In the forest ( New Haven painting ) dated 1916,  size 19×26 inchs oil on Canvas mounted on board. It is in the  American Art Collection.

This biography has been provided by Jim McCain, Moody, Alabama. His source is the artist’s obituary
printed in a June, 1936 Stoughton, Massachusetts newspaper.
“It is Vol. II, No. 36. I can read the first part of the word Saturday, so I am assuming, since he died on June 24, 1936 which was a Wednesday, the date must have been June 27, 1936.”

F. Mortimer Lamb, 75, internationally known artist whose paintings have won renown in many countries, died at his home on Grove Street Wednesday.
He was born in Middleboro, May 5, 1861, the son of August and Ardelia (Monk) Lamb. At the age of 17 he entered Massachusetts Normal Art School in Boston and studied under Arthur Smith of England. This school was the first of its type in America. Later he taught modeling in clay and casting and painting in oil from still life at the New England Consevatory of Music. He later was associated with the Boston Art Museum School of Art. He studied in Paris at the Julien Academy.
He was affiliated with the Boston Art Club, American Federation of Arts, Society of American Water Color Painters, New York Water Color Club, Washington Society of Water Color Painters, New Haven Paint and Clay Club, and the Boston Society of Water Color Painters.
Highly Skillful

Mr. Lamb was a highly skillful artist in many phases of painting. His murals in the corridor of City Hall in Brockton have won admiration from the citizens of that city as well as the many out-of-town visitors who pass through the building.
Mr. Lamb was awarded a silver medal at the Panama Pacific international exhibition in San Francisco for his picture, “Our New England”. This picture was proclaimed by leading art critics as typifying the real New England.
“The End of the Trail,” a life-size painting of hounds picking up a fox, was the only animal picture accepted by the Boston jury to be shown at the Chicago World’s Fair in 1893. More than 600 pictures of various types were passed on by the jury. It was later shown in San Francisco and numerous exhibitions throughout the country. While being shown in Philadelphia it was stolen from the gallery and recovered three years later.
“Trailing Quail” in water colors has been admired in every exhibition in which it has been shown. It has the distinction of having been accepted by the jurors at the New York water color exhibition.

Lifesize Portrait of Mrs. Eddy

Less than 10 years ago, Mr. Lamb completed a portrait of the late Mary Baker Eddy. It is a life-size oil and entitled “The Inspiration.” Mrs. Eddy lived in this town about four years.
Mr. Lamb observed his 50th anniversary as an artist about eight years ago and at that time said the work of an artist was never completed. He believed the subject offered new study and achievement through a lifetime. He contended that a man who specialized in one subject of art could not rightfully pose as an artist as the scope was too broad to permit narrowing down to any particular branch.
Mr. Lamb showed remarkable versatility in his work. Whether his medium was oil, water color or pastel, he interpreted his subject equally well. His landscapes were painted with breadth and atmosphere.
Mr. Lamb leaves, besides his wife, other relatives to mourn his loss. Funeral services will be held from the home, Saturday at 3 P.M. Reverend Luther Morris will officiate. Burial will be in Evergreen Cemetery.

