The Othello of Tommaso Salvini: described by Edward Tuckerman Nason; with portraits by Robert Frederick Blum.
(Originally published in 1922. This volume from the Cornel...)
Originally published in 1922. This volume from the Cornell University Library's print collections was scanned on an APT BookScan and converted to JPG 2000 format by Kirtas Technologies. All titles scanned cover to cover and pages may include marks, notations and other marginalia present in the original volume.
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Robert Frederick Blum Kabuki Dancers Private Collection 30" x 22" Fine Art Giclee Canvas Print (Unframed) Reproduction
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Robert Frederick Blum Kabuki Dancers Private collection 30" x 22" Fine Art Giclee Canvas Print (Unframed) Reproduction
Robert Frederick Blum was an American artist, working in etchings, pastels, watercolor. He also taught at the Art Student's League in New York.
Background
Robert Blum was born on July 9, 1857, in Cincinnati, Ohio, United States, the son of Frederick and Mary (Haller) Blum. His father was a native of Germany, born at Rohrbach, in the Rhine Palatinate of Bavaria, whence he emigrated in the early "fifties, " coming in a sailing ship to New Orleans and up the Mississippi and Ohio rivers to Cincinnati, where at the time of Blum's birth he was occupied as a designer of insurance charts. His mother was also of German extraction.
Education
Blum's school days began in 1864 while the Civil War was in progress. After passing through the various grades he entered high school in 1873. Chafing at its restraints he left it in 1874 to enter Gibson & Sons' Lithographic Establishment on Elm Street, Cincinnati, as an apprentice. In addition to his daily practise, he studied drawing in the evenings at the Mechanics' Institute and in 1875 entered the McMicken School of Design where Alfred Brennan and Kenyon Cox were fellow pupils, sketching from the nude in pencil and pen and ink. Later he remained in Philadelphia with Cox to study nine months in the life classes of the Pennsylvania Academy of Fine Arts.
Career
As early as 1872 Blum’s eye had been attracted by some Japanese fans, which were being hawked in connection with the holding of a "Sänger-fest" in Cincinnati. He bought several of the best for study. He then resolved to visit Europe and Japan - ambitions which were afterward realized. In 1877 Blum returned to Cincinnati, but notwithstanding parental advice to stick to lithography, he returned to Philadelphia and soon after, in 1878, went on to New York, where he first lived at 91 Clinton Place. After four months of struggle and privations, his clever sketches caught the eye of A. W. Drake, the art editor of Scribner's Monthly and St. Nicholas, who gave him commissions. An excursion to Alexandria and Yorktown, Virginia, in company with Lungren, and O'Donovan the sculptor, resulted in a series of clever sketches of old Colonial life in which the eighteenth-century costumes and poses recalled those preferred by Fortuny, whose works, light in subject but profoundly skilful in technique, strongly influenced Blum's manner at this time. Working in a studio at 21 East Fifteenth St. in 1879 Blum saved enough money by spring to permit a four months' visit to Europe.
Sailing from New York in company with A. W. Drake on the Arizona, Blum visited London, Paris, Genoa, and Rome, afterward going to Venice. Here he found Whistler occupied with his now famous etchings and pastels, living with Blum's fellow townsman, Duveneck, in the Riva Schiavoni, where he joined them. Martin Rico, the Spanish painter, was also in Venice, and these combined influences must have been invaluable to the young artist. Returning to New York in September 1880, Blum took a studio at the Sherwood Building, recently erected at 58 West Fifty-seventh St. A number of pen and ink studies of Joe Jefferson as "Bob Acres" and "Rip Van Winkle, " as well as of other actors and actresses, appeared about this time in Scribner's and the Century magazines as evidences of his astounding skill, and have been classed as chef-d'æuvres by Joseph Pennell in his Pen Drawing and Pen Draughtsmen. Decorations for Mr. Roberts's residence on the northwest corner of Washington Square and University Place were completed during April and May, 1881, and in June we find Blum again in Venice occupying rooms with his friend Baer.
In 1882, he joined the jolly party of artists, including William Chase, Carroll Beckwith, Lungren, Quartley, A. A. Anderson, and F. P. Vinton, who passed the time in decorating the captain's cabin of the Belgenland, five of the illustrations being by Blum. In July we find Blum at Madrid, where he made a copy of Velazquez's "Mænippus. " In 1889, an opportunity came to make the long-deferred visit to Japan, with a commission to illustrate Sir Edwin Arnold's "Japonica, " published serially in Scribner's Magazine (1890 - 1891), and afterward in book form. Here he remained over two years, sending back a series of drawings of unequalled fidelity and beauty. He recorded his impressions in "An Artist in Japan, " a series of papers published in Scribner's Magazine (1893). While engaged on the illustrations for "Japonica, " he painted and sketched unceasingly, his most important work in oil colors being "The Ameya" or "Candy Blower, " exhibited at the National Academy of Design (1892), and now at the Metropolitan Museum of Art, New York.
Soon after the return from Japan, Blum moved to 90 Grove St. , where with his friend, Baer, he had renovated a house, arranging for convenient studios and living quarters, and thus they became the pioneers in the "Greenwich Village" migration of New York artists. It was here he designed and carried out the decorations for the Mendelssohn Glee Club Hall, which occupied almost five years to complete. This has been termed a "personal message of joyous freshness and sensitive rhythms. " On one wall he painted "Moods of Music" - a series of dancing figures, in light tones and colors, representing musical movements from the stately andante to the lively allegro. When this first frieze was completed, he took up the execution of "The Vintage Festival" on the opposite wall. Profiting by his first experience, he made this more positive in color and divided it into contrasting groups upon an architectural background of white marble. When the building for which they were painted was demolished some years ago, these decorations were happily preserved and they have found a fitting home on the side walls of the sculpture hall of the Brooklyn Museum of Art, having been generously donated by the heirs of Alfred Corning Clark who had been Blum's "perfect patron" in carrying out the work.
In twenty-five years of unremitting toil, Blum had achieved a distinguished position. Honored with the friendship of some of the most notable artists of his time, both in America and abroad, he was singularly happy in intimate relations established with Whistler, Chase, Duveneck, Martin Rico, Carroll Beckwith, Bacher, Cox, and his lifelong friend, afterward the executor of his estate, William J. Baer. At the relatively early age of forty-six, an attack of pneumonia carried him off in five days at New York. He was buried at Cincinnati, and, appropriately, by the devoted efforts of his sister, Mrs. Haller, and of his friend, William J. Baer, a collection of his works which includes one hundred and forty originals and forty reproductions, has been placed in a special gallery at the Cincinnati Art Museum, with a bronze portrait bust by the sculptor, C. H. Niehaus.
(21.05" x 28.05" Robert Frederick Blum Venetian Lace Maker...)
Membership
Blum was a founding member of the Society of Painters in Pastel; a member of the National Academy of Design, of the Society of American Artists and of the Water Color Society.
Personality
Quotes from others about the person
"Your pastels give me the feeling of eating yellow satin. " - Oscar Wilde
Connections
Robert Blum was married to Minnie (Pechstedt) Blum.