwand, 28 7/8 x 36 1/2 Zoll.

Das Museum der Schönen Künste, Houston

"Sonnenbad" (um 1913), Öl auf Leinwand, 28 7/8 x 36 1/2 Zoll.
"Sommer" (1914), Öl auf Leinwand, 45 3/16 x 57 3/4 Zoll.

Das Metropolitan Museum of Art, New York

"Sommer" (1914), Öl auf Leinwand, 45 3/16 x 57 3/4 Zoll.
"Frau in einem Garten sitzend" (1914), Öl auf Leinwand, 26 x 32 cm.

The Huntington, San Marino, Kalifornien

"Frau in einem Garten sitzend" (1914), Öl auf Leinwand, 26 x 32 cm.
"Erinnerungen" (1915), Öl auf Leinwand, 51 3/4 x 51 5/16 Zoll.

National Gallery of Art, Washington, D.C.

"Erinnerungen" (1915), Öl auf Leinwand, 51 3/4 x 51 5/16 Zoll.
"Auf der Bank" (um 1915), Öl auf Leinwand, 40 1/2 × 57 1/2 Zoll.

Das Kunstinstitut von Chicago

"Auf der Bank" (um 1915), Öl auf Leinwand, 40 1/2 × 57 1/2 Zoll.

Bild-Galerie

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Authentifizierung

Frieseke3986_CR

Afternoon at the Beach ist auf Seite 139 des Katalogs von Linda McWhorter zur Ausstellung Frederick Carl Frieseke: The Evolution of an American Impressionist zu finden . Die Ausstellung und der dazugehörige Katalog wurden vom Telfair Museum of Art in Savannah, Georgia, herausgegeben. Der Katalog verweist auf die einzigartigen Ursprünge von Afternoon at the Beachals Wandgemälde für das historische Hotel Shelburne.

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