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N.C. WYETH (1882-1945)

BIO DE L'ARTISTE ENQUÊTETÉLÉCHARGER LE PDF
 
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.
L'arrivée du Mayflower en 16201941104 1/2 x 158 3/4 in.(265,43 x 403,23 cm) huile sur toile
Provenance
MetLife, Inc. Collection d'entreprise (commandée pour les bureaux de New York)
Heather James Fine Art, New York
Exposition
New York, NY, 1985, n° 13, "L'arrivée du Mayflower".
Littérature
"The Days of the Pilgrims Live Again in Our Murals ", The Home Office (publication de la Metropolitan Life Insurance Co.), vol. 23, no 7 (déc. 1941).
N. C. Wyeth, Income Tax Notes for 1941 (non publié, Brandywine River Museum Library)
Douglas Allen et Douglas Allen, Jr, N. C. Wyeth, The Collected Paintings, Illustrations and Murals (New York : Crown Publishers, 1972),...Plus..... ps. 169-172, illus. n/b p. 169
Robert San Souci, N. C. Wyeth's Pilgrims (San Francisco, CA : Chronicle Books, 1991), détail illustré. Sur le frontispice
Christine B. Podmaniczky, N. C. Wyeth, A Catalogue Raisonné of Paintings (Londres : Scala, 2008), M.67, p. 629
...MOINS.....
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"J'espère que le temps ne viendra jamais où je me sentirai satisfait. Atteindre le but de ses ambitions doit être tragique." - N.C. Wyeth

A propos de l'arrivée du Mayflower en 1620

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  • Composition Dessin

    Composition Dessin

    Dessin de composition de N.C. Wyeth pour la fresque du Metropolitan Life "The Coming of the Mayflower" (1940/1941).
  • Exposé dans notre galerie

    Exposé dans notre galerie

    "The Coming of the Mayflower in 1620" (1941) exposé dans notre galerie à Palm Desert, Californie.

Les extraordinaires compétences de N.C. Wyethen tant qu'illustrateur sont le fruit d'un dessin impeccable et, en tant que peintre, de son sens chaleureux et harmonieux de la couleur et de sa capacité à capturer la qualité de la lumière elle-même. Mais c'est son art inégalé de vivifier l'histoire et les personnages avec un puissant sens de l'ambiance que nous admirons par-dessus tout - la capacité de se transporter dans le monde et l'époque de sa création et de la transmettre avec un sens de la conviction envoûtant. Cette capacité est aussi évidente dans la complexité de la composition de "One More Step, Mr. Hands !" deL'Île au trésor qu'elle l'est ici, dans le récit sommaire d'un navire marchand du XVIIe siècle, au gréement carré, ballotté sur les mers. L'arrivée du Mayflower en 1620 est un simple exposé de faits observables, mais le génie impeccable de Wyeth en tant qu'illustrateur l'imprègne de l'air salin vivifiant et du goût qui saisit l'esprit d'aventure des hommes et des femmes auxquels on attribue en grande partie la fondation de l'Amérique. Cet esprit est porté par le vent et les voiles tendues, la gîte joviale du navire au nez d'un coup de vent violent, les nuages poussés et limités par des filets, et les mouettes disposées de façon joviale pour célébrer l'arrivée du navire comme si elles étaient les anges de la providence le guidant vers un port sûr.

L'arrivée du Mayflower en 1620 était basée sur deux études, un dessin de composition au graphite et une petite peinture de présentation. La peinture murale terminée semble avoir été installée en 1941.

"Il était naturel que dans mon esprit et dans mon cœur, Plymouth et les Pèlerins soient un sujet approprié pour une série de peintures de la Nouvelle-Angleterre. Si la chaleur et l'attrait de ces peintures sont évidents pour ceux qui les étudient, c'est principalement parce qu'elles sont, d'une certaine manière, une déclaration de ma propre vie et de mon héritage." - N.C. Wyeth

Histoire

Avant la télévision et à une époque où le cinéma en était encore à ses balbutiements, les illustrations de N. C. Wyethélectrisaient les histoires qu'il façonnait et annotait visuellement. En tant que jeune lecteur de "L'île au trésor", qui peut nier l'urgence de lire la prochaine illustration sur papier glacé ? Ou, dans un élan d'excitation, de feuilleter les pages à plusieurs reprises pour découvrir les images à venir, si vivantes et si pleines de bravoure ?  

En 1939, la Metropolitan Life Company propose à Wyeth une commande d'un genre différent : une série de peintures murales sur toile qui reposent moins sur la bravade, peut-être, mais plutôt sur un sens profond du temps et du lieu. Elles offriraient une vision énergique et grandiose et exprimeraient l'esprit de la fierté nationale en célébrant les valeurs fortes qui expriment ce que signifie être américain. Wyeth était ravi. Les quatorze panneaux muraux qu'il accepta de réaliser donneraient vie au monde des pèlerins et "serviraient d'expression graphique et dramatique de l'esprit de la Nouvelle-Angleterre" (Douglas Allen, et al., N. C. Wyeth : The Collected Paintings, Illustrations, and Murals, pg . 169). Wyeth, artiste d'une habileté inégalée et pleinement investi dans l'authenticité des personnages qui peuplent ses récits, a savouré l'occasion de transmettre la fierté qu'il ressentait envers son passé ancestral.

