Norwood Hodge MacGilvary (1874 – 1949)

The painting day dreaming by Norwood is oil on canvas measures 24×12 inches it is part of the fine art collection in the F.A.M.

Norwood Hodge MacGilvary , Farhat Art Museum collection ,مجموعة متحف فرحات

Biography from Wolf’s Fine Art:
Norwood Hodge MacGilvary was born on November 14, 1874 in Bangkok, Siam where his parents were missionaries. During his youth, he traveled extensively, sometimes by elephant, and those travels included China. At age fourteen, he returned to the States and was educated at a private school in Virginia before entering college. In 1896, he was the class Valedictorian at Davidson College in North Carolina.

Following Davidson, he studied both art and philosophy at Berkeley (1896-1897) and art at the Mark Hopkins Institute (1897-1898) in San Francisco. MacGilvary also studied under Jean Paul Laurens at the Academie Julian in Paris and under Mayron Barlow at Etaples, France from 1904-1906. When in Paris, his first exhibit was at the Paris Salon. In 1906, he moved to the northeast to be a magazine illustrator. Mr. MacGilvary worked at Cosmopolitan, Harper’s and Pictorial Review among others. During the 1915 Pan-American Exposition in San Francisco, he was in that area for an extended period of time.

Mr. MacGilvary became an associate professor of painting at the Carnegie Institute in 1921 to 1943. As president of the Associated Artists of Pittsburgh, Mr. MacGilvary provided “Comments on the Exhibition of the Associated Artists of Pittsburgh,” for the Carnegie Magazine along with other reviews. Active in the Rehoboth Art League, Mr. MacGilvary was one of the artists signing what are called the “Doors of Fame” sometime after the League’s dedication of their building at Henlopen Acres in Sussex County, Delaware in 1938. When he died in 1949, his ashes were strewn from an airplane over the beach. The Associated Artists of Pittsburgh also conferred a prize on his work, and shortly after his death, he was honored by a memorial show at the Pittsburgh Playhouse.

The artist painted realistic pictures, such as portraits and eloquent New England landscapes. He did not confine himself to those subjects though. The artist also created philosophical paintings which are considered surrealistic. In these philosophical paintings, he embraced subjects along the line of evolution, the desire of the human race to survive, the impermanence of individual life, and the problems of future existence. During the six years after his retirement from the Carnegie Institute, he only painted portraits.

Norwood MacGilvary exhibited at the Panama-Pacific Exhibition in San Francisco (Silver), the Associated Artist of Pittsburgh (Prize), the Salon in Paris, the National Academy of Design in New York, the Corcoran Gallery of Art, the Pennsylvania Academy of Fine Arts, The Art Institute in Chicago, the Kansas City Museum and the Carnegie Institute. Mr. MacGilvary was a member of the American Watercolor Society, the Boston Art Club, Paris AAA, Pittsburgh AA, and the Salmagundi Art Club (Joined in 1916). His works are to be found in many important collections including the Detroit Institute of Arts, the Smithsonian American Art Museum, The Carnegie, the Westmoreland Museum of American Art and the National Gallery of Art in Washington D.C.

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Jean Mannheim (1863 – 1945)

The painting by Jean Mannheim is part of the Farhat Art Museum collection. It is oil on canvas and it measures 26×22 inches.

Jean Mannheim , Farhat Art Museum Collection مجموعة متحف فرحات

Born in Bad Kreuznach on the Nahe, Germany on Nov. 18, 1863. After being drafted into the German army, Mannheim deserted and fled to France where he studied art at Ecole Delecluse, Académie Colarossi, and with DeLancey and Bouguereau. Having learned book binding early in life, he used this trade to support himself while studying art in Paris.

Upon immigrating to Illinois in 1884, he painted portraits in Chicago and taught in a Decatur art school. About 1903 he accepted a position at Frank Brangwyn’s school in London and stayed for two years. Returning to the U.S., he taught at the Denver Art School until 1908. He then made his final move to Pasadena and built a home in the Arroyo Seco. Mannheim maintained a studio in the Blanchard Building in Los Angeles where he exhibited and taught, and in 1913 founded the Stickney Memorial School of Fine Arts in Pasadena. His figure studies and landscapes prior to 1915 were tighter and done with a restricted palette; whereas, his palette then lightened and he adopted the loose brushwork of Impressionism. He died in Pasadena on Sept. 6, 1945.

