卡尔森.埃米尔Carlsen, Emil

卡尔森.埃米尔Carlsen, Emil（1853年10月19日—1932年1月2日），美国画家。

中文名卡尔森.埃米尔
外文名Carlsen, Emil
性别男
国籍美国
出生地哥本哈根
出生日期1853年10月19日
逝世日期1932年1月2日
职业画家

职业生涯早期

1906年研究灰色,达拉斯艺术博物馆

埃米尔Carlsen出生和成长在丹麦首都哥本哈根。他来自一个艺术家庭,他的母亲画,有人说,他的表弟,谁是一个影响他后来成为丹麦皇家学院的主任^，他在皇家艺术学院学习建筑在哥本哈根了四年,然后在1872年移民到美国,在芝加哥定居美国。

对艺术感兴趣,他第一次担任架构师与丹麦的助理和研究海洋艺术家Lauritz霍尔斯特。然而,霍尔斯特回到丹麦,Carlsen离开他的工作室。他进步很快,被任命为第一个老师的绘画在芝加哥学院设计,Carlsen寻求更多的培训,开始为1875年巴黎,在那里他受到法国静物画家的影响Jean-Baptiste-Simeon夏丹.当他回到美国,他成立了一个工作室在纽约,开始搬上画静物画,不禁让人联想起夏丹的。然而,销售工作仍在挣扎。搬到波士顿后他有一个短的好销售。

他回到纽约,再次努力卖他的画。1879年,他举行了一次拍卖,以帮助缓解他的财务状况,但最终只卖几画。这迫使他放弃他的工作室和占用雕刻他发现一些成功尽管他失望不能全职油漆。这些通常描述铜盘、游戏或鲜花。静物的验收在宾夕法尼亚州的展览美术学院1883年是第一个值得注意的事件在他的职业生涯。1884年,他回到欧洲,画花卉静物画的佣金商,塞隆j -布莱克斯利合著支持他的研究。最终他拒绝了漂亮的鲜花的需求。1885年Carlsen两部作品接受巴黎沙龙。

回到纽约后,他开了一个工作室在第57街。然而,发现还是很难卖画他搬到旧金山从1887年到1889年,他举行了一个加州设计学院的主任。他成为了朋友阿瑟·马修斯在学校教的设计和海湾地区的领军人物工艺美术运动.然后他开始教私下在旧金山艺术学生直到1891年。在那些年,他影响了许多年轻的学生,在他们中间人玫瑰南加州,画家将成为领先的吉维尼都印象派。

回到东

Carlsen搬回东从1891年的加州,开始了漫长的职业生涯在东方的教学。他教国家设计学院在student-founded艺术学生联盟,和宾西法尼亚美术学院。渐渐地,通过他的关系与其他纽约画家和教师约翰Twachtman和朱利安•奥尔登堰等他成为感兴趣画风景和海军陆战队。Carlsen勾勒在康涅狄格在1900年代早期,拜访他的朋友朱利安·奥尔登Branchville堰,康涅狄格州费尔菲尔德县。这成为了著名的“堰农场”,许多美国印象派画家画景观露天。

Carlsens连同他们的小儿子进餐和花了几个夏天生活在农场上的小屋。艺术家将在晚上白天油漆,社交。Carlsen购买了家村,1905年康涅狄格州和Carlsen家庭花了大部分的时间在纽约当Carlsen没有教学承诺。瀑布村在伯克希尔哈撒韦山麓和Carlsen画滚动山麓和伯克希尔山的森林。

成功和尊重

尽管他被认为是最受尊敬的美国画家之一,Carlsen经济挣扎了几十年的职业生涯。麦克白画廊在纽约是第一个美国艺术家的画廊,专业工作。Carlsen后加入了画廊,这代表了许多美国印象派艺术家,他首次销售改善,能够舒服地生活没有持续的经济力。他1912年在《麦克白》个展,1919年和1921年和1923年。

他收到了塞缪尔·t·肖购买奖国家设计学院。

教学生涯

埃米尔Carlsen是寻求老师和金融必然驱使他教他要多,花时间远离他的画。他变得更加经济成功,减少他的教学承诺。他教的生活类国家设计学院从1905年到1909年。他减刑从纽约到费城在宾西法尼亚美术学院讲座很多年了。

个人生活

埃米尔Carlsen Luela玛丽Ruby在1896年结婚,这对夫妇搬进他的59街工作室,在那里他们家的生活。他们有一个孩子,进餐Carlsen1901年谁是家庭教育。他的母亲教他学习的主题和他的父亲教他的艺术。进餐Carlsen展览开始自己的职业生涯在1914年展示仍然生活在国家设计学院当他十三岁。进餐Carlsen助理国家院士在1922年,在他21岁的时候,一个完整的院士在1942年。进餐Carlsen表现出与他的父亲在中央画廊在纽约。他有三个个人展览画廊。进餐Carlsen死后1966年,中央画廊举行双回顾展荣誉艺术家。Carlsen是亲密的朋友朱利安·奥尔登堰,约翰Twachtman和公子哈桑.