This biography from the Archives of AskART

Tsuguharu Foujita

In 1910 when he was twenty-four years old Foujita graduated from what is now the Tokyo National University of Fine Arts and Music.
Three years later he went to Montparnasse in Paris, France. When he arrived there, knowing nobody, he met Amedeo Modigliani, Pascin, Chaim Soutine, and Fernand Léger and became friends with Juan Gris, Pablo Picasso and Henri Matisse. Foujita claimed in his memoir that he met Picasso less than a week after his arrival, but a recent biographer, relying on letters Foujita sent to his first wife in Japan, clearly shows that it was several months until he met Picasso. He also took dance lessons from the legendary Isadora Duncan [1].
Foujita had his first studio at no. 5 rue Delambre in Montparnasse where he became the envy of everyone when he eventually made enough money to install a bathtub with hot running water. Many models came over to Foujita’s place to enjoy this luxury, among them Man Ray’s very liberated lover, Kiki, who boldly posed for Foujita in the nude in the outdoor courtyard. Another portrait of Kiki titled “Reclining Nude with Toile de Jouy,” shows her lying naked against an ivory-white background. It was the sensation of Paris at the Salon d’Automne in 1922, selling for more than 8,000 francs.
Ink and watercolor portrait on paper by Tsuguharu Foujita
His life in Montparnasse is documented in several of his works, including the etching A la Rotonde or Café de la Rotonde of 1925/7, part of the Tableaux de Paris series published in 1929.[2]
Foujita’s first marriage was in Japan whilst still a student. After travelling to Paris to pursue his art, a quiet divorce was arranged.[3]
In March 1917 in the Café de la Rotonde , Foujita met a young lady by the name of Fernande Barrey. At first, she totally ignored Foujita’s efforts to engage her in conversation. However, early the next morning, Foujita showed up at Fernande’s place with a blue corsage he’d made overnight. Intrigued, she offered him a pot of tea and they were married 13 days later.
Within a few years, particularly after his 1918 exposition, he achieved great fame as a painter of beautiful women and cats in a very original technique. He is one of the few Montparnasse artists who made a great deal of money in his early years. By 1925, Tsuguharu Foujita had received the Belgian Order of Leopold and the French government awarded him the Legion of Honor.[citation needed]
In 1918, a trip to the south of France was organized by the Polish poet Léopold Zborowski, who had the idea that his artist-friends could sell pictures there to rich tourists. Foujita and his wife went along as did Soutine, Modigliani with his lover, Jeanne Hébuterne. The trip was not, however, a success and the group had to survive on the advances that Foujita had obtained from his Paris dealer. By the time the final reckoning arrived even those funds had run out, and their landlord, ignoring the offers of pieces of art, confiscated all their baggage in lieu of payment.[citation needed]
In 1921, he became involved with Lucie Badoul, whom he called Youki, or “Rose Snow”. She would become his third wife. The relationship ended when she became the lover, then the wife of the surrealist poet Robert Desnos.
Latin America and Japan
After the breakup of his third marriage, and his flight to Brazil in 1931 (with his new love, Mady), Foujita traveled and painted all over Latin America, giving hugely successful exhibitions along the way. In Buenos Aires, Argentina, 60,000 people attended his exhibition, and more than 10,000 queued up for his autograph. In 1932 he contributed a work to the Pax Mundi, a large folio book produced by the League of Nations calling for a prolonged world peace.[4] However, by 1933 he was welcomed back as a minor celebrity to Japan where he stayed and became a noted producer of militaristic propaganda during the war. He left Japan after the war. His works can be found in the Bridgestone Museum of Art and in the Museum of Contemporary Art in Tokyo, and more than 100 in the Hirano Masakichi Art Museum in Akita.[citation needed]
On his return to France, Foujita converted to Catholicism. He was baptised in Reims cathedral on 14 October 1959, with René Lalou (the head of the Mumm champagne house) as his godfather and Françoise Taittinger as his godmother. This is reflected in his last major work,at the age of 80, the design, building and decoration of the Foujita chapel in the gardens of the Mumm champagne house in Reims, France, which he completed in 1966, not long before his death.
Tsuguharu Foujita died of cancer on January 29, 1968 in Zürich, Switzerland and was interred in the Cimetière de Villiers-Le-Bacle, Essonne département, France. In 2003, his coffin was reinterred at the Foujita chapel under the flagstones in the position he originally intended when constructing the chapel.[5]

From Wikipedia, the free encyclopedia

Geneve Rixford

Geneve Rixford was born in 1868 in San Francisco, California. When she graduated from high school she began Saturday classes at the San Francisco Art Association in 1888, at the time when Emil Carlsen, the landscape painter, was its director. When Carlsen left the Art Association in 1889 to teach at the San Francisco Art Students League, Geneve followed him. She continued to study there for four months. In 1890 she traveled to Phoenix, Arizona, where she met her future husband Winthrop Webster Sargeant. She continued to travel with her parents and made friends with many prominent artists introduced to her through Emil Carlsen.

She returned to San Francisco in 1891 where she opened a studio on Montgomery Street. She continued painting until her marriage to Mr. Sargeant in 1893. The couple lived in Chicago, Illinois, for four years before relocating to Monterey, California, in 1904. The Sargeants managed an orange ranch near Los Angeles in 1906 and Geneve was able to continue painting and raise her children there. When the ranch was sold they moved back to San Francisco where Geneve gave her first solo-exhibition of her California landscapes at the Sketch Club Rooms. She was one of the founding members of the Sketch Club and she became director of the San Francisco Art Association when it joined with the Sketch Club in 1915.