Member: Laguna Beach AA; Long Beach AA.

Exh: Paris Salon, 1897; Blanchard Gallery (LA), 1909; Alaska-Yukon Expo (Seattle), 1909 (gold medal); Calif. Art Club, 1911-31; Kanst Gallery (LA), 1912, 1918; Pasadena Art Inst., 1913, 1926, 1928; Throop College (Pasadena), 1914; Woman’s Clubhouse (Hollywood), 1914; Friday Morning Club (LA), 1914, 1940; Panama-Calif. Expo (San Diego), 1915 (gold & silver medals); LACMA, 1915, 1917, 1922; Pasadena Society of Artists, 1917-37; Painters & Sculptors of LA, 1922-24; Arizona State Fair, 1923 (1st prize); Southby Salon (LA), 1925; Painters of the West (LA), 1925-27; Biltmore Salon (LA), 1926; Ebell Club (LA), 1926, 1935, 1936, 1938; Sierra Madre City Hall, 1930; Gardena High School, 1934; Foundation of Western Art (LA), 1935-42; Academy of Western Painters (LA), 1935; Webb Gallery (LA), 1938; GGIE, 1939.

In: Orange County (CA) Museum; Long Beach Museum; Denver Museum; Irvine (CA) Museum.

Source:
Edan Hughes, “Artists in California, 1786-1940”
Southern California Artists (Nancy Moure); Who’s Who in America 1918; American Art Annual 1919-29; Plein Air Painters (Ruth Westphal); Art in California (R. L. Bernier, 1916); Overland Monthly, Sept. 1933; Who’s Who in American Art 1936-41; So. Calif. Artists 1890-1940; Los Angeles Times, 4-5-1936 & 9-8-1945 (obituary).
Source :This biography from the Archives of AskART:

http://jeanmannheim.com/?page_id=36
Born in Germany, trained in Paris, and touched by the American Midwest, Jean Mannheim settled in Pasadena in 1908 and quickly became a major figure in California’s art community. For nearly four decades, Mannheim was an active teacher and mentor and a well-known contributor to the Southern California art scene. The title of the book is drawn from a 1916 art review that highlighted the breadth of Mannheim’s paintings, ranging from formal and casual portraits, to scenes of people at work or play, to plein-air landscapes of California’s unspoiled shorelines, valleys, mountains and deserts. His body of work not only provides a glimpse of the impressionist movement that energized and supplied an identity for the burgeoning Southern California population, but also captures and preserves images of a bygone era.
In Part I, “His Life,” the author explores the many places Mannheim called home before settling in Pasadena. This section contains many vintage photos and paintings that chronicle Mannheim’s early life and evolving artistic style. The book details little-known aspects of Mannheim’s time in Denver and Illinois and relates the interactions between the artist and his famous portrait subjects including razor-blade founder King Gillette, naturalist John Burroughs and Albert Einstein.
In Part II, “His Art,” richly illustrated with 195 color plates in this section alone, Reitzell discusses sixty years of the artist’s work, highlighting the broad range and varying genre and styles of Mannheim’s oeuvre

Bernard Lorjou (1908 – 1986)

The still-life by Bernard Lorjou is oil on canvas, it measures 45.63″ x 35″ (115.90cm x 88.90cm and it is titled : Fleurs et sabot. The painting is part of the Farhat Art Museum.

Bernard Lorjou , Farhat Art Museum Collecyion مجموعة متحف فرحات

Post-Modern artist Bernard Lorjou was born on September 9, 1908 to an extremely poor family in the Loir et Cher department of France. In 1924, at the age of 13, Lorjou left his home for Paris, the city where he would earn his reputation as one of the most powerful political artists of his time, famous for his expressionist, figurative style and vibrant colors.