艺术哲学

Carlsen在1908年发表了一篇文章在静物画现在模糊艺术杂志调色板和板凳,他写的低地位的静物画:

…静物画被认为是小的重要性在艺术学校,在这里和在国外,通常是来自古董,裸体,绘画的覆盖图和裸体。…然后认真的学生为什么要忽略最简单、最彻底的方式获得的所有知识的工艺绘画和绘画,无生命的物体的研究,静物画,非常可靠的道路绝对掌握所有技术难题。”

重要的反应

教授William Gerdts Carlsen写了广泛和他的美感在他的书中对美国静物画“卑微的真相”的画家,他画中描述了对象为…“通常缺乏传统美,绘画之所以美丽Carlsen敏感性的安排——大形状小平面并列形式和高的,他们的轮廓通常一致精致和谐的曲线。和放置后和向前有限的支持表面允许“喘息的空间,”缓慢运动的空间”。

艺术历史学家理查德·博伊尔也指出Carlsen的工艺,在他的著作《美国印象派,状态:

Carlesen特别关注的是静物画,他的画是精心设计和精致的表面,让人想起惠斯勒,特别是结露。Carlsen是关心“理想美”以及固有的美丽,质地和颜色,在结露的作品中,对象的位置在他的画布上是非常重要的……”

艺术的作家亚瑟埃德温再见了Carlsen最显著的调查美国静物画于1921年,他写道:

”埃米尔Carlsen无疑是当今美国最有成就的静物画的主人。…很明显,Carlsen解除了他的艺术高度以前从未到达。”

在美国印象派,威廉Gerdts写Carlsen从静物画艺术家过渡到风景画家:

Carlsen吸引美女的柔软,丘陵和解释他们的柔和色调。Carlsen的景观模式,然而,更完全的世纪,发展更多的装饰,有些自然的方式为特征的后印象派。

Carlsen的艺术品收藏家邓肯菲利普斯写道,他的海洋场景“某种恍惚的情绪。”

English Introduction

Early career

Emil Carlsen was born and raised in the Danish capital of Copenhagen. He came from an artistic family, his mother painted,and by some accounts, his cousin, who was an influence on him later became the director of the Danish Royal Academy He studied architecture at the Royal Academy in Copenhagen for four years and then emigrated to the United States in 1872, settling in Chicago, United States.

Interested in art, he first worked as an architect's assistant and studied with the Danish marine artist Lauritz Holst. However, Holst returned to Denmark, leaving his studio to Carlsen. He made rapid progress and was appointed the first teacher of drawing and painting at the Chicago Academy of Design, Carlsen sought more training and embarked for Paris in 1875, where he came under the influence of the French still life painter Jean-Baptiste-Siméon Chardin. When he returned to the United States, he set up a studio in New York and began to painted tonalist still lifes that were somewhat reminiscent of those of Chardin. However, selling work was still a struggle. After moving to Boston he had a short period of good sales.

He returned to New York and again struggled to sell his paintings. In 1879 he held an auction to help ease his financial situation but ended up selling only a few paintings. This compelled him to give up his studio and take up engraving with which he found some success despite his frustration at not being able to paint full-time.^[10] These often depicted copper pans, game, or flowers. The acceptance of a still life in the exhibition of the Pennsylvania Academy of Fine Arts in 1883 was the first noteworthy event in his career. In 1884 he returned to Europe, painting commissions of floral still lifes for the dealer, Theron J. Blakeslee, to support his studies. Eventually he turned his back on the demand for pretty flowers.^[11]In 1885 Carlsen had two works accepted for the Paris Salon.

Returning to New York he opened a studio on 57th Street. However, finding that it was still difficult to sell paintings he moved to San Francisco^[12] where between 1887 and 1889 he held a position as director of the California School of Design. He became friends with Arthur Mathews, who taught at the School of Design and was the leading figure in the Bay Area Arts and Crafts Movement. He then moved on to teach privately at the San Francisco Art Students until 1891. During those years he influenced a number of young students, among them Guy Rose, a Southern California painter who would become a leading GivernyImpressionist.