In 1923 the family moved to Paris, France for five years. In Paris Geneve took composition from Andre LHote and her sons attended the Paris Conservatory of Music. She returned to San Francisco in 1927 after the death of her husband in Paris.

She exhibited locally and won first prize in the San Francisco Art Associations Annual Exhibition in 1927. Geneve Sargeant was an active member of the San Francisco art community until her death in Santa Clara County in 1957.

This biography is from the Archives of Ask ART

HARRY ROSELAND (American, 1866-1950)

This artwork of a mother and child by a very well known American artist ” H.H.Roseland” is in the Farhat Art Museum Collection.
It is 32×42 inch.
Oil on canvas.

HARRY ROSELAND (American, 1866-1950):

Harry Herman Roseland was a one of America’s finest genre painters during the 19th and early 20th century. He was born in Brooklyn, New York in 1866 and died in that city in 1950. He studied with Thomas Eakins, C. Beckwith; J.B. Whittaker (in Brooklyn) and was a member of the Brooklyn Art Club (1896); the Brooklyn Painters and Sculptor’s Association and the Brooklyn Society of Painters.

In 1888, Roseland won his first gold medal at the Brooklyn Art Club. Other awards include medals at the National Academy of Design (1900); Boston Art Club (1900; gold in 1904); Charleston Exposition (1902); American Art Society, Philadelphia (1902; gold in 1907); Brooklyn Society of Artists (1930) and more.

Roseland is represented in the permanent collections at the Brooklyn Institute of Art and Sciences; Charleston Art Museum; Huntington Library, San Marino, CA; Huntington Art Museum; Jackson Museum, Michigan; Heckscher Museum, Long Island, New York and more.

Roseland lived throughout his career in New York and never traveled to Europe. He became famous for painting common laborers in fields, picking cotton or berries in and around the New York and New England coastal areas, and he specialized in interior genres that shows men discussing art and literature in smoke-filled libraries; black fortune tellers reading white women’s palms and tea leaves; and post-Civil War African Americans engaged in common everyday activities. He exhibited at the National Academy from 1884 paintings that showed people praying; gossiping; reading or delivering letters; sewing; interiors filled with activity and joy; black fortune tellers; and old men talking in the privacy of a den or library.

References: Who’s Who in American Art, 1947; Who Was Who in American Art, vol. iii, p. 2824; Three Hundred Years of American Art, p. 619; Exhibition of the National Academy, 1861-1900, vol. ii; The Annual Exhibition Record of the Pennsylvania Academy of Fine Arts; Annual Exhibition Record of the Art Institute of Chicago

Si Chen Yuan

The following is submitted by Sarah Bessera, Publisher of The Plein Air Scene: Featured Historic Artist S.C. Yuan 1911-1974

S.C. Yuan, is considered one of the finest painters to come out of the Monterey Peninsula. A “painters painter”, his work is a favorite of contemporary painters who marvel at his effortless technique. “Yuans strength as an artist was his ability to communicate a wealth of visual information with swift and concise markings,” says Kathleen Moodie, Curator at the Museum of Art and History in Santa Cruz. “Yuan fused an Eastern elegance of economic line with the robust energy of Western abstraction,” she added in the catalogue for an upcoming show of Yuans works.

Yuan said that “Color is like pouring tabasco sauce over ones dinner. Color ruins painting.” A friend explained how Yuan tamed colors: “After he finished a painting, he would scoop the remainder of the wet paint off the palette into a quart jar. This was the gold, precious stuff. He would start his new paintings from this jar of old paint. Turp was added to the mixture from time to time.” Some tabasco!

Yuan was a Western-style painter who happened to grow up in China and made an important contribution to the art of Carmel. As he becomes better known, much will be made, unnecessarily, about his Eastern origin. He squinted, didnt clean his brushes too well, and used paint sludge to produce a subdued palette that reflected the moodiness of his heart.

His training was classical French via Xu Beihong, one of Chinas greatest 20th Century painters. A thoughtful friend and fellow painter, Keith Lindberg, said that the Chinese line and Armin Hansen were the two greatest influences in Yuans work. Yuan also admired Ritschel

Cutting his life short to match his fathers time on earth, Yuan worked feverishly during the 25 years he lived on the Monterey peninsula. He was born in 1911 in the southern Chinese province of Chikiang to a Kuomintang colonel. Although a first-born son, he was shunted aside by his mother who favored the second born, a daughter. She sent him to live 40 miles away with his grandparents. Yuan did not have to imagine rejection; it was real.

