Bernard Karfiol, (1886-1952), American

Painter, born in Budapest, Hungary, and raised in New York City. Karfiol’s work, revealing the influences of Pierre Auguste Renoir and Paul Cézanne, is comprised primarily of nudes and still lifes.

"Bathers in Boats", ca.1920, by Bernard Karfiol

"Fishing Village", ca.1931, by Bernard Karfiol, Whitney Museum of American Art

"Sunset with Farmer", by Bernard Karfiol

"Ogunquit", by Bernard Karfiol

"Repose on Balcony", ca.1930's, by Bernard Karfiol

"Girl Bathers", 1917, by Bernard Karfiol, Whitney Museum of American Art

"Havana Beauty", ca.1945, by Bernard Karfiol

"Boys Diving", by Bernard Karfiol

"Divers, Perkins Cove, Ogunquit", by Bernard Karfiol

Stanisława de Karłowska, (1876-1952), Polish-born British 

"Stanisława de Karłowska was a Polish-born artist, who was married to the Camden Town Group painter Robert Bevan. De Karłowska was the daughter of Aleksander de Karłowski and Paulina z Tuchołków. Her father's family was descended from the Polish nobility (szlachta) and had substantial estates centred on Wszeliwy, near Łowicz, in central Poland. The family had a long history of patriotic activity, and her father had fought with Lajos Kossuth and Józef Bem in the late 1840s. He had also suffered considerable financial loss through the part that he played in the Polish rebellion of 1863. Stanisława had trained as an artist in Cracow prior to enrolling at the Académie Julian in Paris, in 1896. In the following summer she went to Jersey to the wedding of a fellow Polish art student Janina Flamm to Eric Forbes-Robertson. It was here that she met the English artist Robert Bevan. By the end of the year she and Bevan were married in Warsaw. They settled in Swiss Cottage, London. She exhibited with the Women's International Art Club and New English Art Club and both exhibited at the Allied Artists’ Association in 1908. However, being a woman, she was ineligible for membership of either the Fitzroy Street Group or the later Camden Town Group. De Karłowska was a founder member of the London Group and showed with them throughout her life. Her work combined a modernist style with elements of Polish folk art. In March 1910, Huntly Carter said of it…”what S. de Karlowska has to say she tells us lucidly in pure and harmonious colour.” Stanisława had two children, Edith Halina (Mrs Charles Baty) and Robert Alexander (Bevan). Remaining in London after her husband’s death in 1925, she spent the war years in Chester. She travelled to Poland until the late 1930s and would holiday with her daughter's family at Plénauf-Val André in Northern Brittany and at St Nicolas-du-Pelem, further south. Many of her London and Breton paintings can be seen in public collections."

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"The Tug Boat", 1933, by Stanisława de Karłowska, Kirklees Museums and Glleries

"Le Lavoir, St. Nicholas-du-Pelem, Brittany", 1931, by Stanisława de Karłowska, Worthing Museum and Art Gallery

"Berkeley Square", ca.1935, by Stanislawa de Karlowska, Tate Britain

"Rocks at Anglesey", 1900, by Stanislawa de Karlowska, Amgueddfa Ctmru, National Museum Wales

"Snow in Russelll Square", ca.1935, by Stanislawa de Karlowska, Birmingham Museums Trust

"The Quay at Binic, Brittany", 1935, by Stanislawa de Karlowska, The Ashmolean Museum of Art and Archaeology

"Church of the Holy Cross, Cracow", 1926, by Stanislawa de Karlowska, The Hepworth Wkefield

"Fried Fish Shop", ca.1907, by Stanislawa de Karlowska, Tate Britain

"Swiss Cottage", 1914, by Stanislawa de Karlowska, Tate Britain

"Woburn Square", ca.1938, by Stanislawa de Karlowska, Leeds Museums and Galleries