He arrived in Paris penniless and was quickly evicted from his time room on rue Raspail and was forced to sleep at the Orsay train station. At this time he was working without pay as an errand boy for a printing company. In 1924, Lorjou was hired by silk producer Ducharne in Montmartre where he was employed as a fabric designer. He gained great success in the silk business and his patterns were worn by some of the world’s most famous women.

In 1931, Lorjou traveled to Spain and visited the Prado Museum where he was exposed to expressionists such as Goya, El Greco, and Velàsquez, inspiring him to paint. By 1934, Lorjou had set up an artist’s studio in Montmartre with his partner Yvonne Mottet, also a painter. From the very beginning of his career, his work was inspired by current world events, and as he progressed as an artist and his popularity grew, he focused more specifically on violent events, such as massacre, murder, and war.

As the Germans advanced on France, Lorjou and Yvonne moved to Blois in 1939. While there, he continued to paint but also contributed to his community during this time of war. He even served as mayor while volunteering to help the citizens of Blois. In 1942, Lorjou’s work was exhibited at the Salon des Indépendants, and in 1945 he presented his first solo show in Paris at the Galerie du Bac. From there, his paintings began to circulate both nationally and internationally. In 1946, he was invited to have a solo show in London. In 1948, Lorjou and his friend and contemporary painter Gerard Buffet were co-awarded the coveted Prix de la Critique. At this time, Lorjou began to paint on a larger scale on subjects such as big-game hunting, nuclear war, and the plague in Beauce.

During this time, Lorjou formed an anti-abstract artistic group called “L’Homme Témoin” with art critic Jean Bouret and was composed of members such as Bernard Buffet, Jean Couty, André Minaux, Charazac, and Simone Dat. Together the artists were featured at an exhibition at Galerie Claude in Paris. In 1950, Lorjou painted a particularly famous series titled The Atomic Age which is now owned by the French government and stored at the Pompidou Center. In 1952, the artist painted a very controversial work as a tribute to Queen Elizabeth II titled Morning of the Coronation. Soon after, he began a ten year collaboration with Georges and Daniel Wildenstein who owned multiple galleries where he would hold many of his future exhibitions. It was at their gallery where he held his very first show in the United States.

In 1957, Lorjou painted a very popular series titled Massacres of Rambouillet which he displayed in a self-built shack on the Esplanade of the Invalides in Paris, the collection being a reaction to the Soviet Union’s invasion of Budapest. Lorjou then moved the shack to Brussels where he displayed a series of massive paintings, some reaching lengths of 30 ft, denouncing France’s war in Algeria. This would not be the last time Lorjou would anger the French government with his powerful images criticizing their actions. Lorjou painted a second series on the Algerian War in 1960, but instead of satirizing the French government as a whole, he specifically targeted Charles de Gaulle.

As the decade continued, Lorjou painted a popular series titled The Kings: From Charlemagne to de Gaulle. A year later, in 1963, the artist rented an Italian barge on which he displayed some of his more monumental paintings, meant to be seen from the streets as the barge traveled up and down the Seine for three days until it was stopped by local authorities. In 1964, Lorjou painted a series denouncing racism titled Blacks and Whites, exhibited at A. Gattlen Galerie. The exhibition was prolonged due to its great popularity. The artist then went on to create a serious of wood engravings illustrating Guillaume Appolinaire’s Le Bestiaire, incorporating 33 colors reflecting his constant use of bright colors in his paintings.

In 1966, Lorjou was commissioned by the Musée de la Chasse et de la Nature in Paris to paint the ceiling of the African Room. A year later he was commissioned by the diocese of Blois to paint a series of Biblical parables for a chapel for retired priests. In 1970, Lorjou was very much affected by the murder of Sharon Tate and asked Roman Polanski for permission to paint a work reflecting by the event. Polanski gave his consent and the painting was purchased by the Museum of Modern Art in Paris. In 1972 Lorjou created a series of bronze and burnt wood statues, including a 160 lb solid silver statue sold at the Opéra de Paris to benefit cancer research. He then organized a solo exhibition in the United States that traveled through New York, Chicago, Beverly Hills, and Miami. In 1978, Lorjou was commissioned by the Civic Information Center to design a series of posters titled Vote For Whomever You’d Like, But Vote!, and also by the United Nations for another series of posters on the theme fight hunger, win peace.

