Wall Art Print Entitled George De Forest Brush B. 1855. D. 1941, Indian by Celestial Images | 11 x 12
(e with a 365 day workmanship guarantee. Archival-quality ...)
e with a 365 day workmanship guarantee. Archival-quality UV-resistant inks. Looks great in dorm rooms, kid rooms, offices, and more. Printed on high quality gloss finish paper with archival quality inks.
THE SHIELD MAKER BY GEORGE DE FOREST BRUSH CANVAS REPRODUCTION
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George de Forest Brush, 1855-1941: Master of the American Renaissance
(Berry-Hill Galleries, Inc., New York, 1985. Softbound. Is...)
Berry-Hill Galleries, Inc., New York, 1985. Softbound. Issued in conjunction with 1985-1986 exhibitions featuring the work of American artist George de Forest Brush. With preface and acknowledgements followed by a Foreword by Brush's two daughters. Introduction by Bruce W. Chambers, main essay by Joan B. Morgan (with 55 bw photographs illustrations). Extremely thorough notes follow the essay. Bibliography, chronology. Color wraps. 112 pp. 11 color, 75 bw plates. (G)
Wall Art Print Entitled The Crane Ornament, George De Forest Brush by Celestial Images | 32 x 24
(Poster Print entitled 'the crane ornament , George de For...)
Poster Print entitled 'the crane ornament , George de Forest Brush'. Multiple sizes available. Primary colors within this image include: beautiful tones sure to enhance your space. Made in the USA. Satisfaction guaranteed. Archival-quality UV-resistant inks. Printed on high quality gloss finish paper with archival quality inks. Looks great in dorm rooms, kid rooms, offices, and more.
(George de Forest Brush (1854-1941) created an important s...)
George de Forest Brush (1854-1941) created an important series of paintings of American Indians that was much celebrated in his time but has been seen rarely since. This beautiful book, the first scholarly study of Brush's Indian paintings, features detailed discussions of individual paintings, interpretative essays exploring the historical and cultural context in which the paintings were produced, a comprehensive chronology, and lavish colour reproductions of numerous paintings not shown publicly since the nineteenth century.
George de Forest Brush was an American painter. He is remembered for his contribution that he made alone with his friend, the artist Abbott H. Thayer, to the development of military camouflage.
Background
George de Forest Brush was born on September 28, 1855 in Shelbyville, Tennessee, the second of three children and younger of two sons. His father, Alfred Clark Brush, had moved west from Connecticut to work in a sawmill in Ohio.
There he married Nancy Douglas, whose forebears had left southern New England after the decline of the whaling industry. A restless man, the elder Brush moved on from Ohio to Tennessee, where he practiced dentistry, and, about 1855, back to Connecticut. Young Brush grew up chiefly in Danbury, Connecticut, where his father engaged in hat manufacturing.
Education
Brush's mother was an amateur painter, and when the boy showed an inclination for drawing, he was encouraged and given rudimentary instruction at home. At sixteen he enrolled in the National Academy of Design in New York, under Professor Lemuel E. Wilmarth.
Three years later, in 1874, Brush entered the Icole des Beaux Arts in Paris, where, along with Abbott H. Thayer, J. Alden Weir, and other young Americans, he was a pupil of the famous academician Jean Léon Gérome.
Career
Brush returned from Europe in 1880. The following year he accompanied his brother on a trip to Wyoming and spent several years there and in Montana, traveling and sketching. He lived with various Indian tribes and developed a sympathy with their cultures and traditions and a concern over the rapid encroachment of white civilization.
His paintings of Shoshones, Crows, and Arapahos brought him his first success. These Indian subjects were well composed, low keyed but rich in color, and meticulously painted in the approved Gerome salon manner, but they did not portray the raw truth of a George Catlin. Rather, they were romantic tableaux composed much in the lyric vein of Longfellow's "Hiawatha. "
In "The Silence Broken, " amid the hushed solitude of nature a startled Indian in a canoe looks up at the sudden call of a great white bird overhead; in "Mourning Her Brave, " a squaw stands by her dead mate in the snow. Upon his return from the West, Brush set up a studio in New York City and, in 1885, became an instructor in portrait and figure painting at the Art Students' League, where he taught, with some interruptions, until 1898.
