#artist is willard leroy

[diioonysus]

reading + art

[monkeyssalad-blog]

Willard LeRoy Metcalf «October Festival», 1914 by Art Therapy by Julianna Via Flickr: Oil on canvas; 66x73.7 cm. {26x29in}

[mollyrolls]

masterpiece ◱ akaashi k. x reader

portfolio: ln yn

specialty: impressionist realism oil painting proposed capstone: sunsets over proposed capstone: bodies of water that proposed capstone: interactions with the earth proposed capstone: proposed capstone: tbd

letter of recommendation -

... I am delighted to recommend Yn for the graduate program. As her instructor, I have witnessed her remarkable journey as an artist, as she continually pushed her boundaries, exploring new concepts and styles with enthusiasm.

... Although her process is a bit untraditional, she has produced some incredible work, earning several spots in the school's rotating shows. Yn is an exceptional candidate for the program, and will make a profound impact on her artistic community.

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art credit (in order): La Bretonnerie in the Department of Indre - Gustave Courbet, May Night - Willard Leroy Metcalf, Poppies, Isles of Shoals - Childe Hassam, Peaches on a Plate - Auguste Renoir, Bon Bock Café - Unknown

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[artscript]

Willard Leroy Metcalf (USA, 1858-1925), "May Night" (1906)

Oil on canvas, 99.5 × 91.7 cm

Washington D.C., National Gallery of Art (Corcoran Collection)

[Painting of the Florence Griswold Museum (House) in Old Lyme, Connecticut]

"Completed during his second of three summers at the burgeoning artists' colony in picturesque Old Lyme, Connecticut, May Night is Willard Metcalf's homage to the creative ferment he experienced there and to its host, Florence Griswold. The focus of this moonlit nocturne is the late-Georgian-style home of Miss Florence, as she was known, the last surviving member of a prominent local shipbuilding family. Forced to take in boarders to survive financially, Miss Florence welcomed several landscape painters to her home, including Childe Hassam.

Metcalf studied at the School of the Museum of Fine Arts, Boston and later in Paris at the Académie Julian, where he frequented French artist colonies, including Giverny where he visited Claude Monet. There, Metcalf's exposure to French Impressionism and the development of his interests in botany and ornithology predisposed him to accept invitations from Miss Florence and his old friend Hassam to visit Old Lyme. Apparently thrilled with the natural beauty, artistic camaraderie, and opportunities to paint outdoors, Metcalf enjoyed a productive first summer in Old Lyme in 1905. He likely conceived May Night before returning the following May, and the ambitious canvas apparently occupied him through the following autumn. His work was aided by inclement weather early that summer; as Hassam wrote to his fellow painter J. Alden Weir, "Metty [Metcalf] is working hard at a moonlight. We are all doing moonlights. The weather has been so bad that we have been forced to it."

May Night shows an ethereally dressed figure that surely represents Miss Florence, for whom Metcalf painted the canvas, crossing the shadow-strewn lawn toward a seated companion. Set beneath a canopy of stars, lush trees frame the scene; the triangular shapes of the dogwood tree, and the white horse-chestnut blossoms echo those of the women's pale gowns. Metcalf enhanced his painted tribute to his host in several ways. He improved on the somewhat dilapidated appearance of the mansion and grounds and rendered the house as otherworldly and nearly templelike, perhaps in reference to its nickname, Holy House. An off-center perspective and the exaggerated height of the Ionic columns emphasize the home's portico (the porch at the entrance), the most classical feature of the house. The only reminder of modern life Metcalf chose to include is the glowing yellow light seen in the doorway and the windows on the left, suggesting lamplight.

Miss Florence was thrilled with Metcalf's painting, saying it "was the best thing he had ever done." When the artist offered her May Night in exchange for room and board, however, she refused to accept it, instead encouraging him to exhibit the work in New York, where it went on to receive critical acclaim. Metcalf's work also inspired other American artists to paint moonlight views, which became something of a trademark in Old Lyme."

(text by the National Gallery of Art)

[cendrineartist]

Inspirational art: Midsummer Twilight - Willard Leroy Metcalf

Inspirational art: Midsummer Twilight - Willard Leroy Metcalf https://creativeramblings.com/inspirational-art/midsummer-twilight-willard-leroy-metcalf/

Sharing the most inspirational art I can find on the web! Title: Midsummer Twilight Date: ca. 1890 Artist: Willard Leroy Metcalf (1858-1925) Type of art: oil on canvas Source and information: National Gallery of Art

[claud-e-monet]

Giverny - Dinner Tuesday - Ancien Hôtel Baudy

Located in Giverny , the Ancien Hôtel BAUDY was a famous place of passage for many French and American painters. Considered today as a real source of inspiration for amateurs and professionals, the establishment is ideally located 5 minutes from the Claude Monet and Impressionism museums and has been frequented by many artists: Cézanne, Renoir, Sisley, Rodin , Mary Cassatt, from Monet's time.

