Selden Connor Gile was an important member of the early northern California school of art, he was a founding member of the artist group that called themselves the Society of Six. He was born in Stow, Maine on March 20, 1877, and after attending business college in Maine, Gile moved to California in 1901. He was a payroll master in Lincoln and in Oakland after 1905 for Gladding McBean Company. His art studies were under Perham Nahl, Frank Van Sloun, Spencer Macky, William H. Clapp, and at the California College of Arts and Crafts. Prior to 1914, he painted in the manner of classical California landscape painters such as William Keith. After that time he assumed the palette and style of Impressionism-Fauvism, but remained an "individualist" in his mode of expressing the California scene. During the 1920s, he became the dominant figure in a group of painters known as the Society of Six. The Six were active in the San Francisco Bay area and exhibited regularly at the Oakland Art Gallery. In 1927 Gile moved across the Golden Gate to Tiburon and, shortly thereafter, to a houseboat in Belvedere. He died in San Rafael, California on June 8, 1947.
Jozef Israëls, (born January 27, 1824, Groningen, Netherlands—died August 12, 1911, The Hague), painter and etcher, often called the “Dutch Millet” (a reference to Jean-Franƈois Millet). Israëls was the leader of the Hague school of peasant genre painting, which flourished in the Netherlands between 1860 and 1900. He began his studies in Amsterdam and from 1845 to 1847 worked in Paris under the academic painters Horace Vernet and Paul Delaroche. Israëls first tried to establish himself as a painter of Romantic portraits and conventional historical pictures but had achieved little success when in 1855 ill health compelled him to leave Amsterdam for the fishing village of Zandvoort, near Haarlem. That change of scenery revolutionized his art: he turned to realistic and compassionate portrayals of the Dutch peasantry and fisherfolk (e.g., Waiting for the Herring Boats, 1875). In 1871 he moved to The Hague, and he often worked in nearby Scheveningen. Besides oils, Israëls worked in watercolours and was an etcher of the first rank. His later works in all media express a tragic sense of life and are generally treated in broad masses of light and shade. His painting style was influenced by Rembrandt’s later works, and, like Rembrandt, Israëls often painted the poor Jews of the Dutch ghettos (e.g., A Son of the Chosen People, 1889). His son Isaac (1865–1934), also a painter, adopted an Impressionist technique and subject matter and had some influence on his father’s later work.
Harold Christopher Davies was a painter with whom art came first and commercialism last. Though he was a remarkably passionate and somewhat prolific artist, he resisted gallery representation until the age of eighty-four, just one year before his death. Davies began his formal art education at the age of fourteen, enrolling in the Corcoran Art Institute in Washington, D.C. Later he continued his studies at the San Francisco Institute of Art. An abstract expressionist, his style was directly influenced by Cezanne, Gorky and de Kooning. Being a man of intense dedication to his art, he kept extensive notebooks and sketchbooks in which he developed his own artistic and aesthetic philosophy, often through his candid critiques of other artist’s works. Painting, for Davies, was not a means of earning his living. Though he exhibited frequently at various local colleges and museums, he never sought public recognition of his talent. He believed fame compromised the integrity of an artist’s work. Davies earned his living as a businessman, eventually owning and operating his own chemical company. He lived a life of balancing his monetary obligations with the true love of his life: painting. After living in a variety of cities around the United States, Davies moved to Inverness, California in 1969 where he was free to devote all his time to his art. MEMBER: Oakland Art League San Francisco Art Association Huntsville (Ala.) Art Association EXHIBITED: San Francisco Art Association, 1921-1931 Oakland Art Gallery, 1931 Birmingham Museum, 1951 Southampton Museum, 1959 University of Long Island Museum, 1964 Parrish Art Museum, 1964, 1966, 1967 Hoover Gallery (San Francisco), 1975 Fresno Art Center, 1976 (Solo) Haggin Museum 1982 Huntsville Museum, 1982
Born near Falling Waters, West Virginia on a plantation a year after the Civil War, and raised in Baltimore, William Leigh became one of the foremost painters of the American West with a career of seventy-five years. Some people referred to him as the "Sagebrush Rembrandt". Trips to the Southwest began in 1906 when he made an agreement with William Simpson, Santa Fe Railway advertising manager, to paint the Grand Canyon in exchange for free transportation West. In 1907, he completed his Grand Canyon painting, which led to many more commissions and an extensive painting trip through Arizona and New Mexico. These travels inspired him to paint western subjects for the next 50 years, but it was not until the 1940s that he received much recognition. He painted in the Southwest nearly every summer between 1912 and 1926 and focused on the Hopi and Navajo Indians. In 1910, he traveled to Wyoming, where he painted in Yellowstone Park and did sketches, many which he later converted into large canvases such as "Lower Falls of the Yellowstone"(1915) and "Grand Canyon of the Yellowstone" (1911). His style was realistic, and his palette invariably had the Southwestern hues of soft pinks, reds, yellows and purples. In fact, his critics who knew little of the Southwest accused him of fabricating the colors. Many of his works are at the Gilcrease Museum in Tulsa, Oklahoma. In March, 1999, the Historical Center of Cody, Wyoming held an exhibition of his field sketches and finished works depicting his experiences near Cody, Wyoming in the early part of the century, between 1910 and 1921. These years, many which he spent painting in the Carter Mountain vicinity, were considered crucial to his artistic development because he was exposed to western landscape. His companion during these travels was Cody taxidermist Will Richard who stirred his interest in wildlife.