Throughout the rest of the 70s and up until his death in 1986 at the age of 77, Lorjou continued to paint images of great controversy, using his medium to protest the violent events of his time. These include a series protesting the massacres in Palestine and another representing the tragedy of AIDS in 1985. By the end of his life, Lorjou had created thousands of paintings, ceramics, sculptures, illustrated books, stained glass windows, and murals. Throughout his entire career, Lorjou used oil and acrylic paints of vibrant colors in his exciting expressionist style to create visual weapons against injustice and violence.

This biography from the Archives of AskART

Fernando De Jesus Oliveira, Fergo (1946- )

The painting by Ferjo is oil on canvas measures 72″hx60″w. It is titled Contemporary Mona and dated 1980. The painting is part of the Farhat Art Museum in the Latin American collection.

Farhat Art Museum Collection مجموعة متحف فرحات

Born Fernando de Jesus Oliveira, in Bahia Brazil, in 1946 – Ferjo is one of the most dynamic and intriguing artists on the contemporary international scene. His surreal, even metaphysical way with a canvas has been earlier lauded with Ferjo winning the prestigious Crescent Scholarship at the Pennsylvania Academy of Fine Arts and the New York Council for the Arts Award for Excellence in portraiture and interiors. Ferjo’s signature style continues to excite our imagination and perception.

From 1974 – 1979, Ferjo trained at the Pennsylvania Academy of Fine Arts – an institution long-recognized for its tradition in realist painting and sculpture. During this five year period, he began painting cubist-style landscapes in the tradition of the early Georges Braques, eventually moving to realist portraiture. This is perhaps best exemplified in a mock group portrait (1978-79) of the faculty of the Pennsylvania Academy in which the artist posed his subjects in sitting positions those of Leonardo Da Vinci’s “Last Supper”.

Having received special honors on two occasions from the Pennsylvania Academy (in 1978, and again in 1979), Ferjo’s mastery of the medium and subject matter in realist painting became widely recognized in galleries that emphasized this kind of work. Since leaving The Academy, the artist’s technical virtuosity led him to explore various themes and styles, ranging from realism to surrealism. His wildly lyrical interpretations of famous artistic motifs, such as the works by Leonardo Da Vinca, or his “homage” series to important historical figures such as Picasso, Van Gogh and Chagall have made Ferjo an artist of merit.

Those with background in the arts will recognize in Ferjo and artist who can draw, render and paint with an extraordinary life-likeness. His ability to paint realistically and then to extend realism into a hallucinogenic surrealist vision, filled with symbolic connotations taken from the world of dreams and fantasmagoria, is one of the more startling attributes to be found in the recent painting. Whether Ferjo is representing automobiles or portraits, still life arrangements or sports events, imaginary or life-like portraits, there is convincing evidence of his talent as a technician of painting. There is also evidence of the artist’s versatile and shifting imagination, as he moves with considerable agility from one motif to another, often shifting styles in the process.

Ferjo creates a kind of magic in his paintings. In some ways this magic is overdetermined, calculated, fraught with unchecked desire. Yet through these magical compositions one may get the sense of another world determined by the artist’s magic- a world of irrational occurrences where objects float above the floor, where walls disappear, where translucent bubbles are suspended in space, where the laws of perspective and scale are utterly defied. Ferjo has the painterly and graphic precision to make these acts of irrationality appear strangely out of sync. Yet the lack of synchronicity is part of the artist’s manipulation. Just as Don Juan manipulates the desires of others through the projection of his own desire, so Ferjo manipulates non-functional space and lost avenues of time, often making sentimental and illogical formulations. Desire and hallucination collide into a weird cornucopia of images. There are numerous examples of this work, and it is worth discussing a few of these paintings in detail.