"La romance des débuts de la colonisation, en particulier celle des Pèlerins du Massachusetts, m'a toujours passionné. Mon ancêtre, Nicholas Wyeth, est venu du Pays de Galles au Massachusetts en 1647. L'esprit des premiers jours sur la côte du Massachusetts était un sujet souvent discuté à la maison. Je suis né à Needham, non loin de la ville de Plymouth, où j'ai fait de nombreux pèlerinages durant mon enfance, passant des journées passionnantes dans ce territoire historique et ses environs. Avec ce contexte, il était naturel que mon esprit et mon cœur s'envolent vers Plymouth et les Pèlerins comme sujet approprié pour une série de peintures de la Nouvelle-Angleterre. Si la chaleur et l'attrait de ces peintures sont évidents pour ceux qui les étudient, c'est principalement parce qu'elles sont, d'une certaine manière, une déclaration de ma propre vie et de mon héritage". (Douglas Allen, et al., N. C. Wyeth : The Collected Paintings, Illustrations and Murals, pg. 171)

plus de
"Elever le petit au grand, c'est ça le génie." - N.C. Wyeth

LES CONNAISSANCES DU MARCHÉ

  • Le graphique préparé par Art Market Research montre que les peintures de N.C. Wyeth ont augmenté à un taux de croissance annuel composé de 11 % depuis 1976.

  • Le prix record pour N.C. Wyeth lors d'une vente aux enchères a été établi en 2018 lorsque Portrait of a Farmer, un tableau plus petit datant de 1943, a été vendu pour près de 6 millions de dollars.

  • Aucune peinture de N.C. Wyeth aussi monumentale n'a été vendue aux enchères.

Les meilleurs résultats pour N.C. Wyeth aux enchères

Tempera sur panneau Renaissance, 40 x 60 in. Vendu chez Sotheby's New York : 23 mai 2018.

"Portrait of a Farmer (Pennsylvania Farmer)" (1943) vendu pour 5 985 900 USD.

Tempera sur panneau Renaissance, 40 x 60 in. Vendu chez Sotheby's New York : 23 mai 2018.
Huile sur toile, 43 x 30 in. Vendu chez Christie's New York : 22 novembre 2016.

"Hands Up" (1906) a été vendu pour 4 951 500 USD.

Huile sur toile, 43 x 30 in. Vendu chez Christie's New York : 22 novembre 2016.
Huile sur toile, 46 x 69 1/4 in. Vendu chez Christie's New York : 28 octobre 2020.

"Indian Love Call" (1927) a été vendu pour 3 510 000 USD.

Huile sur toile, 46 x 69 1/4 in. Vendu chez Christie's New York : 28 octobre 2020.

Peintures de N.C. Wyeth dans les collections des musées

"The Lobsterman (The Doryman)" (1944), tempera à l'œuf sur bois, 23 1/4 x 47 1/4 in.

Metropolitan Museum of Art, New York

"The Lobsterman (The Doryman)" (1944), tempera à l'œuf sur bois, 23 1/4 x 47 1/4 in.
"L'épreuve de l'arc" (1929), huile sur toile, 58 × 45 3/4 × 2 1/4 in.

Musée d'art de Philadelphie, Pennsylvanie

"L'épreuve de l'arc" (1929), huile sur toile, 58 × 45 3/4 × 2 1/4 in.
"Island Funeral" (1939), tempera à l'œuf et huile sur panneau dur, 44 1/2 x 52 3/8 in.

Musée d'art de la rivière Brandywine, Chadds Ford, Pennsylvanie

"Island Funeral" (1939), tempera à l'œuf et huile sur panneau dur, 44 1/2 x 52 3/8 in.
"They Took Their Wives with Them on their Cruises" (c. 1938), huile sur carton, 34 x 24 in.

Musée Peabody Essex, Salem, Massachusetts

"They Took Their Wives with Them on their Cruises" (c. 1938), huile sur carton, 34 x 24 in.
"L'enterrement dans l'eau" (1906), huile sur toile, 24 x 38 in.

Musée Gilcrease, Tulsa, Oklahoma

"L'enterrement dans l'eau" (1906), huile sur toile, 24 x 38 in.
"Elever le petit au grand, c'est ça le génie." - N.C. Wyeth

Galerie d'images

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Ressources supplémentaires

Lisez cette biographie de N.C. Wyeth écrite par Andrew Wyeth, célèbre peintre et fils de N.C. Wyeth.

"Mon père" par Andrew Wyeth

Lisez cette biographie de N.C. Wyeth écrite par Andrew Wyeth, célèbre peintre et fils de N.C. Wyeth.
Visitez virtuellement la maison et le studio de l'artiste à Chadds Ford, en Pennsylvanie, grâce à cette vidéo du Brandywine River Museum of Art.

La maison et le studio de N.C. Wyeth

Visitez virtuellement la maison et le studio de l'artiste à Chadds Ford, en Pennsylvanie, grâce à cette vidéo du Brandywine River Museum of Art.
Voir le dessin de composition de cette peinture, "L'arrivée du Mayflower en 1620" (1941).

Composition Dessin

Voir le dessin de composition de cette peinture, "L'arrivée du Mayflower en 1620" (1941).

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