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

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