Our customers can freely visit a period artist's studio, located in the garden. Built in 1887, it has a glass roof to the north, which provides natural and constant light. This room then allowed the study of the nude, a solution used in particular by Claude Monet himself. Remaining in its original state, the workshop has retained its period charm and is therefore ideal for escape and inspiration.

Today, the Ancien Hôtel Baudy has found its restaurant room , its bar, its tea room, its terrace and its wooded park.

Ancien Hôtel Baudy

In 1886, the American painter, Willard Leroy Metcalf, requested lodging from Angélina and Lucien Baudy, owners of the refreshment bar-grocery store in Giverny. The mistress of the place not having one, she quickly threw the big guy out of her business, later admitting to having been afraid of this man who looked like a vagabond, who spoke in incomprehensible gibberish.

A few days later, Metcalf returned alongside three other American painters. This time, Madame Baudy offers them room and board, and these four art enthusiasts learn with amazement that Claude Monet, the impressionist master, lives in Giverny, a few steps from the grocery store. The latter invited the four friends to his home, and they will therefore have the opportunity to have lunch alongside him.

Back in Paris, at the Académie Julian, Metcalf and his compatriots were enthusiastic; They loudly proclaim that Claude Monet lives in Giverny, a small Norman village where there is a pension which offers room and board for a ridiculous price. From that moment on, every week, a horde of artists, amateurs and curious people flocked to Giverny, to the now famous grocery store.

Hosting one, two then three painters' workshops in its garden, the Hôtel Baudy is now a gathering place, where the walls are painted with numerous paintings. The establishment welcomes Renoir, Rodin, Sisley, Pissarro, Monet, Clémenceau... as well as painters from across the Atlantic, such as Sargent, Robinson, Hart, Butler, Beckwith, Dawson-Watson, Young, MacMonnies, Frieseke, Cassat, Collins, Perry, etc. It is even renamed the Hotel of American Painters.

History of Ancien Hôtel Baudy

[huariqueje]

The Poppy Garden   -    Willard Leroy Metcalf, 1905.

American,1858-1925

Oil on canvas,  60,9 × 60,9 cm.

[tynatunis]

Willard LeRoy Metcalf (American, 1858 – 1925) The Falls Oil on canvas Private collection #Repost @paintings_i_love № 3087 • Willard Leroy Metcalf was an American artist born in Lowell, Massachusetts. He studied at the School of the Museum of Fine Arts, Boston, and later attended Académie Julian, Paris. After early figure-painting and illustration, he became prominent as a landscape painter. He was one of the Ten American Painters who in 1897 seceded from the Society of American Artists. For some years he was an instructor in the Women's Art School, Cooper Union, New York, and in the Art Students League, New York. In 1893 he became a member of the American Watercolor Society, New York. Generally associated with American Impressionism, he is also remembered for his New England landscapes and involvement with the Old Lyme Art Colony at Old Lyme, Connecticut and his influential years at the Cornish Art Colony. • #Metcalf #WillardMetcalf #NeoImpressionism #ArtForEveryone #art #FineArtPainting #Paintingoftheday #peinture #landscape #historiadelarte #storiadellarte #peintures #historyofart #arthistory #beauxarts #instamuseum #artmuseum #pittura #ArtHistorian #peintre #malerei #19thcenturyart #20thcenturyart #OldMasters #Impressionism #PostImpressionism #PostImpressionisme #Impressionismo #EuropeanArt #Impressionisme https://www.instagram.com/p/Cj4V9ZRoZML/?igshid=NGJjMDIxMWI=

[aic-american]

Icebound, Willard LeRoy Metcalf, 1909, Art Institute of Chicago: American Art

Icebound is part of a series of painings that WIllard Metcalf completed in the artist colony of Cornish, New Hampshire, during repeated visits in the winter months between the years 1909 and 1920. Specializing in landscape, Metcalf was greatly inspired by Impressionism, yet in this painting, he strayed from the pastel colors of that style and adopted an earthy palette with rich, russet tones. The unconventional look across, rather than along, Blow-Me-Down Brook limits the perspective, forcing the viewer to look down the banks of the brook to the clear, ice-covered water. Painted en plein air in the Cornish wilderness, the winter scenes of this series were some of Metcalf's most celebrated and critically praised works. Walter H. Schulze Memorial Collection Size: 73.7 × 66.4 cm (29 × 26 1/8 in.) Medium: Oil on canvas

https://www.artic.edu/artworks/90894/

[hzaidan]

