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פרנק ווסטון בנסון (1862-1951)

$150,000

אמן ביו ביררהדאון PDF
 
<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>
נערה בלבן (דמות יושבת) 1896 30 x 25 אינץ' (76.2 x 63.5 ס"מ) שמן על בד
מקור ומקור
פרדריק פ. וינטון (אמן), מתנת האמן
משפחת וינטון, ממוצא של הנ"ל
אוסף פול מגריאל, ניו יורק, ניו יורק, עד 1970
אוסף פרטי, מסצ'וסטס עד 2001
אוסף פרטי
ספרות
פיית' אנדרוז בדפורד, אמנותו של פרנק וו. בנסון, אימפרסיוניסט אמריקאי, סיילם, מסצ'וסטס, 1999, עמ' 18, איור 5
"נערה בלבן (דמות יושבת)" משנת 1896 היא דוגמה אלגנטית לכישרונו של פרנק בנסון לציור דיוקנאות אינטימיים, המעוצבת בצבעי פלטה מעודנים ובשליטה מרשימה באור ובמרקם. הציור היה במקור מתנה אישית מבנסון לחברו ולאמן האמריקאי פרדריק פ. וינטון, ונשאר בבעלות משפחת וינטון לפני שנכנס מאוחר יותר לאוסף המכובד של פול מגרייל, אספן וחוקר אמנות אמריקאית ידוע. מקור מוקדם זה מדגיש את ההערכה רבת השנים של היצירה בקרב אמנים ואניני טעם כאחד.





הדיוקן קשור קשר הדוק למחקרים דומים של חצי דמות המוחזקים באוספים מוסדיים גדולים, כולל מוזיאון האמנויות היפות בבוסטון, מוזיאון האמנות פרנסוורת' והגלריה הלאומית לאמנות בוושינגטון הבירה, שכולם מדגישים את חשיבותו של בנסון במסורת האימפרסיוניסטית האמריקאית. בעבודה זו, היושבת מוצגת בפרופיל על רקע פשוט ומצומצם המאפשר לדקויות הצבע והווילונות למשוך את מלוא תשומת הלב. העיצוב החם והזוהר של העור והבד העדין והדקיק של השמלה מודגשים על ידי השימוש החסכוני של בנסון בגוונים, ויוצרים תחושה של שקט וריכוז חינני.





יחד, תכונות אלו חושפות את עומק כישוריו של בנסון בשנות ה-90 של המאה ה-19 ומאשרות את הציור "נערה בלבן (דמות יושבת)" כדוגמה שמורה להפליא ומהדהדת רגשית לפרקטיקת הדיוקנאות שלו.
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