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New Jersey Farm: A small, somewhat run-down farm is surrounded by trees and encroaching vegetation. There is a smoke stack in the background, indicating industrial transformations to area farmland. The painting’s earthy colors are somewhat tonal and sun-bleached; red and green tones provide the main contrast. Despite its beauty thhere seems to be a feeling of emptiness captured in this piece.<br /><br /><span style="text-decoration: underline;">About the Artist</span>: Born in Kaminietz, Russia, Shulgold’s family immigrated to Pittsburgh, PA shortly thereafter. After graduating high school he studied art at the Carnegie Technical Institute with <a href="https://en.wikipedia.org/wiki/Arthur_Watson_Sparks" target="_blank" rel="noopener">Arthur Watson Sparks</a> and <a href="https://en.wikipedia.org/wiki/George_Sotter" target="_blank" rel="noopener">George Sotter</a>, then later with <a href="https://en.wikipedia.org/wiki/William_Auerbach-Levy" target="_blank" rel="noopener">William Auerbach-Levy</a> at the National Academy of Design. He also studied art in Paris and Florence. Shulgold began his career finding opportunities wherever he could: as a Carnegie student, he was awarded a prize for war poster design; in 1922, he created stage sets for a production of Booth Tarkington’s <em>Penrod</em> at the Irene Kaufmann Settlement theater; (<em>Pittsburgh Daily Post </em>22 May 1918: 7; <em>Pittsburgh Press</em> 27 Nov. 1922: 17). Shulgold continued to teach students at the Settlement art school for several years. Meanwhile his paintings were exhibited at the Pennsylvania Academy of Fine Arts, the Carnegie Museum of Art, and the Corcoran Gallery. In 1928 Shulgold moved to New York, although he retained close ties to Pittsburgh. By the 1930s he was becoming known as a portrait painter, albeit with his own specific views: “One may consider heads as a study in architecture. The shape is comparable to the structural design of a building. The features of a face are like the windows and ornamentation of the building” (Naylor). In 1943 Shulgold moved to California, where he was in demand as a portrait painter—for example, of Ronald Coleman playing the film role of Richard III in <em>A Double Life</em>—while continuing his work in other genres. One review of a 1951 show said that “In California he has turned to gayer moods and smaller sizes in pictures of flowers, nudes, and small portraits” (“Portrait”). 2 works at the <a href="http://collection.thewestmoreland.org/4DACTION/HANDLECGI/CTN3" target="_blank" rel="noopener">Westmoreland Museum of American Art</a>. 1 more image at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-21-folder-13" target="_blank" rel="noopener">FAP</a>.
<p><u>Sources Consulted</u>: Douglas Naylor, “ ‘Studies in Architecture’: Title Artist Gives Head Drawings,” <em>Pittsburgh Press</em> 4 Dec. 1932: 34; “Portrait of Ronald Coleman Impresses,” <em>Los Angelest Times</em> 18 July 1948: 56.</p>
Shulgold, William 1897-1989
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Two boats, a sailboat at left and a motor boat at right, are stationary on calm water. Trees that occupy the background of this piece are reflected by the water in which several moorings are stand. A sand hill or trail cuts into these trees. The painting is predominantly earth-toned, excluding the red stripes on both boats and the blue of the sky which is also reflected by the water. Note: an unfortunate repair of the painting has rendered the sailboat’s booms miscolored.<br /><br /><span style="text-decoration: underline;">About the Artist</span>: Born in Baltimore, MD, Theobald was the eldest child of <a href="https://en.wikipedia.org/wiki/Samuel_Theobald" target="_blank" rel="noopener">a famous eye surgeon</a> at the Johns Hopkins University Medical School. After attending college at that institution, where he was an artist for the school annual, he worked briefly as a caricaturist for the Baltimore <em>Afternoon News</em> (“Art News”). Early in Theobald’s career, he studied with <a href="https://en.wikipedia.org/wiki/Andr%C3%A9_Castaigne" target="_blank" rel="noopener">André Castaigne</a>, the popular French illustrator and painter. He was present to witness the <a href="https://en.wikipedia.org/wiki/Great_Baltimore_Fire" target="_blank" rel="noopener">Great Baltimore Fire of 1904</a>, sketching from Federal Hill and creating a lurid painting of fire and smoke that was described as “very appalling” in its sublime effect (“Picture”). Theobald began dividing his time betwen Baltimore and New York around 1900, his main interests to that point focused upon sporting art. In 1915, he married Elizabeth Sturtevant, a sculptor, and exhibited his work in venues like the Corcoran Gallery, the Beginning in the mid-1920s, the divided their time between Staten Island and Orlando, FL. They received permission from the Ringling Brothers to spend several months at the circus’s winter home in Sarasota, resulting in distinctive works like sculptural castings of “Miss Congo” the gorilla, and paintings of bareback riders, clowns on stilts, and “Elephant Being Manicured” (“Theobald Art”). 5 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-22-folder-42" target="_blank" rel="noopener">FAP.</a>
