Historic Art Gallery Portrait of June 1911 by John White Alexander Framed Canvas Print 19" x 26" Ornate Gold Gallery
(This is a giclee print reproduction on stretched canvas w...)
This is a giclee print reproduction on stretched canvas with a solid wood frame. The art is mounted in the frame and is ready to hang. This is a high quality giclee reproduction. We only use the highest quality materials to create your art. We use archival inks and museum quality archival certified acid free canvas. A clear matte finish coat is applied which will protect your art against fading, dirt, moisture, and discoloration. The finish contains UV light Absorbers and Stabilizer.
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Our museum quality gallery wrapped canvas art prints are created on the finest quality artist-grade canvas, utilizing fade-resistant archival inks that ensure vibrant lasting colors for over 100 years. Every detail of the artwork is reproduced to museum quality standards by our talented graphic artists. This magnificent canvas print is then gallery wrapped by one of our professional framers on 1.5 inch deep wooden Stretcher bars. The gallery wrap process allows you to hang the artwork on your wall frameless, since the printed canvas is wrapped around all four edges. Your gallery wrapped canvas print will arrive to your door ready to hang with all of the necessary hanging hardware. At PrintArt we strive to provide our customers with not only the finest quality art but the finest prices too! buying art should not only be fun, it should be affordable as well. With over 200,000 images, we've got you covered all the way from canvas prints to travel mugs. The team works around the clock to source the finest materials for all of our products. We are always innovating and adapting to the latest and greatest trends in the art industry. We proudly handcraft every item at our Headquarters in Florida. Brings your walls to life with our meticulous attention to detail, all backed by the best customer service in the biz
John White Alexander Isabella and the Pot of Basil - 15" x 30" Premium Canvas Print
(15" x 30" John White Alexander Isabella and the Pot of Ba...)
15" x 30" John White Alexander Isabella and the Pot of Basil premium canvas print reproduced to meet museum quality standards. Our Museum quality canvas prints are produced using high-precision print technology for a more accurate reproduction printed on high quality canvas with fade-resistant, archival inks. Our progressive business model allows us to offer works of art to you at the best wholesale pricing, significantly less than art gallery prices, affordable to all. This line of artwork is also available gallery wrapped by our expert framers at wholesale prices. We present a comprehensive collection of exceptional canvas art reproductions by John White Alexander .
Portrait of a Young Girl with Her Doll by John White Alexander - 21" x 28" Premium Canvas Print
(21" x 28" premium canvas print of Portrait of a Young Gir...)
21" x 28" premium canvas print of Portrait of a Young Girl with Her Doll by John White Alexander is meticulously created on artist grade canvas utilizing ultra-precision print technology and fade-resistant archival inks. Every detail of the artwork is reproduced to museum quality specifications by our talented graphic artists. Our huge selection of over 100,000 magnificent canvas art prints, along with an exclusive collection of handcrafted frames, makes Canvas Art USA your one stop source for the finest canvas art prints for sale at direct wholesale prices.
(Our museum quality gallery wrapped canvas art prints are ...)
Our museum quality gallery wrapped canvas art prints are created on the finest quality artist-grade canvas, utilizing fade-resistant archival inks that ensure vibrant lasting colors for over 100 years. Every detail of the artwork is reproduced to museum quality standards by our talented graphic artists. This magnificent canvas print is then gallery wrapped by one of our professional framers on 1.5 inch deep wooden Stretcher bars. The gallery wrap process allows you to hang the artwork on your wall frameless, since the printed canvas is wrapped around all four edges. Your gallery wrapped canvas print will arrive to your door ready to hang with all of the necessary hanging hardware. At PrintArt.com we strive to provide our customers with not only the finest quality art but the finest prices too! buying art should not only be fun, it should be affordable as well. With over 200,000 images, we've got you covered all the way from canvas prints to travel mugs. The PrintArt.com team works around the clock to source the finest materials for all of our products. We are always innovating and adapting to the latest and greatest trends in the art industry. We proudly handcraft every item at our Headquarters in Florida. PrintArt.com brings your walls to life with our meticulous attention to detail, all backed by the best customer service in the biz.
Portrait of Mrs. V Mrs. Herman Duryea by John White Alexander - 20" x 25" Premium Canvas Print
(20" x 25" premium canvas print of Portrait of Mrs. V Mrs....)
