COLLECTION NAME:
Visual Resources Teaching Collection
mediaCollectionId
ArtArtHiAAH~7~7
Visual Resources Teaching Collection
Collection
true
Image Record ID:
aahi0000538
image_record_id
aahi0000538
Image Record ID
false
Work Title (display):
Rocks and Lighthouse
Image Title:
full view
Work Dates (display):
1908
Work Dates type:
creation
Work Creator (display):
William James Glackens (American, 1870-1938)
Work Creator gender:
male
work_creator_or_agent_gender
male
Work Creator gender
false
Work Creator notes (display):
(b Philadelphia, PA, 13 March 1870; d Westport, CT, 22 May 1938). American painter and illustrator. He graduated in 1889 from Central High School, Philadelphia, where he had known Albert C. Barnes, who later became a noted collector of modern art. He became a reporterillustrator for the Philadelphia Record in 1891 and later for the Philadelphia Press. In 1892 he began to attend evening classes in drawing at the Pennsylvania Academy of Fine Arts, studying under Thomas Anshutz. In the same year he became a friend and follower of Robert Henri, who persuaded him to take up oil painting in 1894. Henri's other students, some of whom were referred to as the Ashcan school, included George Luks, Everett Shinn and John Sloan, also artistreporters; together with Henri they formed the nucleus of the Eight (ii). Glackens and Henri shared a studio in Philadelphia in 1894 and travelled together in Europe in 1895. On returning to the USA in 1896, Glackens followed Henri's lead in moving to New York and supported himself by producing illustrations for the New York World and the New York Herald, as well as through book illustrations. In 1898 he and Luks went to Cuba to report on the SpanishAmerican War for McClure's Magazine. On his return to New York, Glackens began to concentrate increasingly on painting. For subject-matter he turned to city parks and café scenes. Like Henri, he admired Diego Velázquez and James McNeill Whistler and adopted the broad brushstrokes of Frans Hals and Edouard Manet. He was particularly drawn to the theatrical aspects of urban life, as in Hammerstein's Roof Garden (1902; New York, Whitney). By 1905 Glackens had adopted a style of high-keyed Impressionism, seen in Chez Mouquin (1905; Chicago, IL, A. Inst.). This painting, inspired by A Bar at the Folies-Bergère by Manet, shows James B. Moore, owner of the Café Francis where the Ashcan painters often met. With him is one of his 'daughters', as he called his numerous young female companions, at Mouquin's, a French restaurant under the Sixth Avenue elevated railway in New York. In the mirror behind the couple can be seen Glackens's wife, Edith, and his future brother-in-law, Charles Fitzgerald, a critic for The Sun. The painting is one of several attempts on the part of the Ashcan painters to depict themselves in bohemian American settings (compare, for example, John Sloan's Yeats at Petitpas', 1910; Washington, DC, Corcoran Gal. A.). Glackens became increasingly interested in Auguste Renoir's use of colour, seen for the first time in Nude with Apple (1910; New York, Brooklyn Mus.), and soon discarded urban themes in favour of studio models, still-lifes, landscapes and seaside subjects, for example Bathers at Bellport (1912; Washington, DC, Phillips Col.). In 1910 Glackens was contacted by albert c. Barnes. Glackens urged him to consider collecting Impressionist and Post-Impressionist paintings instead of those of the Barbizon school, as he had been doing. Barnes agreed and in 1912 sent Glackens to France with $20,000 to buy art for him as he saw fit. Glackens returned with works by Cézanne, Renoir, Degas, van Gogh, Monet, Gauguin, Sisley, Camille Pissarro, Seurat and others, forming the nucleus of the Barnes Foundation Collection in Merion Station, PA. In 1913 Glackens served as Chairman for selecting American art for the Armory Show, in which he also exhibited, and he was the first President of the Society of Independent Artists (1917). There was no notable development in Glackens's art after this date, and he continued to paint until his health began to fail. One of his late works was Soda Fountain (1935; Philadelphia, PA Acad. F.A.). (Grove Art Online accessed 2007-10-17)
Work Style Period:
20th century
work_styleperiod
20th century
Work Style Period
false
Work Style Period:
Impressionist
work_styleperiod
Impressionist
Work Style Period
false
Work Subject:
sailboats
subject
sailboats
Work Subject
false
Work Subject:
lighthouses
subject
lighthouses
Work Subject
false
Work Subject:
boats
subject
boats
Work Subject
false
Work Subject:
seascapes
subject
seascapes
Work Subject
false
Work Subject:
oceans
subject
oceans
Work Subject
false
Work Subject:
rocks
subject
rocks
Work Subject
false
Work Worktype:
oil paintings
work_type
oil paintings
Work Worktype
false
Work Worktype:
paintings (visual works)
work_type
paintings (visual works)
Work Worktype
false
Work Category (VRC classification):
paintings
work_category__ucbaahvrc_classification_
paintings
Work Category (VRC classification)
false
Work Material and Technique (display):
oil on canvas
Work Measurements (display):
63.5 cm (H) x 76.2 cm (W)
Work Inscription (display):
signed
Work Location (Repository or Site) name:
M.H. De Young Memorial Museum
Work Location (Repository or Site) role:
repository
Work Location (Repository or Site) refid:
70.11
Work Location (Repository or Site) refid type:
accession
Work Location (Geographic) name:
San Francisco, California
Image Rights (display):
© Ronald Wiedenhoeft. Licensed for educational use via Scholars Resource: Saskia, Ltd.