<p> <u>Sources Consulted</u>: “Picture of the Great Fire,” <em>Baltimore Sun</em> 12 Mar. 1904: 6; “Art News from Baltimore,” <em>American Art News </em>3.71 (18 Mar. 1905): 5; “Theobald Art Exhibitions on Display In New Showing of Art Association,” <em>Orlando Sentinel</em> 17 Mar. 1929: 15.</p>
Theobald, Samuel Jr., 1872-1956
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<p>An off-white house, set behind a tree with branches reaching over the roof, sits in an opulent environment of greens, browns, and yellows. Visible brush strokes in the siding of the house show shadows and rotting wood; in the tree, they texture the roundness of the trunk and the wispiness of the uppermost limbs, seeming to stretch as far as they can until they taper off. A thin, copper ladder rests against the porch, while further in the distance sits an indistinct red building. </p>
<p><span style="text-decoration: underline;">About the Artist</span>: Born in New York, New York, Varian studied at Cooper Union after dropping out of high school at age 15. Graduating with honors, she went on to study under <a href="https://en.wikipedia.org/wiki/John_French_Sloan" target="_blank" rel="noopener">John Sloan</a> at the Art Students League. During her time there, she met <a href="https://en.wikipedia.org/wiki/Gertrude_Vanderbilt_Whitney" target="_blank" rel="noopener">Gertrude Vanderbilt Whitney</a> and the two formed a professional relationship, opening the Studio Club with fifteen other prominent New York artists in 1918. Varian developed her skills as a Colorist in Paris, where she studied from 1920 to 1922. While there, she held her first one-woman show at the <a href="https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&uact=8&ved=2ahUKEwjv15vjrtrgAhVFNd8KHdW1CfoQFjAAegQIDBAB&url=http%3A%2F%2Fwww.durand-ruel.fr%2Fen&usg=AOvVaw3DWShfJGdx5P5eXy9AEA6W" target="_blank" rel="noopener">Durand-Ruel Galleries</a>. Choosing to move to Woodstock, New York after Paris was a social choice for Varian; many of her colleagues from the Studio Club and Art Students League had settled there to serve in teaching roles at the Woodstock School of Art, where she exhibited on numerous occasions. Varian also showed at the Brooklyn Museum, Carnegie International, Corcoran Galleries, Downtown Galleries, <a href="https://www.moma.org/calendar/exhibitions/2942?locale=en" target="_blank" rel="noopener">Museum of Modern Art</a> (1936), Smithsonian American Art Museum, Whitney Museum of American Art, and Yale University. Critics and viewers alike commented on her use of color as a focal point of her pieces; one noted her “luminous values and clarity of line”, while highlighting the “refreshing simplicity” of her brush strokes (“Varian”). Another praised how each of her paintings “demonstrate her concern with beauty”, and likewise her perfection of “depth, space, and light” perception (“Woodstock”). With her upbringing in the Arts Students League, she was “among the progressive artists challenging the strictures” of traditional art (Kiehl). Many of Varian’s contemporaries worked with Cubism, Precisionism, and Surrealism; the perspective she applied to her work is uncanny in nature, with attention paid to the accentuation of brush strokes and distorted dimensions. In offering lush color contrast and variety, however, Varian displays an emotional complexity rooted in natural environments. 6 works at the <a href="https://whitney.org/artists/1366" target="_blank" rel="noopener">Whitney Museum of Art</a>. 5 works at <a href="https://collections.hvvacc.org/digital/collection/waam/search/searchterm/Varian%2C%20Dorothy/field/creatb/mode/exact/conn/and" target="_blank" rel="noopener">Woodstock Artists Association & Museum</a>. 1 work at the <a href="https://woodstockschoolofart.org/the-woodstock-landscape/dorothy-varian-untitled-oil-15-x-26/" target="_blank" rel="noopener">Woodstock School of Art</a>. 1 work at <a href="https://americanart.si.edu/artwork/summer-pastures-25599" target="_blank" rel="noopener">Smithsonian American Art Museum</a>. 4 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-23-folder-27" target="_blank" rel="noopener">FAP</a>. Papers can be found at <a href="https://www.aaa.si.edu/collections/dorothy-varian-papers-9258/series-3" target="_blank" rel="noopener">Archives of American Art</a>.</p>