Landscape painter,BIOGRAPHY Landscape painter, Alexis Matthew Podchernikoff was born in Vladimir, Russia in 1886 into a family of artists. Podchernikoff first studied art with his grandfather Dmitri Zolotarieff and later with Ilya Repin and Verestchagin. In Moscow he was awarded a gold medal and his work "My Beloved Russian Woods" was purchased by the Royal Art Commission. He emigrated to the U.S. in 1905 after the Russo-Japanese War and settled in San Francisco. In February of 1901, he married fellow-painter Ida Working. In 1913 an art dealer from Santa Barbara convinced Podchernikoff to move there. A painting of his Santa Barbara studio appeared on the front cover of Literary Digest, March 10, 1928. Although he spent the last 20 years of his life in Southern California he returned often to San Francisco to paint scenes of Marin and the northern coast. He is well-known in California for his landscapes done in the manner of Corot. His last years were spent in Pasadena where he died on Oct. 31, 1933 of tuberculosis. Works held: Oakland Museum; Royal Art Commission, Moscow.was born in Vladimir, Russia in 1886 into a family of artists. Podchernikoff first studied art with his grandfather Dmitri Zolotarieff and later with Ilya Repin and Verestchagin. In Moscow he was awarded a gold medal and his work "My Beloved Russian Woods" was purchased by the Royal Art Commission. He emigrated to the U.S. in 1905 after the Russo-Japanese War and settled in San Francisco. In February of 1901, he married fellow-painter Ida Working. In 1913 an art dealer from Santa Barbara convinced Podchernikoff to move there. A painting of his Santa Barbara studio appeared on the front cover of Literary Digest, March 10, 1928. Although he spent the last 20 years of his life in Southern California he returned often to San Francisco to paint scenes of Marin and the northern coast. He is well-known in California for his landscapes done in the manner of Corot. His last years were spent in Pasadena where he died on Oct. 31, 1933 of tuberculosis. Works held: Oakland Museum; Royal Art Commission, Moscow.
BiographyMaurice Braun (1877-1941). Painter. Maurice Braun was born in Nagy Bittse, Hungary on Oct. 1, 1877. Braun immigrated with his family to the U.S. in 1881 and settled in NYC. He began drawing at age three and in his early teens was apprenticed to a jeweler. In 1897 Maurice Braun began a five year study period at the NAD followed by one year with Wm M. Chase. He was an established portrait and figure painter in New York before moving to San Diego in 1910. After opening a studio on Point Loma, Maurice Braun founded the San Diego Academy of Art in 1912 and served as its director for many years. Braun remained in San Diego except for the years 1922-24 when he maintained a studio in Silvermine, CT. His Impressionist paintings of the Southwest desert, southern California hills, and High Sierra brought him great national acclaim. At the end of his career he specialized in still lifes of flowers and oriental objets d'art. An ardent follower of Theosophy, their teachings of the unity of nature and man is evident in his work. Maurice Braun died in San Diego on Nov. 7, 1941. Source: Edan Hughes:
Lacaze was a painter who was heavily influenced by Cubism and Post-Cubism, particularly by fellow Bordeaux painters such as André L’Hote. He was born in Angoulême, Charente and studied at the Lycée Montaigne in Bordeaux and it was there, under an inspirational art master, that his desire to be an artist was initiated. He enrolled at L’École des Beaux-Arts in Bordeaux and studied under André Edouard Marty. At first, his style was decidedly Cubist, showing the influence of Picasso through the aforementioned L’Hote. However he softened the linear effect somewhat as his career developed and this is particularly apparent in his paintings of nudes. He staged his first solo exhibition in Paris in Rue Visconti quite soon after leaving art school. He also exhibited through his career at other locations in Paris, his home city of Bordeaux, Sainte Maxine, Angoulême and Périgueux but he seems not to have had a particularly commercial attitude to his work apparently sometimes not even turning up to the opening nights. Lacaze was appointed Professor of Fine Art at Collège de Puyguillen and also joined the artistic group Maison des Artistes. Exhibitions: Paris, Galerie Visconiti; Périgueux, N.T.P.; Angoulême, Galerie Tison d’Argence; Bordeaux, Galerie du Loup; Sainte Maxine, Galerie L’Oleil Fauve. The Musée des Beaux Arts de Bordeaux also exhibited his work.