20" x 25" premium canvas print of Portrait of Mrs. V Mrs. Herman Duryea by John White Alexander is meticulously created on artist grade canvas utilizing ultra-precision print technology and fade-resistant archival inks. Every detail of the artwork is reproduced to museum quality specifications by our talented graphic artists. Our huge selection of over 100,000 magnificent canvas art prints, along with an exclusive collection of handcrafted frames, makes Canvas Art USA your one stop source for the finest canvas art prints for sale at direct wholesale prices.
Historic Art Gallery Portrait Herman Duryea Mrs V 1898 by John White Alexander Framed Canvas Print 12" x 16" Gold Gallery
(This is a giclee print reproduction on stretched canvas w...)
This is a giclee print reproduction on stretched canvas with a solid wood frame. The art is mounted in the frame and is ready to hang. This is a high quality giclee reproduction. We only use the highest quality materials to create your art. We use archival inks and museum quality archival certified acid free canvas. A clear matte finish coat is applied which will protect your art against fading, dirt, moisture, and discoloration. The finish contains UV light Absorbers and Stabilizer.
John White Alexander was an American painter. His works included portrait, figure, and decorative paintings and illustrations.
Background
John White Alexander was born on October 7, 1856 in Allegheny, Pennsylvania, United States. He was the son of John and Fanny (Smith) Alexander. Left an orphan at the age of five, he lived with his maternal grandparents until twelve years old.
Education
Alexander left school at the age of twelve.
Career
Alexander became a messenger boy in the office of the Atlantic and Pacific Telegraph Company, when only twelve. The president of the company, Col. Edward Jay Allen, became so interested in him that he took the boy to his own home. While still a lad, Alexander "did some remarkably good work in wash drawings for the periodicals" and when about eighteen, he obtained regular employment with Harper & Brothers under Charles Parsons, manager of their art department.
In 1877 the "Great Strike" in Pittsburgh offered in its drama and tragedy an opportunity which the young illustrator seized with avidity and used with graphic appreciation. In three years Alexander saved at the Harpers $300, a fortune which floated him to Europe, and became the basis of a career of singularly consecutive successes. Paris disappointed the student by reason of a temporary closing of the École des Beaux Arts; Munich dissatisfied him by the rigidity of its academic routine. The little art colony at Poelling suited his temperament better, and his memories of Edwin A. Abbey, Stanley Reinhart, and Arthur B. Frost as illustrators upon the staff of Harper's were further supplemented by his new comradeship with painters, Currier, DeCamp, Shirlaw, and Ross Turner, in the little Bavarian village.
After Poelling, came Frank Duveneck and Florence, Whistler and Venice, great artists as influences, great backgrounds as stimuli. Meantime America paid the bills, through the Harpers, black and white work being sent them, since the $300 had presumably been spent. From the Lagunes Alexander went to the Ohio River, still in magazine service, for the two houses of Harpers and the Century played a large role in his early life; and after a term of New York studio work, he went again abroad, once to Spain, once to draw a series of heads of famous Europeans.
In 1891 he went to Paris with Mrs. Alexander to recuperate from a seriously weakening case of grippe, and he remained there eleven years, reaping honors, cultivating his genius for making friends. The strength of his ability in portraiture this time had shown itself to be his solid and admirable asset.
In 1901 he came to New York and here his natural capacity for constructive social work was at once almost as much to the fore as his capacity for painting. Rarely has there been a more many-sided official. He was not only president consecutively of several societies, but could at need, as it were, conduct a whole quadriga of art institutions at once. The arduousness of these public and semi-public duties, and the strenuous physical labor involved in the painting of his larger canvases were not backed by physical robustness; nose and throat trouble called for several painful and not too successful operations which he bore gallantly. Already in 1891 his health had been seriously impaired by grippe poison and after that he was, though intensely active, not really strong. In the winter of 1914-1915 his physical vicissitudes grew more and more frequent and on the 31st of May, 1915, the end came.