Image Rights license agreement:
SASKIA, LTD.: WHO CAN USE THIS SOFTWARE: (a) Licensee, including faculty, staff and currently enrolled students may use the Licensed Software to display and or print the corresponding graphic images without limitation for teaching and research purposes at the defined Sites, or at remote locations having electronic access to your Site(s). (b) This license include permission to use the Licensed Software on a multi-user network at the defined Site, and to permit remote access to a computer/server located at your Site. Simultaneous display in multiple locations at or connected to the Site is also permitted. (c) Licensee agrees to employ reasonable security measures designed to limit access to your faculty, staff and currently enrolled students. PROHIBITED USES AND LIMITATIONS: (a) Saskia hereby reserves all rights not expressly granted herein. (b) the License Software may not be used for preparaiton of any publication, scholarly or otherwise; or for any purpose other than teaching or research. Publication of an image from the Licensed Software requires a separate license from Saskia. (c) Licensee agrees not to resell, lease, transfer, sub-license or otherwise distribute a copy of the Licensed Software, or any image taken from the Licensed Software, in whole or in part. (d) Licensee also agrees not to modify, corrupt or alter any digital image graphic content or "digital watermark" or the like in the software provided by Saskia under this Agreement. (e) Licensee agrees not to remove, alter, cover or distort Saskia's copyright notice, trademark, or other proprietary rights notice placed by Saskia in the Licensed Software itself, or in the associated packaging, media or documentation. (f) And Licensee agrees to notify users of the Licensed Software, in writing or by sign-on screen display, of their obligations under this Agreement and solicit their cooperation and compliance with such obligations.
Work Rights (display):
public domain
Terms of Agreement and Conditions of Use:
YOU AGREE: Luna Imaging's Insight Software and the digital image collection associated with it (the Software) are being provided by the University of Colorado under the following license. By obtaining, using, and/or copying this work, you (the Licensee) agree that you have read, understood, and will comply with the following terms and conditions. 1. The Software contains the University of Colorado's Department of Art and Art History's implementation of a digital image collection; 2. Any images obtained through use of the Software will be used only for non-profit, educational purposes; 3. The use of images obtained through the software will only be used while the Licensee is either: a) an employee of the University of Colorado, Metropolitan State College of Denver, or the Community College of Denver, or b) an enrolled student at the University of Colorado, Metropolitan State College of Denver, or the Community College of Denver; 4. When the Licensee is no longer an employee or student of the University of Colorado, Metropolitan State College of Denver or Community College of Denver, either by an action of the University of Colorado, Metropolitan State College of Denver or the Community College of Denver or due to actions of the Licensee, the licensee will cease to use any images exported from the Department of Art and Art History's digital image collection; 5. The Licensee agrees to indemnify the University for claims and liability arising out of the use of the Software or for any violations of this license; 6. THE UNIVERSITY OF COLORADO SUPPLIES THE SOFTWARE WITHOUT ANY WARRANTIES, EXPRESS OR IMPLIED, INCLUDING ANY WARRANTY OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE.
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The contents of the University of Colorado Digital Library are available for your use in research, teaching, and private study. Some of these items are protected by the U.S. Copyright Law (Title 17, U.S.C.) and some items may have additional restrictions. If you use the items in this collection, make sure you abide by any restrictions stated in the descriptive data window. The nature of these collections often makes it difficult to determine the copyright status of an item. We have made every effort to provide information about copyright owners and other restrictions in the descriptive data window. Ultimately, however, it is your responsibility to use the item according to the terms governing its use. If you are a copyright holder and the information is either not listed or listed incorrectly, please let us know so that we can update the information on our site.
Holding Institution:
University of Colorado at Boulder
Collection:
Art and Art History Visual Resources Center
Collection info and contact:
For information about this collection, see . For specific questions, suggestions, or corrections about the descriptive data for images, contact aahvrc@colorado.edu. Please include the Image Record ID ('aahi' followed by a 7-digit number) for each image in question.