Return to the east

Carlsen moved back to the est from California in 1891 and began a long career of teaching in the East. He taught at the National Academy of Design, at the student-founded Art Student's League, and the Pennsylvania Academy of Fine Arts. Gradually, through his relationship with other New York-based painters and teachers such as John Twachtman and Julian Alden Weir, he became interested in painting landscapes and marines. Carlsen sketched in Connecticut in the early 1900s, visiting his friend Julian Alden Weir in Branchville, Fairfield County, Connecticut. This became the famous "Weir Farm" where many American Impressionist painters painted landscape plein-air.

The Carlsens together with their young son Dines and spent several summers living on a cottage on the farm. The artists would paint during the day and socialize in the evening. Carlsen purchased a home in Falls Village, Connecticut in 1905 and the Carlsen family spent most of their time there when Carlsen did not have teaching commitments in New York. Falls Village is in the Berkshire Foothills and Carlsen painted the rolling foothills and the forests of the Berkshire Mountains.

Success and respect

Although he was considered to be one of the most respected American painters, Carlsen struggled financially for the first several decades of his career. The Macbeth Gallery in New York was the first gallery that specialized in the work of American artists. After Carlsen joined the gallery, which represented many of the American Impressionism artists, his sales improved and for the first time he was able to live comfortably without constant financial stress. He had solo exhibitions at Macbeth in 1912, 1919 and 1921 and 1923.

He received the Samuel T. Shaw Purchase Prize at the National Academy of Design.

Teaching career

Emil Carlsen was a sought after teacher and financial necessity drove him to teach more than he wanted, taking time away from his painting. As he became more financially successful, he cut back on his teaching commitments. He taught the life class at the National Academy of Design from 1905 to 1909. He commuted from New York to Philadelphia to lecture at the Pennsylvania Academy of Fine Arts for many years.

Personal life

Emil Carlsen married Luela Mary Ruby in 1896 and the couple moved into his 59th Street studio, where they made their home the rest of their lives. They had a single child, Dines Carlsen in 1901 who was home schooled. His mother taught him his scholastic subjects and his father instructed him in art. Dines Carlsen began his own exhibition career in 1914, exhibiting a still life at the National Academy of Design when he was thirteen. Dines Carlsen was made an Associate National Academician in 1922, when he was 21 and a full Academician in 1942. Dines Carlsen exhibited alongside his father at the Grand Central Galleries in New York. He had three solo exhibitions at that gallery. After Dines Carlsen died in 1966, Grand Central Galleries held a dual retrospective exhibition to honor both artists. Carlsen was close friends with Julian Alden Weir, John Twachtman and Childe Hassam.^[18]

Artistic philosophy

In 1908, Carlsen published an article on still life painting for the now obscure art journal Palette and Bench where he wrote of the low status of still lifes:

…still life painting is considered of small importance in the Art schools, both here and abroad, the usual course being drawn from the antique, the nude, and painting the draped figure and from the nude. …Then why should the earnest student overlook the simplest and most thorough way of acquiring all the knowledge of the craft of painting and drawing, the study of inanimate objects, still life painting, the very surest road to absolute mastery over all technical difficulties.”

Critical responses

Professor William Gerdts wrote extensively of Carlsen and his aesthetic sensibility in his book on American still life painting "Painters of the Humble Truth" and he describes the objects in the paintings as ..."often lacking in traditional beauty, What makes the paintings beautiful is Carlsen's sensitivity in arrangement - large shapes are juxtaposed with small flat forms and tall ones, their outlines are often united in refined harmonious curves. and are placed backward and forward on their limited support surface to allow for "breathing room," for slow movement in space."

The art historian Richard Boyle also noted Carlsen's craftsmanship, in his book American Impressionism, states:

Carlesen's special concern was still life, and his paintings are beautifully crafted and delicate of surface, reminiscent of Whistler and especially Dewing. Carlsen was concerned with "ideal beauty" as well as the beauty inherent in the subject, in texture and color; as in Dewing's works, the placement of the objects on his canvas is extremely important..."

The art writer Arthur Edwin Bye featured Carlsen most prominently in his survey of American Still life painting in 1921 and wrote of him:

“Emil Carlsen is unquestionably the most accomplished master of still-life painting in America today. …It is evident that Carlsen has lifted his art to a height it has never reached before.”

In American Impressionism, William Gerdts wrote about Carlsen's transition from still life artist to landscape painter:

Carlsen was attracted to the beauties of the rolling hills and interpreted them in soft, pastel tones. Carlsen's landscape mode, however, is more more completely of this century, and it developed in the more decorative, somewhat naturalistic manner that characterized later Impressionism.

The art collector Duncan Phillips wrote of Carlsen that his ocean scenes had "a certain trance-like mood."

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美术百科参考资料

1、Emil Carlsen