Born in Michigan on Aug. 2, 1885. By 1946 Near had moved to southern California and was painting around Joshua Tree. She died in Los Angeles on July 23, 1965. Her work includes landscapes of the High Sierra. Exh: Laguna Beach AA, 1960; Festival of Arts (Laguna Beach), 1961; Costa Mesa High School, 1962. Source: Edan Hughes,
Nels Hagerup (1864-1922) was born in Christiania, Norway in 1864 into a family that included the composer Edward Hagerup Grieg. Nels Hagerup studied at the Christiania Art School, Royal Academy in Berlin, and in Copenhagen with Carl Locher. After sailing to the West Coast as a merchant seaman in 1882, he settled in Portland, Oregon. There he was an instructor of drawing at the Bishop Scott Academy (now called Hill Academy) and was a founder of the Portland Art Association. About 1892 he moved to San Francisco where he remained. He worked there as a stevedore on the waterfront and later established a home and studio in the Sunset District at 1224 46th Avenue within walking distance of the ocean. Hagerup painted nearly 6,000 oils of sand dunes, ships and marine scenes. One of his more important works is the 16' x 18' mural in the Assembly Room of the San Francisco Merchants' Exchange Building. Hagerup was a master of atmospheric seascapes. He died of a heart attack in his studio on March 13, 1922. Exhibited: Lewis & Clark Expo (Portland), 1905 (gold medal); Alaska-Yukon Expo (Seattle), 1909 (gold medal); California Historical Society, 1963 (retrospective). Works held: California Historical Society; San Bruno (CA) Public Library.
A landscape painter and printmaker, he was born in San Francisco, California on July 29, 1884. Todhunter was a pupil of John Stanton and Arthur Mathews at the Mark Hopkins Institute, and Gottardo Piazzoni and Frank Van Sloun at the California School of Fine Arts, followed by study at the Art Students League in New York City. He began his career as an illustrator for Overland Monthly and later worked for the San Francisco Chronicle, San Francisco Call, and Washington (DC) Times. He worked in New York as a commercial artist until 1912, when he returned to San Francisco to become art director for the H. K. McCann Company, a job he was to keep until his retirement in 1949. Todhunter's work includes etchings, lithographs, and landscapes of Marin County and the San Francisco Bay area. He died in his native city on February 11, 1963. Member: Bohemian Club; SWA; AAPL; Marin Society of Artists; SFAA; Calif. Society of Etchers. Exh: Bohemian Club, 1922-63; SFAA from 1922; OGlE, 1939; Society for Sanity in Art, 1940s.
Landscape painter. Born in Norway on June 1, 1856. Jonnevold came to the U.S. in the 1880s and is known to have painted in the Northwest before moving to California in 1887. Settling in San Francisco, he maintained a studio at 1617 California Street. He was a self-taught painter except for brief study in the galleries of Paris in 1908. While in France, he was influenced by the Barbizon painters and their dark palette. Returning to California, he continued to paint the beauty of northern California in the Barbizon style. Often working in late afternoon when shadow prevails, he produced hundreds of attractive tree and meadow scenes which he exhibited in local galleries. By the time of the stock market crash in 1929, Jonnevold was poverty stricken and living alone at his small studio at 560 Kearny Street. In that year he was sentenced to two months in jail for aiming a gun at his landlord. Jonnevold disappeared from San Francisco about 1930. A letter at the Oakland Museum gives his date of death as June 9, 1955 but no location. His works have gained renewed respect in recent years and are highly sought after by collectors. Exhibitions: Calif. State Fair, 1899-1902 (awards); Mechanics' Inst. (SF), 1897; SFAA, 1908-12; Alaska-Yukon Expo (Seattle), 1909 (bronze medal); Kanst Gallery (LA), 1915. In: Oakland Museum; CHS; De Young Museum. Source: Edan Hughes,