Tucker Bobst (American, 1923-2008)

Tucker Bobst (American, 1923-2008)

Artist:Tucker Bobst (American, 1923-2008) American Titled: “Zero” Medium: Acrylic painting on board, signed lower right Measures: 29.5in x 23.5 inches Farhat Art Museum Collection.

Brief Biography

Richard Maloy:

My first contact with Tucker Bôbst was through his work in 1975 when I was Director of the Philadelphia Civic Center Museum. Tucker’s work captured my attention immediately. His exquisite draftsmanship and mastery of the technique of trompe I’oeil are indeed striking. Clearly mastery of technique alone does not merit the accolade of master artist. Bôbst’s work combines extraordinary craftsmanship with an inner vision that is clear and often so startlingly profound that it elevates his work to a level well above mere competence.

“Over the passed twenty-five years I have had the opportunity to get to know the artist and his art. In my opinion Tucker Bôbst epitomizes the very definition of surrealist. He has an ability to confront the human condition with an eye that strips away spin and personal prejudice and applies a surgeon like skill in presenting an idea with a clarity and economy that is startling in its frankness. His rebus-like images which frequently combine calligraphy and sculptural elements, convey the unselfconscious assurance and guileless good humor of a man with nothing to hide who is possessed of a boundless curiosity about his world and humanity. Like the classic Japanese haiku, his works consist of carefully crafted layers of meaning and emotional nuance which can be openly and amusingly straight forward and deeply complex and disturbing at the same time. Although always provocative and at times confrontational, one never gets the feeling from his work that he is trying to change your mind or convert you to his point of view. Rather he is challenging you, or perhaps better put, inviting you to explore the subject of his work. He searches in his images, not for confirmation of a position but for dialog upon an idea. Dialog that prompts the viewer to explore the intellectual attitudes, emotions and feelings evoked by his images.

“Much of Bôbst’s work is fraught with religious and sexual innuendo. He frequently uses images of animals to evoke in the viewer consciousness of human qualities and issues such as kindness toward other creatures and environmental sensitivity as well as to provoke the viewer to stop and consider the message set out by the juxtaposition of the seemingly disparate images. Bôbst’s fascination with the human condition and in the world of theater is revealed in his use of images of famous show business and political figures.

“Frequently witty (sometimes caustically so,) often cryptic, his portraits are amazing studies in the human perception of the self as other.”

Frank Fowler (1852 – 1910)

Frank Fowler (1852 - 1910)

Frank Fowler (1852 – 1910) American Medium: Oil on canvas Signed: lower right and dated 1876 Measures: 18×15 inches Farhat Art Museum Orientalist Collection

Frank Fowler was active/lived in New York, Connecticut / France, Italy. Frank Fowler is known for portrait painting, ceiling murals, decoration, writer and art critic.

Frank Fowler was an American figure and portrait painter, born in Brooklyn, New York. It appears he did not begin studying art until 1873, when he began two years in Florence, Italy as a student of Edwin White. Then for seven years, he studied under Carolus-Duran in Paris, and at the École des Beaux-Arts*.

Like so many of Duran’s students, Fowler worked on the ceiling fresco*, Apotheosis of Marie de Medici in the Luxembourg Palace. In 1878, he married artist Mary B. Odenheimer.

On his return to New York in 1879 he became a regular exhibitor at the annual exhibitions of the National Academy of Design*, continuing this participation until the end of his life. He devoted himself for a time to mural painting, his most important work being the decoration of ceiling panels for the ballroom at the Waldorf Hotel. This project was completed in 1893; however, the building exists no more, having been destroyed to provide a place where the Empire State Building could be erected. In 1893, work by Fowler was also exhibited in Chicago at the Columbian Exposition*.

Later in his career, Fowler painted chiefly portraits, including a number of public men. Some of his portraits have been kept at Albany, New York and elsewhere.

In the late 1890s, he resided in a home on at #16 The Enclosure, an artists’ colony in Nutley, New Jersey. He built a large studio on the back of that house, where he painted. The same studio was later owned by Michael Lenson, a well known New Jersey painter who was director of the mural division of the New Jersey WPA* in the 1930s. Earlier, the same home was owned by Frederic Dana Marsh, the illustrator. The house was the childhood home of Reginald Marsh, the distinguished American painter.

Frank Fowler wrote upon art topics for the magazines and several textbooks: Oil Painting (1885), Portrait and Figure Painting (1901) and Drawing In Charcoal And Crayon (1899).

David Dearinger, Paintings and Sculpture in the Collection of the National Academy of Design, 1826-1925

Frederick Kann (1886 – 1965)

Frederick Kann (1886 - 1965)

Frederick Kann (1886 – 1965) Czech / American Medium: Oil on canvas / Board Measures: 12×16 inches Signed lower left Kann Farhat Art Museum Collection

Frederick I. Kann was active/lived in Missouri, California / Canada. Frederick Kann is known for cubist, geometric imagery painting, sculpture, illustrator, photography, teaching.

Frederick I. Kann was born in Gablonz, Czechoslovakia on May 25,1886. He died July 6 in Los Angeles California in 1965.

Kann was a painter, sculptor, photographer and teacher.
He studied at the Technical College of Prague and attended the Art Academies of Munich and Prague.

Kann immigrated to Canada and became a U.S. Citizen in 1910.

Frederick Kann returned to Europe (France) and remained there until 1936.

Kann was the first American to teach at the Louvre Schools in Paris.

In Paris Kann was a member of the Abstraction Creation Group.

In 1939 his work is included in Realites Nouvelles Renaissance Plastique, at Galerie Charpentier, Paris, an organization founded by Sonia Delaunay devoted to pure abstract art.

Kann exhibited extensively in Europe with Kandinsky, Calder, Mondrian, Moholy-Nagy, Delaunay, and others.

Frederick Kann was a member and a chairman of the American Abstract Artist Group. He exhibited in their first show at the Squibb Gallery. His essay on Abstract Art “In Defense of Abstract Art” was published in the first American Abstract Artist Group’s Annual. It was his responsibility to find venues in America that would display this group’s art works.

Kann was a European Modernist, Surrealist, and a Pioneer Abstractionist.

Frederick Kann was an instructor as the Kansas Art Institute in the late 30’s along with Thomas Hart Benton. Later when Kann moved to California he became a teacher at Chouinard Art Institute.

Kann was an owner of The Circle Gallery in Los Angeles in California in 1944. At that time galleries were not exhibiting abstract works of art so his choice was to open his own.

Kann also started his own art school in California (1953). He called it The Kann Institute of Art.

From 1905 to 2011 Kann has an extensive exhibit history in Europe and the United States of over seventy six venues.

His work had been missing for many years until it was rediscovered and properly researched.

Pamela Esther Nask, Researcher of the artist, who has his letters and artworks, which were abandoned in the 1980s. She is provider of information for gallery exhibitions of work by Kann.