1 more
Property from the Collection of Morton and Norma Lee Funger FREDERICK CARL FRIESEKE (1874-1939)

Yellow Tulips

Yellow Tulips
signed 'F.C. Frieseke.' (lower right)
oil on canvas
32 x 32 in. (81.3 x 81.3 cm.)
Painted circa 1911-12.
Private collection, New York.
Christie's, New York, 2 December 1998, lot 30, sold by the above.
Acquired by the late owners from the above.
Emporium, vol. 38, no. 277, November 1913, p. 337, illustrated (as Tulipani Gialli).
P. Trenton, W.H. Gerdts, California Light 1900-1930, exhibition catalogue, Laguna Beach, California, 1990, pp. 42, 44, 188, pl. 37, illustrated (as Reflections).
M.A. Erhardt, E. Broun, The Norma Lee and Martin Funger Art Collection, Lunenberg, Vermont, 1999, pp. 28-29, illustrated.
Detroit, Michigan, Detroit Museum of Art; Milwaukee, Wisconsin, Milwaukee Art Institute; Minneapolis, Minnesota, Minneapolis Institute of Art; Buffalo, New York, Albright Art Gallery; Pittsburgh, Pennsylvania, The Carnegie Institute of Arts; Rochester, New York, The Memorial Art Gallery, Paintings by Frederick Carl Frieseke, James R. Hopkins, Gardner Symons, October 4, 1917-June 1918.
Philadelphia, Pennsylvania, Pennsylvania Academy of the Fine Arts, 116th Annual Exhibition, February 6-March 27, 1921, p. 61, no. 430 (as Yellow TulipsThe Mirror).
Buffalo, New York, Buffalo Fine Arts Academy, Sixteenth Annual Exhibition of Selected Paintings by American Artists and a Group of Small Selected Bronzes by American Sculptors, April 9-June 12, 1922, p. 13, no. 44.
Further details
This work is included in the draft Frieseke Catalogue Raisonné, compiled by Nicholas Kilmer, the artist's grandson, with the support of the Hollis Taggart Galleries. That draft is now in the collection of the Smithsonian Institution, Archives of American Art.

Brought to you by

Caroline Seabolt Associate Specialist, Head of Sale
Get in touch for additional information about this lot

Lot Essay

Impressive in scale, color and form, Yellow Tulips is an archetypal example of Frederick Carl Frieseke’s paintings of women during quiet moments of leisure. Superbly balancing sumptuous tones with opulent, intricate patterns and an intriguing viewpoint, the present work is a truly noteworthy interior scene from this period.

Frieseke first studied at The Art Institute of Chicago and the Art Students League in New York before leaving for Paris in 1898. There Frieseke enrolled at the Académie Julian and also at the Académie Carmen, James McNeill Whistler’s short-lived school. Whistler's passion for Japanese art, for decoration and for distinctive color arrangements had a lasting influence on Frieseke's work, as evidenced in the present work. By 1900 he was spending summers in Giverny and, after achieving artistic and financial success by 1906, was able to purchase a home with his wife Sadie. They chose American Impressionist Theodore Robinson’s former house next door to Claude Monet’s. Frieseke remained in Giverny for almost two decades, where the artist colony also included Americans Theodore Butler, Willard Metcalf, Richard Miller and Guy Rose.

In Yellow Tulips, Frieseke uses his energetic, impressionistic style when ingeniously painting his wife’s portrait as a reflection in a mirror. He shares an intimate moment, as she admires her elaborate shawl. The work lyrically illustrates Frieseke’s ongoing fascination with capturing sunlight, especially when it comes to the natural world. Here, flowers are rendered before us on the mantle, reflected in the mirror in the middle distance on the table and in the far distance beyond his sitter. Frieseke summarized this particular interest in 1914, saying: “My one idea is to reproduce flowers in sunlight…One should never forget that seeing and producing an effect of nature is not a matter of intellect but of feeling…The effect of impressionism in general has been to open the eyes of the public to see not only sun and light, but the realization that there are new truths in nature.” (C.T. MacChesney, “Frieseke Tells Some of the Secrets of His Art,” New York Times, June 7, 1914)

Further, Frieseke revels in color and pattern. A diverse palette of greens, blues, yellows, pinks and purples are characteristic colors of many of Frieseke’s most accomplished interiors. Indeed, the intricately decorated shawl and wall at right make for a wondrous fusion of patterns and texture, which has striking parallels to the work of the Nabis, especially Edouard Vuillard and Pierre Bonnard.

Like these artists, the Frieseke's images of women in interiors are celebrated as some of the finest achievements created in Impressionism. Further, his ability to manipulate light and imbue his models with an air of psychological independence makes him one of the most accomplished American Impressionist painters of the female figure. With its engaging perspective, rich textures and beautiful tonal harmonies, Yellow Tulips represents Frieseke at the height of his abilities.
欧美 日产 国产精选,韩国午夜福利片在线观看,三级网站视频在在线播放,热思思99RE久久精品国产首页