19 Works, July 1st. is Willard Metcalf's day, his story, illustrated with footnotes #178

19 Works, July 1st. is Willard Metcalf’s day, his story, illustrated with footnotes #178

Willard Leroy Metcalf (American, 1858 – 1925)Sunset at GrezOil on canvas34 × 43 5/8 in. (86.2 × 110.6 cm)Hirshhorn Museum and Sculpture Garden Willard Leroy Metcalf (July 1, 1858 — March 9, 1925) was an American artist born in Lowell, Massachusetts. Metcalf’s parents, themselves artistically inclined, early recognized their son’s talents and encouraged his proper training. He served first as an…

[joes-brain-candy]

Willard Leroy Metcalf (1858-1925) was an American artist born in Lowell, Massachusetts. He studied at the School of the Museum of Fine Arts, Boston, and later attended Académie Julian, Paris. After early figure-painting and illustration, he became prominent as a landscape painter. (Wikipedia) ("Sunlight and Shadow" by Willard Metcalf)

[berussagroup]

Willard Metcalf - American artist

Willard Metcalf – American artist

Willard Metcalf – American artist



Willard Leroy Metcalf (July 1, 1858 – March 9, 1925) was an American artist born in Lowell, Massachusetts. He studied at the School of the Museum of Fine Arts, Boston, and later attended Académie Julian, Paris.

After early figure-painting and illustration, he became prominent as a landscape painter. He was one of the Ten American Painters who in 1897 seceded…

[steliosagapitos]

                Robert Lewis Reid

      Robert Reid (July 29, 1862 – December 2, 1929) was an American Impressionist painter and muralist.

   Robert Reid was born on July 23, 1862 in Stockbridge, Massachusetts. An early interest in art led him to enroll at Boston’s Museum School at the age of seventeen, where he spent three years studying alongside Edmund Tarbell and Frank Weston Benson under the instruction of Otto Grundmann and Frederick Crowninshield. Grundmann trained Reid in draftsmanship and Düsseldorf’s academic approach toward portraiture, while Harvard-educated Crowninshield showed Reid how to make stained glass windows; the influences of both would be evident in the work Reid produced throughout his entire career. After his first year of studies, Reid was earning a living selling small works and had accepted a position at the Museum School as an assistant instructor, and the following year he became a founding editor in chief of Art Student, the school’s scholarly publication.    In 1884, Reid registered for classes at the Art Students League in New York for additional artistic training; however, his dissatisfaction with the coursework, combined with a stream of letters from his friends Tarbell and Benson extolling their own studies at the Académie Julian, swayed Reid to make the trans-Atlantic journey to Paris, France. Reid remained in Europe for four years, studying at the Académie Julian under Gustave Boulanger and Jules Lefebvre and exhibiting his work regularly at the Paris Salons. Near the end of 1886, he left for Italy and spent ten months traveling through Venice, Naples, Florence, Rome, and Milan, over the course of which he developed a passion for Italian art and architecture. He was deeply impressed by the work of Titian in particular—he held the Italian master in the highest regard for his use of warm colors and light effects. Reid returned to Paris in 1887, where he resumed his studies at the Académie Julian until he decided to return to the United States in 1889. Reid settled in New York, where he accepted teaching positions at both the Cooper Union and the Art Students League. In 1897, he accepted a membership invitation from the Society of American Artists. However, that same year, fueled by a frustration with the quality of work accepted for exhibition by the Society of American Artists, Reid, along with Julian Alden Weir, Willard Leroy Metcalf, Edward Emerson Simmons, Thomas Wilmer Dewing, Childe Hassam, Edmund C. Tarbell, Frank Weston Benson, Joseph DeCamp, and John Henry Twachtman, resigned from the organization, and became the founding artists of “The Ten American Painters.” Along with Tarbell and Benson, Reid was one of the Boston-based impressionist painters in “The Ten,” and his brightly-colored, figurative works regularly stood out as unique during the group’s exhibitions.    While in New York, Reid also became close friends with noted American architect Stanford White; this friendship, along with Reid’s knowledge of architecture and design, led to important commissions that established his reputation as a talented muralist. He was awarded the Master Artist’s medal for his work in one of the domes in the Liberal Arts Building at the 1893 World’s Columbian Exposition in Chicago, and received additional commissions in buildings including the Library of Congress, New York Appellate Court House, Massachusetts State House, and the American Pavilion at the 1900 Exposition Universelle in Paris. In 1915, Reid was also one in a group of artists including Simmons, Weir, James Carroll Beckwith, and Kenyon Cox, who were selected to paint the domes at the 1915 Panama-Pacific International Exposition in San Francisco. Just after the turn of the century, Reid changed the direction of his career and spent five years designing and crafting stained glass windows for the Rogers Memorial Church in Fairhaven, Massachusetts, which he completed in 1905. At the age of forty-four, Reid married Elizabeth Reeves in Longmeadow, Massachusetts; sadly, the couple divorced only two years later because his wife felt that he spent too much time working. In 1926, Reid was diagnosed with polio and suffered severe paralysis along the right side of his body, completely debilitating his dominant hand and threatening to end his career. Unwilling to face defeat, Reid checked himself into the Clifton Springs Sanatorium in upstate New York, where he spent several months learning to paint with his left hand. With admirable persistence, Reid continued to produce work during the three years following his diagnosis. He was honored with a solo exhibition at Grand Central Galleries in 1929 and one attendee described, “At sixty-nine, he (Reid) is still eager and interested as ever.” Several months later, Reid’s health ultimately succumbed to complications of polio and the artist passed away that same year. Reid is an important American impressionist best known for his large-scale murals and glowing figural scenes depicting young women. His murals can still be viewed in private and public buildings across the country in present day, and his work can be found in the permanent collections of important museums including the Brooklyn Museum, The Metropolitan Museum of Art, and Smithsonian American Art Museum.