In a recently published catalog, this intrepid Brazilian artist shows his skill at copying the paintings of master painters and placing them within impossible architectural interiors. These surrealist spaces herald reproductions of works by Vermeer, Van Gogh, Renoir, Magritte, Manet, Matisse, Miro, Michaelangelo, Picasso, and of course, Chagall. For example, in “A New Day” we find a cypress tree by the Dutch painter Van Gogh juxtaposed on the opposite wall with a painter resembling two lovers and a bouquet by Marc Chagall. The back wall opens out on to an hallucinogenic seascape with a purple horizon graced by intensely brilliant yellow light-perhaps a vision experienced by the painter in his native Brazil, in Rio or San Paulo, where the light against the sands of the infinite shoreline give the world an appearance of sheer fantasy. Inside the room, Ferjo has represented crude floorboards with his proverbial bubbles, half egg-shells, pencils, and books, all floating and hovering throughout the open-air room. One might surmise that “A New Day” is about-exactly that – a new day! It represents a sentimental fantasy into the known and the unknown, a retribution toward unrelenting desire, to escape from the normal quotidian realities and enter into another zone of serendipity.

In another painting from this series, titled “Homage to Magritte”, Ferjo reveals a detail based on a painting of an enlarged frontal nose by the renowned Belgian surrealist. Just as in “A New Day”, we see in this painting a display of reproductions of other works by artists and artisans. For example, there is the famous bronze statue of the Greek goddess Diana with her bow and arrow standing atop a bubble suspended slightly above the floor. There is a poster from La Belle Epoque, resembling a ToulouseLautrec on the opposite wall. There are other spheres appearing and disappearing through an impossible window and a ream of paper unraveling from behind the Magritte nose and running into the antechamber in the painting’s foreground.

The ploys of Magritte – in which perspective and scale were manipulated and deliberately distorted – have been appropriated extensively by Ferjo. One of the major differences between Magritte and Ferjo’s borrowing of this artist’s technical ploys is the latter’s use of light. We see it again in a large horizontal painting called “Dusk”. Most of the room depicted in the painting is a plate glass window that reveals the open sea. Again there is the purple hallucinogenic horizon and the omniscient yellow light that creates an intense glowing effect. Magritte, a northern European, would have never used such color in his paintings. Conversely, Ferjo does.

To offer a contrapuntal image to the image of the glowing seascape in “Dusk”, Ferjo has a painting of a charming provincial winter scene on the adjacent wall. On the opposite side of the paintings, to the left, is a bright red shutter. Two pencils hover at obtuse angles above the floor, one on either side. Just as the French painter Matisse would use color for purposes of a formal effect in the painting, so Ferjo does much the same. The bright red shutter has no particular meaning other than as a formal effect. Nonetheless, the effect is a powerful one.

These formal devices have also been used to create special graphic effects in paintings such as ” Mystical Melody” and ” Enchanted Mansion” – both painted in the mid 90’s. In the former, Ferjo employs the formal motif of a large winding staircase with an art nouveau wrought iron banister. On the wall halfway up the stairway there is a impressionist style painting of a woman playing the piano. To the left is a spectral bubble hovering in white light. To the right of the interior painting is a large butterfly. Near the foot of the blue-carpeting stairway is a broken egg-shell. All of the motifs have been used in previous paintings.

What makes “Mystical Melody” so remarkable is the complexity of images – the paintings within the interior, and the systemic placement of the three primary colors: yellow (to the right of the stairway), blue (on the carpet of the stairway) and red (on the floor beneath).

The formal elements in Ferjo’s series of domestic interiors are generally precise and calculated. Newer works in this series continue the incorporation of paintings by both old and new masters. Some of these interiors combine art nouveau posters or Pre-Raphaelite paintings with floating spheres (replacing the former bubbles), vases, fish, and butterflies. It is important to note that Ferjo’s paintings within paintings are often not precise reproductions but quotes from the artist’s work. In short, Ferjo makes an emblem of an artist’s style. Hence, we easily recognize a “Picasso” that is not a Picasso. We recognize a “Modigliani ” that is not a Modigliani. Or the artist chooses to take more than a single motif from impressionist masters and combines them. In one of the recent paintings we see a combination of Renoir’s dancing couple with the Monet’s woman holding a fan. There is an odd brilliance to some of these works as they become complex in their semiology, their network of cultural signs. The themes within the paintings being quoted not only play off one another but also to echo aspects of the actual painting itself. Also, one might see the windows in the background of these perspectival paintings as being a painting within the painting, but not necessarily quoted from an outside historical source.