He grew up, then, not only without his family, but also in a country where East and West were clashing, leaving no middle ground for observers. He must have been affected by the struggle between the moderate, bourgeois Chiang Kai-Shek and the radical dictator of the proletariat, as they staggered across China struggling to replace feudalism. But, in America, he never spoke publicly about either misfortune.

But, artists dont need social upheaval to struggle. Painting and eating are demanding appetites. Yuans first job in the Peninsula,1952, was at the Highlands Inn. His first show was at the Monterey Defense Language Institute, 1953, where he worked as an instructor. By 1955, his wife Jen-Chi became, and remained, the principal financial support of their family. That same year, he opened a gallery on Alvarado Street in Monterey and joined the Carmel Art Association. Throughout his marriage, he astonished Jen-Chi, buying Porsches, secretly borrowing from the banks, taking extravagant trips, and making friends with women visiting Carmel who were often surprised to discover a Mrs. Yuan.

He signed his early paintings “Wellington Yuan,” honoring the last Kuomintang Ambassador to the U.S. Throughout his career, he occasionally signed his works with the chop symbol for “no name.” And on one occasion he even used the name “Zambini” to disguise his entry of an abstract work in an art competition, fearing that judges would not fairly evaluate the painting since it was such a departure from his regular work. He won the competition – Best of Show, Monterey County Fair.

Throughout the 1950’s, he entered many shows, won many awards, and showed both Eastern and Western styles. In 1957, he moved to Carmel. In 1958, his second-born child died, and he stopped painting for months. He opened a restaurant on Cannery Row, which failed because his non-egg roll menu was too sophisticated for the times. By the end of the year, he had his first one-man show, at the Carmel Art Association. One review noted that his painting was loosening up, letting go of the cameras view of nature.

During the 1960’s, he began traveling, often lavishly, to Europe. Most of his time he took pictures instead of painting, and told his friends that it gave him material for the scenes people liked to buy. He was generous with his disdain to both collectors and gallery owners. Once, when he overheard prospective clients deciding that only one part of his painting worked, he tore out the studied section and offered it for sale, as is. On other occasions he was known to barge into galleries and sabotage sales in progress.

He financed his first trip to Europe from a $6,000 commission he received for painting a fruit and vegetable mural in the Monte Mart Market in Salinas. In Europe, he ordered a Mercedes, bought fine Italian suits for himself and dresses for Jen-Chi (which were inexplicably grossly oversized), and quickly ran out of money. On another trip he sailed with his Cadillac, which he had to send back after finding that he could not pass through the narrow streets of Europe.

He won “Best of Show” at the Monterey Peninsula Museum of Art in 1967, which led to a one-man show there in 1968. In 1969, he was back in the restaurant business, opening up the Merry Peach in Carmel Valley which he filled to the ceiling with his paintings.

Paintings he didnt like, he stored under his house; the favorites were piled everywhere else. He saved his “chickens” (the best of his paintings) for his daughter Rae, so she would never have to work; and he tried to sell only the “eggs” (copies of the chickens). When Sheila Shepard, his last student, helped him move, he became frustrated and angry because she tried to evade his questions about which paintings to save. He started a bonfire in his backyard and began burning some of his paintings, including one that he told her was a “$10,000.00 Hansen.”

His last one-man show was at the Pacific Grove Art Center in 1972. Thereafter, Jen-Chi finally left him – perhaps exasperated with his moodiness, flippancy, and self-indulgence. His grief over the lost marriage dove-tailed neatly, however, with his occasionally shared prediction that he would not outlive his fathers age; and in his last two years he painted furiously, producing some of his finest work.

On September 4, 1974, he hung his last show at the Carmel Art Association. Two days later he killed himself. After three days of shock and mourning, his fellow members bought out almost the entire show.

Yuan said that “Art should have something to say to the viewer, and only then is it honest art, which has permanent value.” His moodiness is the most honest trait in his paintings and in his life. And the skill with which he expressed that moodiness places him with the best of the Monterey school. He fits easily between Hansens bold and colorful exaltation of the majestic sea and Fortunes exquisite overview of the Peninsula. Yuans still lifes will appear in a traveling museum show beginning in June.

Source: S.C. Yuan, 1994, by the Carmel Art Association