Robert Reid was born in Stockbridge, Massachusetts and attended the School of the Museum of Fine Arts, Boston under Otto Grundmann, where he was also later an instructor. In 1884 he moved to New York City, studying at the Art Students League, and in 1885 he went to Paris to study at the Académie Julian under Gustave Boulanger and Jules Joseph Lefebvre. His early pictures were figures of French peasants, painted at Étaples.

   Upon returning to New York in 1889, he worked as a portraitist and later became an instructor at the Art Students League and Cooper Union. Much of his work centered on the depiction of young women set among flowers. His work tended to be very decorative, and he became known for mural decoration and designs for stained glass. He contributed with others to the frescoes of the dome of the Liberal Arts Building at the Columbian Exposition, Chicago, in 1893.

In 1897, Reid was a member of the Ten American Painters, who seceded from the Society of American Artists. In 1906 he became a full member of the National Academy of Design. Around the turn of the century, Reid worked on several mural projects and when he returned to paintings, around 1905, his work was more naturalistic, even though his palette trended toward soft pastels.

He has work in the Library of Congress, Washington, D.C., the Appellate Court House, New York, and the State House, Boston, where are his three large panels, James Otis Delivering his Speech against the Writs of Assistance, Paul Revere's Ride, and the Boston Tea Party. He executed a panel for the American Pavilion at the Paris Exhibition, 1900, and in 1906 he completed a series of ten stained glass windows for the Unitarian Memorial Church at Fairhaven, Mass.. Reid's The Martyrdom of St. Paul is located at the southwestern end of the nave of the Church of St. Paul the Apostle in New York City.

    Robert Reid's murals for the Palace of Fine Arts building at the Panama–Pacific International Exposition (San Francisco, 1915) were an extraordinary tribute to the Arts. Eight huge panels graced the ceiling of the rotunda: The Four Golds of California (Golden Metal, Wheat, Citrus Fruits, and Poppies); plus Ideals in Art, Inspirations of All Arts, the Birth of European Art and Birth of Oriental Art These paintings no longer exist in San Francisco's Palace of Fine Arts, which was re-built in the 1960s, and their current whereabouts are unknown.

Reid also taught; among his pupils was Nan Sheets.

Reid died in Clifton Springs, New York.

https://www.youtube.com/watch?v=EeQfccb8Kvk.

[huariqueje]

The Golden Screen   -     Willard Leroy Metcalf ,1906

American, 1858 - 1925

Oil on canvas,  91.44 cm (36 in.), 99.06 cm (39 in.)

[aic-american]

Icebound, Willard LeRoy Metcalf, 1909, Art Institute of Chicago: American Art

Icebound is part of a series of painings that WIllard Metcalf completed in the artist colony of Cornish, New Hampshire, during repeated visits in the winter months between the years 1909 and 1920. Specializing in landscape, Metcalf was greatly inspired by Impressionism, yet in this painting, he strayed from the pastel colors of that style and adopted an earthy palette with rich, russet tones. The unconventional look across, rather than along, Blow-Me-Down Brook limits the perspective, forcing the viewer to look down the banks of the brook to the clear, ice-covered water. Painted en plein air in the Cornish wilderness, the winter scenes of this series were some of Metcalf's most celebrated and critically praised works. Walter H. Schulze Memorial Collection Size: 73.7 × 66.4 cm (29 × 26 1/8 in.) Medium: Oil on canvas

https://www.artic.edu/artworks/90894/

[huariqueje]

The Village in Late Spring   -    Willard Leroy Metcalf , 1920

American. 1858-1925

oil on canvas, 29 1/4  x 33 1/2", 

Private collection.