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( This work has been selected by scholars as being cultur...)
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
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(This museum quality archival giclee on canvas is printed ...)
This museum quality archival giclee on canvas is printed using state-of-the-art digital technology. Printed on artist-grade canvas each item is hand-inspected for quality assurance and then coated with a protective sealant that provides UV and scratch protection. Each item is then hand-stretched around solid pine stretcher bars for a clean and read-to-hang finish. Depending on the size ordered the piece will then be affixed with either a Saw-Tooth hanger or a traditional hanging hook and wire in the case of larger items. This canvas has what we call a gallery wrap. In other words the sides are mirrored images of the face of the canvas. It is a contemporary gallery look that helps to accentuate the design.
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(The Siesta (Afternoon in Dreams) by Frederick Arthur Brid...)
The Siesta (Afternoon in Dreams) by Frederick Arthur Bridgman Tile is great for a backsplash, countertop or as an accent. This commercial quality construction grade tile has a high gloss finish. The image is applied to the top surface and can be cleaned with a mild detergent.
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(This museum quality archival giclee on canvas is printed ...)
This museum quality archival giclee on canvas is printed using state-of-the-art digital technology. Printed on artist-grade canvas each item is hand-inspected for quality assurance and then coated with a protective sealant that provides UV and scratch protection. Each item is then hand-stretched around solid pine stretcher bars for a clean and read-to-hang finish. Depending on the size ordered the piece will then be affixed with either a Saw-Tooth hanger or a traditional hanging hook and wire in the case of larger items. This canvas has what we call a gallery wrap. In other words the sides are mirrored images of the face of the canvas. It is a contemporary gallery look that helps to accentuate the design.
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(FREDERICK ARTHUR BRIDGMAN Art Book contains 75+ Reproduct...)
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(Excerpt from L'Anarchie dans l'Art: Traduit de l'Anglais ...)
Excerpt from L'Anarchie dans l'Art: Traduit de l'Anglais Écrire n'est pas ma profession; j'ai ici exprimé simplement des idées que je croyais de mon devoir de dire, et j'ai. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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( - 100% hand-painted high quality oil painting on artist...)
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(This museum quality archival giclee on canvas is printed ...)
This museum quality archival giclee on canvas is printed using state-of-the-art digital technology. Printed on artist-grade canvas each item is hand-inspected for quality assurance and then coated with a protective sealant that provides UV and scratch protection. Each item is then hand-stretched around solid pine stretcher bars for a clean and read-to-hang finish. Depending on the size ordered the piece will then be affixed with either a Saw-Tooth hanger or a traditional hanging hook and wire in the case of larger items. This canvas has what we call a gallery wrap. In other words the sides are mirrored images of the face of the canvas. It is a contemporary gallery look that helps to accentuate the design.
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(This museum quality archival giclee on canvas is printed ...)
This museum quality archival giclee on canvas is printed using state-of-the-art digital technology. Printed on artist-grade canvas each item is hand-inspected for quality assurance and then coated with a protective sealant that provides UV and scratch protection. Each item is then hand-stretched around solid pine stretcher bars for a clean and read-to-hang finish. Depending on the size ordered the piece will then be affixed with either a Saw-Tooth hanger or a traditional hanging hook and wire in the case of larger items. This canvas has what we call a gallery wrap. In other words the sides are mirrored images of the face of the canvas. It is a contemporary gallery look that helps to accentuate the design.
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Frederick Arthur Bridgman was born on November 10, 1847 at Tuskegee, Alabama, the son of Frederick and Lovina (Jennings) Bridgman. On the death of his father, his mother moved to the North with her children, and in view of the boy's earnest desire to become an artist, she took advantage of an opportunity to apprentice him to the American Bank-Note Company in New York, 1863, where he remained at work nearly four years.
Meanwhile he studied drawing and painting in an art school in Brooklyn and experimented in painting at home out of business hours. In 1866 he went to France for the purpose of continuing his training and became a pupil of J. L. Géröme in the École des Beaux-Arts, Paris, where he passed five years.