<p><u>Sources Consulted</u>: “Varian Exhibition Open at Parnassus to Sept. 10,” <em>Kingston Daily Freeman </em>25 Aug. 1953: 9; “Woodstock Artist Has Showing in L.I. University,” <em>Kingston Daily Freeman </em>6 Nov. 1961: 24; David W. Kiehl, <em>Between the Wars: Women Artists of the Whitney Studio Club and Museum </em>(Whitney Museum of Art, 1997).</p>
Varian, Dorothy (1895-1985)
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<p><span style="font-weight: 400;">This painting features a vase of flowers and a spilling fruit bowl on an upholstered chair. The left half of the painting is busier than the right, which gives a sense of unbalance. Warm colors are used, such as reds and pinks, and brush strokes are visible. The objects seem stranglely placed and slightly disharmonious, as vases and fruit bowls are not usually displayed on chairs. <br /><br /><span style="text-decoration: underline;">About the Artist:</span> </span><span style="font-weight: 400;">Born to Russian parents in Tours, France, Blumenfeld immigrated to Brooklyn when he was three years old. He was a child prodigy, painting oils in his bedroom by age 10 and giving one of his paintings to President Franklin Roosevelt at age 15. In 1936, at age 17, Blumenfeld submitted his oil painting “Refreshments” to a prestigious National Academy of Design contest; the committee, apparently mistaking him for a messanger, awarded the work its Julius Hallgarten prize for artists under 35. Meanwhile, Blumenfeld was president of his high school oil painting club and voted “most modest boy” by its senior class (Brooklyn <em>Daily Eagle</em> 17 Mar. 1936: 3). After graduation, Blumenfeld worked for the Federal Art Project before enlisting in the US Army in 1940. After World War II, becomes a commercial artist for Triple Nickel Books (on its <em>Davy Crockett</em> series); for Topps Baseball Cards (in 1953); and Topps Trading Cards including <em>Western Round Up, Mars Attacks, Battle, Batman, </em>and <em>Civil War News</em>. Many of these series now are highly sought after by collectors. 1 work at the <a href="https://www.nga.gov/collection/artist-info.7269.html" target="_blank" rel="noopener">National Gallery of Art</a>, which was created for the <a href="https://www.nga.gov/collection/artist-info.7384.html" target="_blank" rel="noopener">Index of American Design</a>. 9 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-3-folder-6" target="_blank" rel="noopener">FAP</a>.</span></p>
Blumenfeld, Maurice
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A cascade of water runs diagonally in Widlizka’s composition, separating two areas of trees standing on what appears to be rocky foundation. Much of the water is obscured by the trees, several of which are very dark green with some lighter shades behind them. It is hard to see what lies in the background, rendering the source of this torrent more obscure and mysterious. <br /><br /><span style="text-decoration: underline;">About the Artist</span>: Born in Vienna, Austria, Widlizka (also Widliczka and Widlicka) studied with Joseph-Eugen Hörwarter in that city and then <a href="https://en.wikipedia.org/wiki/Nikolaos_Gyzis" target="_blank" rel="noopener">Nikolaus Gyzis</a> in Munich. He was influenced by the art circles surrounding <a href="https://en.wikipedia.org/wiki/Franz_von_Lenbach" target="_blank" rel="noopener">Franz von Lenbach</a> and <a href="https://en.wikipedia.org/wiki/Hermann_von_Kaulbach" target="_blank" rel="noopener">Hermann von Kaulbach</a>. Returning to Vienna, Widlizka was among those artists of the so-called “Vienna Secession” who resigned from the more mainstream Association of Austrian Artists. During World War I he worked for the War Press Office, later registering the consequences of that conflict in his painting <a href="https://de.wikipedia.org/wiki/Leopold_Widlizka#/media/File:HGM_Widlizka_Familienschicksal.jpg" target="_blank" rel="noopener">“Family Fate, 1918.”</a> Widlizka immigrated to the United States in 1922 with his father and mother. He appears to have been comfortable with a range of subject matter: urban cityscapes, natural landscapes, and portraits. 7 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-24-folder-8" target="_blank" rel="noopener">FAP</a>.<br /><br /><span style="text-decoration: underline;">Source Consulted</span>: <a href="https://de.wikipedia.org/wiki/Leopold_Widlizka" target="_blank" rel="noopener">Wikipedia Germany</a>.
