欧内斯特·马丁汉宁斯作品

传记

e·马丁亨宁出生在Penns Grove,新泽西1886年2月5日,德国移民的父母。他出生两年后,亨宁的父亲搬到他的家人芝加哥.

回顾他的早期接触艺术和他决定追求生活和艺术家,亨宁说,“这很奇怪,我选择了绘画对我的职业,几乎没有我的家庭呈现出艺术倾向。碰巧我12岁或13岁时,我和另一个小伙子走进芝加哥艺术学院,访问期间,我决定成为一个艺术家。那天,我获得了一个小册子,向我展示,艺术可以研究。从来没想到我。”

1901年,亨宁开始上课芝加哥艺术学院的学校,这主要是基于伟大的欧洲艺术学校,特别强调绘画的重要性。1904年6月17日,他以优异的成绩从学校毕业,但继续学习两年,主要的指导下约翰。范德普尔.

亨宁最终接受了作为一个商业艺术家,主要是绘画壁画和肖像在芝加哥。壁画的亨宁工作,通常在画布上面板,包括一个用于在芝加哥艺术学院食堂,佛罗伦萨的舞厅国会广场酒店在芝加哥,和提升,对画有壁画恩典圣公会大教堂在堪萨斯托皮卡.[3]

欧洲

渴望回归的美术绘画,他re-enrolled在芝加哥艺术学院的学校,并很快进入,在1912年,一幅画的竞争美术学院在巴黎,他赢得了二等奖。他很快进入美术学院,慕尼黑在德国的指导下安吉洛垃圾,沃尔特·托尔,弗朗茨•冯•卡,特别有影响力的画家。[3]1914年1月,亨宁成为的一员美国艺术家俱乐部在德国慕尼黑与维克多·希金斯和沃尔特佛罗里达大学以后,谁会成为同事陶斯艺术家协会.

之前第一次世界大战升级,亨宁搬回他的家乡芝加哥和最初居住在美术大厦在密歇根大街,在那里路易时加入他在短时间内前两个工作室搬到著名的树工作室艺术家殖民地在芝加哥的北边。这个时候亨宁还加入了艺术家调色板和凿美术学院在芝加哥,到1916年已经获得尊重与一些奖项,包括一枚金牌的调色板和凿俱乐部以及恩格尔伍德女子俱乐部奖在芝加哥艺术学院。

新墨西哥

亨宁很快吸引了许多关注芝加哥商人和艺术顾客,包括卡特·h·哈里森,Jr .)哈里森为亨宁提供赞助一次访问和油漆陶斯,新墨西哥州,以换取他期间完成的工作。[4]亨宁并不是第一个接受这样的命题;沃尔特佛罗里达大学和维克多·希金斯都找到了哈里森三年前,和很快永久定居吗西南.[3]

亨宁接受顾客命题和花了1917年夏季和秋季陶斯左右。哈里森提供亨宁介绍新创建的新墨西哥博物馆的艺术在新墨西哥州圣达菲。首届展览在博物馆亨宁表现出三幅画。[6]那一年,1917年,亨宁表现出他的第一个画在美国,芝加哥以外的国家设计学院在纽约,纽约.

虽然亨宁很快就回芝加哥去继续他的工作作为一个商业艺术家,三年后他永久搬到陶斯。新家让亨宁过去商业艺术的局限性扩张,自由地画画。特别是艺术家能够自由地周游陶斯周边地区,绘画在练习对象的自然美丽非凡的光,这将可能在芝加哥。部分原因在于他的学术教育,亨宁的主要兴趣是肖像画,他的主要主题是美国原住民住在和周围陶斯印第安人村庄.

同时继续油漆主要在西南,亨宁经常表现出在芝加哥。1922年,他被授予的克莱德·m·卡尔奖芝加哥艺术学院以及学院的美术建筑奖。第二年他的成功在他的家乡继续与马丁·b·卡恩奖,再从芝加哥艺术学院,为他的绘画这对双胞胎。

陶斯艺术家协会

这样的赞誉了亨宁的声誉,同样是在1923年,画家被提名奥斯卡大肠Berninghaus和沃尔特佛罗里达大学成为会员的陶斯艺术家协会。然而,他没有当选的一员,但第二年被提名,这一次,收到了全票通过。

在一次回到伊利诺斯州,在1924年,亨宁见过海伦Otte,一名员工在芝加哥百货商店马歇尔领域。两人刚结婚两年后,1926年7月20日,通过欧洲16个月蜜月旅行了很多地方,访问意大利,法国,西班牙,摩洛哥.

在几年前他已经结婚了,亨宁第一次打印完成,8石版画各种西南部的科目。打印了锌盘子和印刷在芝加哥。六的石版画,在圣人,冻结流,通过圣人和雪松,印度烘烤炉,在三角叶杨之下,和猎人,首次印刷的版50,后来在100年的第二版。打印陶斯印第安和印度少女生产数量有限。亨宁只完成一个打印项目由四个单型.