During the early days in Paris he met with but scanty encouragement, but in 1870 two of his pictures, "Cirque en Province" and "De Quoi Parlent les Jeunes Filles, " were hung in the Salon, several of his works were engraved in Le Monde Illustré, and he sold some of his productions to the Goupil Galleries.
In the summer of 1871 he visited England for a short time; then he traveled to the Pyrenees, where he met Fortuny and other painters, and stayed about two years. Thence he proceeded to Algeria, Egypt, and Nubia, in the winter of 1873-74, and, in company with other painters, made a voyage up the Nile as far as the second cataract. So well did he employ his time that when he returned to Paris in the spring of 1874 he brought with him three hundred sketches and studies, for the most part of landscapes and the ruins of temples, also a quantity of costumes and curiosities which were destined to be utilized in the oriental compositions to which he now devoted most of his attention. One of the most important of these was the "Interior of a Harem, " which was shown in the Salon of 1875.
Continuing to reside and work in Paris, Bridgman became one of the best-known and most esteemed artists of the large American colony there. Medals came to him from the Salon and elsewhere; he prospered; and his paintings commanded a ready market in the United States, for he sent many of his best things to the American exhibitions, notably to the National Academy and the Society of American Artists.
On the occasion of one of his periodical visits to his native land, in 1878, a loan exhibition of twenty-four of his pictures was held in Brooklyn, the collection being known as the Bridgman Gallery. This group contained, among other things, his "American Circus in France, " "The Prayer in the Mosque, " "The Fête in the Palace of Rameses, " "The Pride of the Harem, " "Woman of Kabzla, " "View on the Upper Nile, " and a self-portrait.
His painting of "The Diligence" is in the Walker Gallery, Liverpool; "The Destruction of Pharaoh's Host" and two other works are in the Academy of Arts in Leningrad; and several of his pictures have been acquired by American museums.
He died in Rouen, and was buried at Lyon-la-Forêt, a village in Normandy, about twenty miles from Rouen.
The work by which Frederick Bridgman is best known is largely archeological, as for instance the "Funeral of a Mummy, " which appeared in the Salon of 1877. Other scholarly and well-painted reconstructions of the life of antiquity are the "Procession of the Bull Apis" and the picture of an Assyrian king killing lions in the amphitheatre (Salon of 1879), works somewhat reminiscent of Géröme, and, in the opinion of the critics of the time, exhibiting some of the master's best qualities. He published Winters in Algeria (1890), L'Anarchie dans l'Art (1898)--originally written in English but translated and published in French, an emphatic protest against what he regarded as the demoralizing tendencies of the radical modernists in painting, sculpture, architecture, music, literature, and criticism; and L'Idole et l'Idéal (1901). His musical compositions consist of orchestral pieces and several symphonies. His large and important composition, The funeral rites of a mummy on the Nile, exhibited at the Paris Salon in 1877 and Royal Academy of Arts in 1881, bought by James Gordon Bennett, Jr. , brought him the Cross of the Legion of Honor. The painting was later purchased by the famous American collector Wendell Cherry who donated it to the Speed Art Museum in Louisville, Kentucky in 1990.
(Excerpt from L'Anarchie dans l'Art: Traduit de l'Anglais ...)
(FREDERICK ARTHUR BRIDGMAN Art Book contains 75+ Reproduct...)
( This work has been selected by scholars as being cultur...)
(The Siesta (Afternoon in Dreams) by Frederick Arthur Brid...)
(This museum quality archival giclee on canvas is printed ...)
(This museum quality archival giclee on canvas is printed ...)
(This museum quality archival giclee on canvas is printed ...)
(This museum quality archival giclee on canvas is printed ...)
(This museum quality archival giclee on canvas is printed ...)
( - 100% hand-painted high quality oil painting on artist...)
(Museum quality Jeune Maurengue, Campagne d'Alaer By Frede...)
(e with a 365 day workmanship guarantee. Inks used are lat...)
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His summers were usually spent at Pont-Aven, Brittany, then the favorite resort of a colony of painters. It was there that he painted the spirited picture of a circus above mentioned, which was later exhibited in several American cities under the title of "An American Circus in France. "
On July 17, 1877 Frederick Arthur Bridgman was married in Paris to Florence Mott Baker of Boston.