Some of his pictures, as for instance "A Butterfly, " are in composition almost like calligraphic flourishes but the result is lovely. He was keenly perceptive of the value of simplicity and the fact that much can be done with little, and that economy of effort may even be an enhancement. In such delightful canvases--usually containing one or two figures at most--as those named "Peonies, " "Sunlight, " "A Quiet Hour, " "The Blue Robe, " "The Ring, " "Autumn, " "Memories, " one finds Alexander at nearly his highest point doing exactly the things he loved best to do, untrammeled by any conditions save those proper to all art. He needed only to have a pretty woman clad in sympathetic material, and he would make the latter billow all over the canvas, sweeping it into curving folds and leaving wide spaces of focal light with an almost complete eschewal of complicated modeling. With the long skirt he obtained beautiful results, sometimes treating it balloonwise as in "The Divan" or again like the tail of a comet. Considering all these elements of a single figure picture, and adding the fact that in the faces of his sitters he always fixed charm and dignity if he found it, and that in his finding he preferred to give the benefit of a doubt rather than wreak himself upon a peculiarity, it is not at all difficult to discover good reason for his immense vogue and solid success as portrait painter. As in Sargent's instance some of his works appeared to be impressions from first to last; in reality with both artists they were much more than that, but Sargent's swiftness, at any rate in his more elaborate compositions, was a result after many experiments, while Alexander's seemed more like improvisation. When he was painting the main panel of his extensive series for the Carnegie Institute in Pittsburgh, he was asked by one of his comrades "Where are your sketches and studies for the panel?" and he replied, "I didn't make any, I just went ahead. " Such a method seems ideal to that part of the public which likes to think of an artist as throwing a work upon a canvas beginning at one side and painting right onward to the other. But it has not been a usual method of mural painters from Botticelli to Michelangelo and onward to Puvis de Chavannes. Although Alexander's disclaimer was a modest and smiling one probably not to be taken au pied de la lettre, his remark did reflect his tendency toward improvisation, and it would perhaps seem that he had hardly done enough mural painting to adopt a settled preliminary procedure.
In his art taken as a whole, refinement rising to distinction was one of its most obvious qualities. Pattern and lighting seemed to interest him particularly, and by good pattern is here meant such a treatment of the lines and masses as would ensure the picture's being handsome in effect even if it were seen upside down. This carrying power of harmonious pattern is especially desirable in large mural panels which so often have to be seen at great distances, where had they not at once grace and force of line they would appear confused, even blurred. Alexander had good knowledge of all this and used it skilfully.
In sum, although he was a great deal besides, he was probably first and last a portrait painter--and his output in that direction was prodigious. The Century Company noting his quality sent him abroad to draw, for full-page publication, portraits of men who at that time were of special interest to Americans: Joe Jefferson as Bob Acres, Gilbert as Sir Peter Teazle, Miss Maude Adams as L'Aiglon, Miss Annie Russell as Elaine, and Salvini as Lear (a sketch). Among the artists are Rodin, Whittredge, Frost, Thaulow, and many others. The universities appear in his male portraits, Princeton being to the fore with McCosh, Patton, and Henry van Dyke, while we have also Van Amringe of Columbia, John F. Weir of Yale, Alexander C. Humphreys, and others. John Hay and Grover Cleveland may stand for the rostrum, Andrew Carnegie for the market; while there is a whole constellation of the literaryfolk: Howells, Mark Twain, Gilder, Stockton, Booth Tarkington, George Bancroft, Alphonse Daudet from over the seas, with Robert Louis Stevenson, Thomas Hardy, and Austin Dobson as a British contingent; and perhaps best known of them to New Yorkers the Walt Whitman of the Metropolitan Museum.
Pittsburgh honored him with one of the largest commissions both as to extent and remuneration that have ever gone to a mural painter. He was chosen to decorate the entire grand staircase of the Carnegie Institute Building, and he selected for his subject "The Crowning of Labor" as an apotheosis of Pittsburgh. The principal group is at the second floor of what the French aptly call the cage d'escalier. In the twelve panels of one of the walls to the staircases there are said to be 400 figures of men, women, and children, the people from the streets of Pittsburgh.
During Alexander's last years, a great deal of his time was taken away from his painting and given to public service. He worked first as a member of the Board of the Metropolitan Museum of Art at increasing and caring for the Museum's treasures; next as an officer of the School Art League.
He was also a director of the American Federation of Arts in Washington and vice-president of the Mural Painters.
(20" x 25" premium canvas print of Portrait of Mrs. V Mrs....)
book
Views
Quotations:
"If you have a frame and some gauze, you have no idea how much you can do in a moment with a few colored rags. "
Personality
Alexander was an able realist with each portrait as long as the importance of getting a likeness was concerned, but once that was achieved, he let himself loose in the direction of decorativeness, basing it upon his facile and delightful use of great curves in long sweeping lines. He loved simplicity and thought simply in his painting and was happiest in his treatment of single figures. It was peculiarly in these that his sense of pattern never failed him. He was very personal in his lighting, which was simple and large, yet often exceedingly picturesque as well, in its arrangement. Its effect was not a little enhanced by his predisposition toward masses of reflected light which he used with great skill.
Connections
John White Alexander was married to Elizabeth Alexander.