Stanislawa de Karlowska, ca.1900

 Washington Allston, (1779-1843), American

Washington Allston was educated at Harvard and went twice to England to study. “Hermia and Helena” was painted just before he returned from the second trip in 1818. A revival of Shakespeare’s plays was then underway in England. The poet Samuel Taylor Coleridge was lecturing widely on them. He considered them the most perfect expression of human sentiment. In England, Allston was friends with Coleridge and also with William Wordsworth. Like these romantic poets, Allston celebrated dreams and ideas as well as nature. Shakespeare’s enchanted wood is the second focus of Allston’s painting. The dense foliage and glowing, distant light suggest that Allston knew the work of German romantic painters who had translated the nature poetry of Goethe and Rilke into lush, evocative images.  For all these borrowings of literary and philosophical concepts, however, Allston remained persuaded that the painter’s art was one of magic formulas. He experimented to find the secret of Titian’s subtle glazes, seeking the kind of translucent depth in his pigments that the old Venetian masters had achieved. The foreground areas of “Hermia and Helena,” especially show these deep, rich colors. Unfortunately, after returning to America in 1818, his experiments often led to later deterioration of the paint film. Many of Allston’s paintings have darkened dramatically.  Allston is widely regarded as one of the great seekers in American art, with the highest aspirations for the new nation’s culture. In Washington D.C. in the 19th century, when architects of William Corcoran’s art gallery chiseled the names of the great masters into the cornice of his new building, they chose to inscribe Phidias, Giotto, Dürer, Michelangelo, Raphael, Velasquez, Rembrandt, Rubens, Reynolds, Ingres, and Allston. It’s pretty good company for an artist from the New World.

Source: Smithsonian American Art Museum

"Coast Scene on the Mediterranean", 1811, by Washington Allston, Columbia Museum of Art

"Rising Thunderstorm at Sea", 1804, by Washington Allston, Museum of Fine arts, Boston

"Hermia and Helena", before 1818, by Washington Allston, Smithsonian American Art Museum

"Italian Landscape", ca.1805, by Washington Allston, Addison Gallery of American Art, Philips Academy

"Moonlit Landscape", 1809, by Washington Allston, MFA, Boston

"Self-Portrait", 1805, by Washington Allston, Museum of Fine Arts, Boston

"Landscape with Lake", 1804, by Washington Allston, Museum of Fine Arts, Boston

"Samuel Taylor Coleridge", by Washington Allston, National Portrait Gallery, London

"Lucy Ellery Channing", by Washington Allston, The johnson Collection, Spartanburg, SC

"Jacob's Dream", 1817, by Washington Allston, National Trust, Petworth House

"Florimell's Flight", 1819, by Washington Allston

"Beatrice", by Washington Allston, MFA, Boston

"Benjamin West", by Washington Allston, Addison Gallery of American Art

 Mariette Leslie Cotton, (1866-1947), American

Mariette Leslie Cotton (1866-1947) was a celebrated American artist who usually gave her name as Mrs. Leslie Cotton. A student of William Merritt Chase, Carolus-Duran, and Jean-Jacques Henner , she worked mainly in Paris but also maintained studios in London and New York. By birth and marriage she possessed a level of wealth and social prestige that, together with her artistic skill, enabled her to obtain lucrative commissions from prominent individuals. The portraits she painted were praised for their veracity, style, and fine technique. Their subjects included kings, aristocrats, celebrities, and members of wealthy families. Late in her career a critic wrote that her "popularity has a sound basis, for her portraits combine such abstract artistic qualities as effective and infinitely varied design and daringly unconventional arrangements of color, with strong characterization and a likeness that never fails to be convincing," and added, "her concern with the artistic problem never makes her obtrude her own personality or offend the sitter's susceptibilities."