Gerome Brush had a modest success as a painter and sculptor, and Nancy and Mary became portrait painters. A peripatetic family, the Brushes spent frequent sojourns in Europe between 1898 and 1914, especially at Florence, Italy. They often summered in New Hampshire, where Brush bought a farm at Dublin in 1901.
Although Brush's poetic Indian canvases brought him recognition, they had a limited sale; and about 1890, to support his growing family, he shifted to other themes. Along with some portrait commissions, he began painting "mother and child" groups, semiclassical in nature, for which his wife and children served as models. These brought him a wide audience and financial success.
The circular "Mother and Child" in the Boston Museum of Fine Arts (purchased in 1895 for $7, 000) is one of the most celebrated and possibly the finest. Mrs. Brush is shown in profile holding one of her infants, who smiles out at the viewer from under a halo of blond curls.
The contrast between the sweet-sad heavy-lidded mother and the "baby triumphant, " its pink cheeks and translucent flesh tones set against the darker tones of the canvas, made it a popular favorite for many years. An earlier picture in this series, "At the Fountain, " sold in 1920 for $18, 000.
A charter member of the National Institute of Arts and Letters (1898), he was elected to its inner group, the American Academy of Arts and Letters, in 1910. He was the refined late-nineteenth-century gentleman, a Christian though not a church member, proud, resistant to change, dedicated to "seeing beautifully, " an enemy of "degenerate" elements in art (which he detected, for example, in the work of the French sculptor Rodin), and a believer in nobility and idealism as prime themes of painting. Like his friend Abbott Thayer, Brush was relatively untouched by the influence of the French Impressionists. Instead, in his later work, he preferred the serenity of fifteenth-century Italian painting and the lessons of that earlier teacher and writer, Cennino Cennini. Brush spent most of his later years in Dublin, New Hampshire.
He died at the age of eighty-five, of bronchopneumonia, in Hanover, New Hampshire, and was buried in the Dublin Town Cemetery. Historically, George de Forest Brush defines the end of an era in which aesthetically concerned artists and architects, from William Morris to Richard Morris Hunt, had attempted to restore and define the present in terms of the best of the past.
Achievements
George de Forest Brush was made an Associate of the National Academy of Design in 1888--the year in which he won its First Hallgarten Prize--and an Academician in 1908. Other honors that came to him included gold medals from the Pan American and Louisiana Purchase expositions (1901 and 1904) and an honorary degree from Yale (1923).
In 1916, Brush acquired a small Morane-Borel monoplane (also known as a Morane-Saulnier). He experimented with the possibility of making its wings and fuselage transparent, to reduce its visibility. His wife, who was an early woman aviator, also addressed the problem of airplane camouflage, as shown by her various patents.
Gerome's style was one of infinite smoothness, where forms carefully drawn and modeled were brought to "a high French polish" with no visible brush strokes. This discipline suited Brush's thoroughgoing nature, and during his Paris years he seems to have set himself firmly against all rebellion, both in art and in personal conduct.
Membership
Brush had been elected to the Society of American Artists in 1882.
Personality
By nature Brush was a somewhat solitary man, a hard worker and a perfectionist, who lived close to his family.
Connections
One of his pupils was Mary ("Mittie") Taylor Whelpley of Hastings, New York; since her family opposed the match, they eloped and were married on Jan. 11, 1886. Their eight children were Alfred (who died in infancy), Gerome, Nancy, Tribbie, Georgia, Mary, Jane, and Thea.
Father:
Alfred Clark Brush
Mother:
Nancy Douglas
Wife:
Mary ("Mittie") Taylor Whelpley
Daughter:
Georgia Brush
Daughter:
Nancy Brush
Daughter:
Tribbie Brush
Daughter:
Thea Brush
Daughter:
Jane Brush
Daughter:
Mary Brush
Son:
Gerome Brush
Son:
Alfred Brush
Friend:
Abbott Thayer
Like his friend Abbott Thayer, Brush was relatively untouched by the influence of the French Impressionists.