Widlizka, Leopold
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Half a dozen lily flowering tulips are depicted in a milk glass vessel known as a “hand vase,” a popular design during the 1870s-80s. Perhaps the most interesting aspect of Bowler’s composition is how a soft opalescence is carried across a conch shell, the vase, the flowers, and even the wall behind his still life. Note: for several decades this painting had been mislabeled as Bowler’s <em>Lilies and Shell</em>. <br /><span style="text-decoration: underline;"><br />About the Artist:</span><span> </span><span><span style="font-weight: 400;">Born in Syracuse, NY Bowler attended the Syracuse University College of Fine Arts and there received a postgraduate award for study in Paris. He was best known for painting official portraits of prominent political, military, and theatrical figures such as dancers Ruth St. Denis and Michel Fokine; humorist Will Rogers, actor Vincent Price, and explorer/author Richard Halliburton. Bowler also traveled to Washington, D.C. to paint portraits of Secretary of State Cordell Hull and Vice President John Nance Garner, among others. But Bowler also was passionate about landscapes and still lifes. A 1940 newspaper article implies that his two works at NDG were part of “a series of flower paintings done for all the tuberculosis hospitals in New York” (Allentown, PA </span><i><span style="font-weight: 400;">Morning Call</span></i><span style="font-weight: 400;"> 31 Mar. 1940: 16). During World War II, Bowler served as Director of Design for a camouflage section of the 909</span><span style="font-weight: 400;">th</span><span style="font-weight: 400;"> Air Force Engineers, organizing a 1943 show of their work at Macy’s Department store. It was after a 32-mile training hike that he painted a well-known image entitled</span><a href="https://bucksco.michenerartmuseum.org/bucksartists/image/67/" target="_blank" rel="noopener"> <span style="font-weight: 400;">“After the Hike”</span></a><span style="font-weight: 400;">—a picture of his worn pair of army shoes—that was exhibited in the Library of Congress. Bowler also served as director of an arts program for the American Red Cross and as a USO portrait artist during the war (</span><i><span style="font-weight: 400;">Syracuse Herald-Journal</span></i><span style="font-weight: 400;"> 23 July 1965: 14). After 1945 Bowler continued to live and work in Bucks County, PA. A critic attending the Phillips’ Mill Art Exhibition wrote that he had “all the majesty and power of great people who see great movements and think great things. A realist, his ‘Little Red Barn’ is characterized by a sensitive brush, a direct approach, rich colors and mellow overtones and an uninhibited technique — all contributing to the aching loveliness of this farm scene” (</span><i><span style="font-weight: 400;">Muhlenberg Weekly </span></i><span style="font-weight: 400;">14 Oct. 1948: 2). In addition to producing many paintings, Bowler was an art teacher for much of his professional life. 1 work at</span><a href="https://americanart.si.edu/artist/harold-bowler-536" target="_blank" rel="noopener"> <span style="font-weight: 400;">Smithsonian American Art Museum</span></a><span style="font-weight: 400;">. 3 works at</span><a href="https://bucksco.michenerartmuseum.org/bucksartists/artist/35/https:/bucksco.michenerartmuseum.org/bucksartists/artist/35/" target="_blank" rel="noopener"> <span style="font-weight: 400;">Michener Art Museum</span></a><span style="font-weight: 400;">. 2 more images at</span><a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-3-folder-19" target="_blank" rel="noopener"> <span style="font-weight: 400;">FAP</span></a><span style="font-weight: 400;">.</span></span>
Bowler, Harold
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<p>This painting depicts a seascape scene in muted tones, its background a washed-out, cloudy sky with a blurred ship in the distance. The middle ground consists of a pastel-toned rocky bank and sea. In the foreground, four men are docked in a small rowboat: two are wearing red bandanas, two have oars in action, one man is holding a wooden chest. The person that is the closest and the most in focus, presumably their captain, is standing on shore with tools, two guns, and rope at his feet. It would seem that they're preparing to bury treasure for contemporary viewers to find.</p>
<span style="text-decoration: underline;">About the Artis</span>t: Born in Naples, Italy, Arcamonte stated his occupation as that of “decorator” when he immigrated to the US in 1906. That trade seems to have persisted alongside his aspirations as a painter, for many years in New York and then after World War II in Miami, FL. In 1937 his paintings were exhibited at the Opportunity Center, a program connecting artists “to the art collector of modern means and undertakes to produce works to fit special requirements” (<em>New York Evening Post</em> 5 June 1937: 7). 1 painting at <a href="https://godwinternbach.pastperfectonline.com/webobject/331640B8-9FDB-443A-81C5-554982521035" target="_blank" rel="noopener">Godwin-Ternbach Museum</a>. 2 more images at <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-30" target="_blank" rel="noopener">FAP</a><span>.</span>