Yet Ferjo has the amazing ability to play. This is an important aspect of his work. This a perhaps most evident in his “Mona Lisa” series in which he has taken the famous, oft-quoted image by Leonardo and transformed her into a myriad of personae. In one painting,we see Mona Lisa as an Italian teenager, (which undoubtedly she was), but dressed like an advertisement for a fashion designer. She wears jeans, with bare feet and long flowing kinky black hair. Her face bears the same elusive smile, but the context is today – shall we say – more ” postmodern” in its appeal. In another painting he poses as a model wearing the latest swimwear. In this painting, Ferjo has managed to divide the painting in half with the Mona Lisa on the right. On the left, we see the typical motifs of Ferjo – namely, eggshells, butterflies, pencils and a quotation of a Picasso. In a third variation, Leonardo’s subject appears pregnant and happy, her arms folded across her breasts, and wearing a delicately thin maternity blouse. Again, as with the others, Ferjo, adds to the complexity of the work by playing again with the perspective, the discontinuity of the space, and the flowing objects within it.

A related theme involves the appropriation of portraits of aristocratic women by the French Neo-Classicist Jean-Auguste Dominique Ingres. One painting shows the Mona Lisa quoted on the left side of a room with an Ingres quoted on the right. In the center at the end of a vestibule is a bricolage of Mannerist painting in which the nude figures are actually popping out of the guilded frame. The repertoire of Ferjo appears endless. He has recently quoted Rembrandt, Turner, and John Singer Sargeant. One might say that he has an encyclopedic grasp of the last five hundred years of Western art.

But the energy of Ferjo does not stop here. He has also painted automobiles, both old and new, in superb detail. These are more or less illustrative paintings. Yet, as early as 1979, the artist won a prize for a painting of an aerial street scene in which the overhead view of the cars comprise an abstract composition. The fundamental basis of the painting is realist but somehow the aerial perspective renders the five cars on a curving street in relation to parking spaces, pedestrians, and other architectural details, as an abstract composition.

He has also taken photographs and rendered them fastidiously into oil paintings. These would include some of his sports paintings – such as a regatta – and domestic scenes of families. Another of his visual interests involves the painting of wild animals – mammals and birds, some small, some large. His paintings representing horses are well-known by collectors of Ferjo’s work. Perhaps, lesser known are the large-scale paintings of mammals – hippos, chimpanzees, elephants, and condors. Ferjo indulges himself in these animal motifs. Instead of trophies from hunting, Ferjo has a certain veneration for these wild beasts. Rather than see these animals in a state of taxidermy mounted on wooden plaques and jutting out into the office or recreation room, Ferjo has a kinder, gentler approach. His paintings honor these creatures. His paintings give them a certain nobility, a reverence, in respect to the large domain of nature. There is a certain mystery about these mammals and birds, a quality of grandeur and innocence; yet they are also reminders of an ecological crisis in which many species have been lost due to the carelessness and thoughtlessness of mankind. In Ferjo’s paintings, we get an opposite point of view. We understand these creatures as occupying the same planet that we do. They are part of the same life-cycle, the ecological chain, that sustains us. Ferjo’s animal paintings are an omen and a celebration. They restore dignity to animals and at the same time give us a sense of well-being in respect to ourselves. We live with animals, according to Ferjo, so why not give them a honored presence as a necessary part of life.

What continues to impress audiences who see the paintings of Ferjo is his remarkable variation of subject matter, his diligence, and his expertise in coming to terms with painting as a craft as well as an art. The technical achievement and the appropriation of graphic images in Ferjo’s work is an interesting and vital aspect of art commerce today. These paintings are admired by many who understand the purpose and the role of painterly images that refer not only to the secular world but to the history of art from whence the source of Ferjo’s painting can be found and interpreted.

Robert Morgan