感觉,这个组织已经完成了其使命和实现了定意,陶斯艺术家协会在1927年解散。它已经包括一些国家的最有成就的画家,包括约瑟夫亨利锋利,欧内斯特·布鲁门夏恩,伯特·g·菲利普斯,奥斯卡大肠Berninghaus,e·欧文是个漂亮的,w·赫伯特Dunton,沃尔特佛罗里达大学,维克多·希金斯,肯尼斯·米勒·亚当斯.

欧内斯特·马丁汉宁斯作品

Biography

E. Martin Hennings was born in Penns Grove, New Jersey^[1] on February 5, 1886 to German immigrant parents. Two years after he was born, Hennings’ father moved his family to Chicago.

Looking back on his early exposure to art and his decision to pursue a life as and artist, Hennings remarked; "It was rather strange that I chose painting for my profession, for practically none of my family showed any artistic tendencies. It happened that when I was 12 or 13 years old, another lad and myself wandered into the Art Institute of Chicago and it was during that visit that I determined to become an artist. That day I secured a pamphlet that showed me that art could be studied. That had never occurred to me.”^[2]

It was in 1901 that Hennings began taking classes at the School of the Art Institute of Chicago, which was largely based on the great European art schools and made particularly emphasis on the importance of drawing. On June 17, 1904, he graduated from the school with honors, but continued to study there for another two years, mostly under the instruction of John Vanderpoel.

Hennings eventually took up work as a commercial artist, mostly painting murals and portraits around Chicago. Murals on which Hennings worked, usually on canvas panels, include one for the cafeteria at the Art Institute of Chicago, the Florentine Ballroom at the Congress Plaza Hotel in Chicago, and The Ascension, a mural painted for the Grace Episcopal Cathedral inTopeka, Kansas.^[3]

Europe

Out of a desire to return to fine art painting, he re-enrolled at the School of the Art Institute of Chicago, and soon entered, in 1912, a painting in a competition at the Ecole des Beaux-Arts in Paris, for which he won second prize. He soon enrolled at the Academy of Fine Arts, Munich in Germany, under the direction of Angelo Junk, Walter Thor, and Franz von Stuck, who was particularly influential on the painter.^[3] In January 1914, Hennings became a member of the American Artists Club inMunich, Germany with Victor Higgins and Walter Ufer, who would both later become fellow Taos Society of Artists.^[4]

Before World War I escalated, Hennings relocated back to his hometown of Chicago and initially resided at the Fine Arts Building on Michigan Ave, where Louis Grell joined him for a short period before the two moved studios to the famous Tree Studio artist colony in Chicago's North side. At this time Hennings also joined the artist run Palette and Chisel Academy of Fine Art, and by 1916 had already gained respect in Chicago with a number of awards, including a Gold Medal from the Palette and Chisel Club as well as the Englewood Women's Club prize at the Art Institute of Chicago.^[5]

New Mexico

Hennings soon attracted the attention of a number Chicago businessmen and art patrons, including Carter H. Harrison, Jr.Harrison offered to sponsor a trip for Hennings to visit and paint in Taos, New Mexico, in exchange for the works he completed during his stay.^[4] Hennings was not the first to receive such a proposition; Walter Ufer and Victor Higgins had both been approached by Harrison three years earlier, and soon settled permanently in the Southwest.^[3]

Hennings accepted the patrons proposition and spent the summer and fall of 1917 in and around Taos. Harrison supplied Hennings with an introduction to the newly created New Mexico Museum of Art in Santa Fe, New Mexico. For the inaugural exhibition at the museum Hennings exhibited three paintings.^[6] In that year, 1917, Hennings exhibited his first painting in the United States, outside of Chicago, at the National Academy of Design in New York City, New York.

Although Hennings soon traveled back to Chicago to continue his work as a commercial artist, three years later he moved permanently to Taos. His new home allowed Hennings to expand past the limitations of commercial art, to paint freely. In particularly the artist was able to freely travel around the area surrounding Taos, painting en plein air subjects of intense natural beauty in remarkable light, none of which would have been possible in Chicago. In part due to his academic education, Hennings’ primary interest was in portrait painting, with his primary subject being the Native Americans living in and aroundTaos Pueblo.^[6]

While continuing to paint predominantly in the Southwest, Hennings frequently exhibited in Chicago. In 1922 he was awarded the Clyde M. Carr Prize from the Art Institute of Chicago as well as the Institute’s Fine Arts Building Prize. The following year his success in his hometown continued with the Martin B. Cahn Prize, again from the Art Institute of Chicago, for his paintingThe Twins.^[3]