גב

פרדריק קרל פריזקה (1874-1939)

 
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.
אחר הצהריים בחוף 1905/1906 צרפת60 על 178 אינץ'. (152.4 x 452.12 ס"מ) שמן על בד
מקור ומקור
הוזמן על ידי רודמן וונאמייקר עבור מלון שלבורן בגלריה אטלנטיק סיטי דיוויד דיוויד, פילדלפיה
אוסף פרטי, קליפורניה
הת'ר ג'יימס אמנות
תערוכה
מוזיאון טלפייר לאמנות, סוואנה, ג'ורג'יה, פרדריק קרל פריזקה; האבולוציה של אימפרסיוניסט אמריקאי, 2000/2001; נסיעה לגלריה דיקסון & גנים, ממפיס, טנסי, 2001; מוזיאון סן דייגו לאמנות, סן דייגו, קליפורניה, 2001; מוזיאון טרה לאמנות, שיקגו, אילינוי, 2001
ספרות
נ. קילמר, פרדריק קרל פריזקה; האבולוציה של אימפרסיוניסט אמריקאי, פרינסטון U... עוד...הוצאת ניברסיטי, 2000, שוחזרה עמ' 139. סטודיו בינלאומי מגזין מאויר של אמנות יפה ויישומית, כרך ארבעים ושלוש, כולל מרץ, אפריל, מאי ויוני 1911; מספרים 169 עד 172; "אמנים אמריקאים ב עמודי פריז 263-270. L'Art Decoratif , ריבו מנסואל ד'ארט קונטמפורין, 8me Annee, 2 סמסטרה, ג'ויט 1906 - דצמבר 1906; עמוד "לה קישוט ד'און מלון אמריקן" 195-200... פחות...
לברר

"זו שמש... שהתעניינתי בו בעיקר. אם רק הייתי יכול לשחזר את זה בדיוק כמו שאני רואה את זה, הייתי מרוצה." – פרדריק פריזקי

היסטוריה

פרדריק פריזקי נחשב לעתים קרובות לצייר האימפרסיוניסטי האמריקאי הטוב ביותר של הדמות. עם זאת, כאשר הוא בא ללמוד ב Académie Juilian בשנת 1898, כמה ציירי les Nabis נותרו נוכחות מתמשכת, וזה היה הדפוסים העשירים, דקורטיביים של אדוארד Vuillard ופייר בונרד ששימשו את התוכנית להצלחתו המוקדמת. השפעה זו באה לידי ביטוי בבירור בחזרות הבלתי מרוסנות על המטריות השופעות, המקופלות והמפוספסות של אחר הצהריים בחוף הים, ציור קיר בד המותקן בחדר האוכל המפואר של מלון שלבורן המשקיף על הטיילת של אטלנטיק סיטי. ההשפעה המאחדת של אותו אלמנט שחוזר על עצמו מחדירה את התפאורה עם לופט דמוי ענן בתוך ערכת צבעים, ומעוררת את וילארד ואת העושר של שטיח גבלין, ולא את ההשפעה של אור השמש וצבע שבור המסמנים את ציוריו המוכרים יותר מהעשור של 1910 עד 1920.

אחר הצהריים בחוף הים הותקן בהנחיית האמן בפברואר 1906. הוא נשאר על הבמה במשך עשרות שנים במלון המפואר שפיתה את "דיאמונד ג'ים" ג'יימס ביוקנן בריידי לשלם אלף דולרים בשבוע עבור מגורים קבועים והיה זיכרון בלתי פוסק עבור המוני אנשי חברה אמידים, בעלי הון, ובעלי הון, וידועים מאירווינג ברלין לג'ון פיליפ סוזה ואתל ברימור לאל ג'ולסון. אין ספק שנוכחותו הגבוהה על קיר חדר האוכל הגדול תרמה לפופולריות ולמוניטין של האמן.

כיום, אנו עשויים לראות את הקומפוזיציה הארוכה, דמוית הפריז, כמחקר תלבושות סנפיר-דה-סיקל מענג או חשיפה אינפורמטיבית של מוסכמות ויקטוריאניות כפי שהוצעו על ידי התחומים הנפרדים של קבוצות מגדריות. אבל בעיקר, אחר הצהריים בחוף מספר על העונג וההערכה הבלתי מרוסנת של האמן לנשים, כאן, שבאו לידי ביטוי בהקשרים משפחתיים, אימהיים וחברתיים. הנושא והנושא הם שהביאו לפרייק שבחים ופרסים משני צידי האוקיינוס האטלנטי, שעד היום חביבים עליו את הרבים שסופרים אותו בין הציירים הפיגורטיביים האמריקאים האהובים ביותר. 

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    אדואר וילארד, "משחק של שאטלקוק" (1905 בקירוב)

    אוסף פרטי
  • אדואר וילארד, "אישה בשמלת פסים" (1895)

    הגלריה הלאומית לאמנות, וושינגטון הבירה
  • פרדריק פריזקה, "גני לוקסמבורג, פריז" (1902)

    פרדריק פריזקה, "גני לוקסמבורג, פריז" (1902)

    אוסף פרטי
  • פרדריק פריזקה, "לה תאו ז'רדן" (1904)

    פרדריק פריזקה, "לה תאו ז'רדן" (1904)

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  • מלון שלבורן, אטלנטיק סיטי, ניו ג'רזי, 1905 לערך

    מלון שלבורן, אטלנטיק סיטי, ניו ג'רזי, 1905 לערך

  • מלון שלבורן, אטלנטיק סיטי, ניו ג'רזי, 1910 לערך

    מלון שלבורן, אטלנטיק סיטי, ניו ג'רזי, 1910 לערך

ציורים באוספי מוזיאונים

מוזיאון צפון קרוליינה לאמנות, ראלי

"שמשיית הגן" (1910 בקירוב), שמן על בד, 57 1/8 x 77 אינץ'.

מוזיאון האמנות של מחוז לוס אנג'לס

"חזרה בצהריים" (1911 בקירוב), שמן על בד, 26x32 אינץ'.

אל מוזאו נסיונל תיסן-בורנמיסה, מדריד

"הוליהוקס" (1912-1913 בקירוב), שמן על בד, 31 3/4 x 31 3/4 אינץ'.

המוזיאון לאמנויות יפות, יוסטון

"שיזוף" (בערך 1913), שמן על בד, 28 7/8 x 36 1/2 אינץ '.

מוזיאון המטרופוליטן לאמנות, ניו יורק

"קיץ" (1914), שמן על בד, 45 3/16 x 57 3/4 אינץ'.

דה הנטינגטון, סן מרינו, קליפורניה

"אישה יושבת בגן" (1914), שמן על בד, 26 על 32 אינץ'.

הגלריה הלאומית לאמנות, וושינגטון, ד.C.

"זיכרונות" (1915), שמן על בד, 51 3/4 x 51 5/16 אינץ'.

המכון לאמנות של שיקגו

"על הגדה" (1915 בקירוב), שמן על בד, 40 1/2 × 57 1/2 אינץ'.

גלריית תמונות

אימות

אחר הצהריים בחוף הים ניתן למצוא בעמוד 139 בקטלוג של לינדה מקוורטר לתערוכה פרדריק קרל פריסקה: התפתחותו של אימפרסיוניסט אמריקאי. התערוכה, והקטלוג המתאים לה, הופקו על ידי מוזיאון טלפייר לאמנות בסוואנה, ג'ורג'יה. הקטלוג מציין את מקורותיו הייחודיים של אחר הצהריים בחוף הים כציור קיר למלון שלבורן ההיסטורי.

לברר

בקשה - סינגל אמנותי

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