"Queen Elizabeth, ca.1936, by Mariette Leslie Cotton

"Henry Keteltas", 1883, by Mariette Leslie Cotton, New York Historical Society

"Lady Mendl infirmiere pendant la guerre", ca.1918, by Mariette Leslie Cotton

"Lady Savile", by Mariette Leslie Cotton

"John Armstrong Drexel", ca.1910, by Mariette Leslie Cotton

Portrait of Brayton C, Ives", 1907, by Mariette Leslie Cotton

"Mistinguette", by Mariette Leslie Cotton

"Woman in a Fur Coat", by Mariette Leslie Cotton

"Louisa Archer Thornton", 1905, by Mariette Leslie Cotton

Mariette Leslie Cotton, ca.1910

 Martin Johnson Heade, (1819-1904), American

"Martin Johnson Heade was an American painter known for his salt marsh landscapes, seascapes, and depictions of tropical birds (such as hummingbirds), as well as lotus blossoms and other still lifes. His painting style and subject matter, while derived from the romanticism of the time, are regarded by art historians as a significant departure from those of his peers. Heade was born in Lumberville, Pennsylvania, the son of a storekeeper. He studied with Edward Hicks, and possibly with Thomas Hicks. His earliest works were produced during the 1840s and were chiefly portraits. He travelled to Europe several times as a young man, became an itinerant artist on American shores, and exhibited in Philadelphia in 1841 and New York in 1843. Friendships with artists of the Hudson River School led to an interest in landscape art. In 1863, he planned to publish a volume of Brazilian hummingbirds and tropical flowers, but the project was eventually abandoned. He travelled to the tropics several times thereafter, and continued to paint birds and flowers. Heade married in 1883 and moved to St. Augustine, Florida. His chief works from this period were Floridian landscapes and flowers, particularly magnolias laid upon velvet cloth. He died in 1904. His best known works are depictions of light and shadow upon the salt marshes of New England. Heade was not a widely known artist during his lifetime, but his work attracted the notice of scholars, art historians, and collectors during the 1940s. He quickly became recognized as a major American artist. Although often considered a Hudson River School artist, some critics and scholars take exception to this categorization. Heade's works are now in major museums and collections. His paintings are occasionally discovered in unlikely places such as garage sales and flea markets."

Source: North Carolina Museum of Art

"Singing Beach, Manchester", 1862, by Martin Johnson Heade, Museo Nacional Thyssen-Bornemisza, Madrid

"Giant Magnolias on a Blue Velvet Cloth", ca.1890, by Martin Johnson Heade, National Gallery of Art

"Cattleya Orchid and Three Hummingbirds", 1871, by Martin Johnson Heade, National Gallery of Art

"Jersey Marshes", 1874, by Martin Johnson Heade, Museo Nacional Thyssen-Bornemisza

"The Marshes at Rhode Island", 1866, by Martin Johnson Heade, Museo Nacional Thyssen-Bornemisza

"York Harbor, Coast of Maine", 1877, by Martin Johnson Heade, Art institute of Chicago

"Sunlight and Shadow, The Newbury Marshes", ca.1871, by Martin Johnson Heade, National Gallery of Art

"Sunlight and Shadow, The Newbury Marshes", ca.1871, by Martin Johnson Heade, National Gallery of Art

"Lotus Flowers with a Landscape Painting in the Bacground", by "Singing Beach, Manchester", 1862, by Martin Johnson Heade, 

North Carolina Museum of Art

"Approaching Thunder Storm", 1859, by Martin Johnson Heade, Metropolitan Museum of Art

"Sudden Showers, Newbury Marshes", ca.1865, by Martin Johnson Heade, Yale University Art Gallery

"Rocks in New England", 1855, by Martin Johnson Heade, Museum of Fine Arts, Boston

"Haystack at Sunset", ca.1861, by Martin Johnson Heade

"Hunters Resting", 1863, by Martin Johnson Heade, Museum of Fine Arts, Boston

"Mary Rebecca Clark", 1857, by Martin Johnson Heade, Museum of Fine Arts, Boston