Arcamonte, Humbert, 1883-1967
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On a purely aesthetic level, this portrayal of rural farm life in autumn is quite clearly done in a painterly matter: quick brushstrokes with a specific choice to omit most detail. It can be assumed that the light-handed application of paint was a specific technique chosen to represent the image’s literal depiction of a calm day in autumn. In the context of its allocation to a tuberculosis sanatorium, the oak tree itself can be analyzed as a symbol of strength--a diagnosis of the disease in the 1930’s meant a slow death.<br /><br />
<p><span style="text-decoration: underline;">About the Artist: </span>Abernathy, Inez. (1873-1956) Born in Summerville, AR, Abernathy studied at the Art Academy in Cincinnati and later in Europe. She supported herself by teaching art and elocution at Belmont College (TN), Stanford Female College (KY), Columbia Female Institute (TN), the University of Arkansas, and the<a href="https://fsuspecialcollections.wordpress.com/tag/inez-abernethy/" target="_blank" rel="noopener"> Florida Female College</a>. At this last institution, when a fire broke out Abernathy guided her students to safety rather than saving her own art and equipment; the Florida legislature passed a special bill to help compensate her loss (<em>The Weekly True Democrat</em> 29 Sept 1905: 1). She studied art for a period in Paris, and her painting “Reverie” was shown at the 1902 Salon des artistes français, described by one reporter as “the full-length figure of a girl seated, with a background of dull blues and yellows. A springtime freshness pervades the picture” (<em>San Francisco Chronicle </em>26 Oct. 1902: 6). Her works were exhibited at the Academy of Fine Art, Philadelphia, and the National Academy of Design. Two more digital images from<a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-4" target="_blank" rel="noopener"> FAP</a>.</p>
<p style="margin: 0in; margin-bottom: .0001pt; line-height: 200%;"><br /><o:p></o:p></p>
Abernathy, Inez, 1873-1956
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<p>This painting displays a park scene using a variety of pastels, dusty colors, and vivid greens. We see a sandy sky and cool-toned trees in the background; the middle ground hosts a hedgerow outlined on the bottom with a vivid row of red flowers. In the foreground, three trees stand in full bloom, with two to the left side framing the wall on the right. The wall has a pot and a sculpture that frame the third tree. A sidewalk cuts in front of this scene.</p>
<span style="text-decoration: underline;">About the Artist</span>: We haven’t located much reliable information about this artist. Bank created 4 works for the <a href="https://www.nga.gov/collection/artist-info.7227.html" target="_blank" rel="noopener">Index of American Design</a>, one of which reads: “Unfinished on account of ‘Pink Slip’ September 3<sup>rd</sup>1937.”
Bank, Moses
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The depiction of the foreground illustrates a rural setting in the midst of an urbanizing town in the background – a changing sociocultural climate in New York. Abernathy uses a quick, painterly style to show that the brushstrokes are an instrumental part of the canvas, something purposeful given the context of her formal training. She exercises her education in the way she portrays the depth of the painting – the contrast between the two portrayals of different lifestyles emphasizes a changing direction among a rural discourse of life.<br /><br /><span style="text-decoration: underline;">About the Artist</span>: Born in Summerville, AK, Abernathy studied at the Art Academy in Cincinnati and later in Europe. She supported herself by teaching art and elocution at Belmont College (TN), Stanford Female College (KY), Columbia Female Institute (TN), the University of Arkansas, and <a href="https://fsuspecialcollections.wordpress.com/tag/inez-abernethy/" target="_blank" rel="noopener">the Florida Female College</a>. At this last instution, when a fire broke out Abernathy guided her students to safety rather than saving her own art and equipment; the Florida legislature passed a special bill to help compensate her loss (<em>The Weekly True Democrat</em> 29 Sept 1905: 1). She studied art for a period in Paris, and her painting “Reverie” was shown at the 1902 Salon des artistes français, described by one reporter as “the full-length figure of a girl seated, with a background of dull blues and yellows. A springtime freshness pervades the picture” (<em>San Francisco Chronicle </em>26 Oct. 1902: 6). Her works were exhibited at the Academy of Fine Art, Philadelphia, and the National Academy of Design. Two more digital images from <a href="https://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/series-1/box-1-folder-4" target="_blank" rel="noopener">FAP</a><o:p></o:p>
Abernathy, Inez, 1873-1956
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Griffin, Michael (Biography)
Ken Cooper (Biography)';
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