Newell Convers Wyeth (October 22, 1882 - October 19, 1945), known as N. C. Wyeth , is an American artist and illustrator. He is a disciple of artist Howard Pyle and became one of America's greatest illustrators. During his lifetime, Wyeth created more than 3,000 paintings and illustrated 112 books, 25 of which were for Scribner's Scribner Classics, which was his best-known work. The first, Treasure Island , is one of the masterpieces and the results paid for his studio. Wyeth is a realist painter when cameras and photography begin to compete with his skills. Sometimes seen as melodramatic, the illustrations are designed to be understood quickly. Wyeth, who is a painter and illustrator, understands the difference, and said in 1908, "Paintings and illustrations can not be mixed - one can not join from one to the other."
He is the father of Andrew Wyeth and grandfather Jamie Wyeth, both famous American painter.
Video N. C. Wyeth
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Wyeth was born in Needham, Massachusetts. An ancestor, Nicholas Wyeth, a mason, came to Massachusetts from England in 1645. The later ancestors were prominent participants in the Wars of France and India, the Revolutionary War, the War of 1812, and the American Civil War, inherited a rich oral history and tradition for Wyeth and his family and provide the subject matter for his art, which is very pronounced. His maternal ancestor came from Switzerland, and during his childhood, his mother became acquainted with the literary giants Henry David Thoreau and Henry Wadsworth Longfellow. Her literary appreciation and her artistic talents seem to come from her.
He is the oldest of four brothers who spend a lot of time hunting, fishing, and enjoying other outdoor activities, and doing work on their farm. His youthful activities and his natural and intelligent sense of observation, then assists the authenticity of his illustrations and removes the need for the model: "When I paint a figure on a horse, a man plowing, or a woman in the wind, I have a feeling of muscle tension."
Her mother encouraged the early tendency toward art. Wyeth is making a fine watercolor at the age of twelve. He went to the Mechanics Arts School to study writing, and then Massachusetts Normal Art School, now the Massachusetts College of Art and Design, where painting instructor Richard Andrew advised him to become an illustrator, and then Eric Pape's Art School to study illustrations, under George Loftus Noyes and Charles W. Reed.
When two friends were admitted to the Howard Pyle Art School in Wilmington, Delaware and Chadds Ford, Pennsylvania, Wyeth was invited to try to join them in 1902. Pyle is the "father" of American illustrations, and Wyeth soon joined his friend. methods and ideals. Pyle's approach includes visits to historical sites and impromptu dramas using props and costumes, intended to stimulate the imagination, emotions, atmosphere, and human observations in action - all the need for illustrative styles. Pyle emphasizes historical accuracy and is colored with a romantic aura. But where Pyle painted in great detail, Wyeth turned toward a looser, faster movement, and hung on unpleasant shadows and grim backgrounds. He may take his glass technique from Pyle.
Wyeth's extraordinary personality and talent make him a prominent student. A sturdy, muscular young man with strange hands, he eats far less than is implied in size. She admires great literature, music and drama, and she enjoys vibrant conversation.
Maps N. C. Wyeth
Careers
Bronco bucking for the cover of The Saturday Evening Post on February 21, 1903 was Wyeth's first commission as an illustrator. That year he described his work as "a true and solid American subject - nothing strange about them."
It was a spectacular achievement for Wyeth, 20 years old, after just a few months under Pyle's guidance. In 1904, the same magazine assigned him to illustrate a Western story, and Pyle urged Wyeth to go to the West to gain direct knowledge, as did Zane Gray for his Western novels. In Colorado, he worked as a cowboy beside a professional "batter", moving cattle and doing chores at the ranch. He visited Navajo in Arizona and gained an understanding of Native American culture. When his money was stolen, he worked as a mail courier, rising between Two Gray Hills trading post and Fort Defiance, to get enough money to get back home. He wrote at home, "Life is beautiful, strange - its appeal grips me like an invisible animal - it seems to whisper, 'Come back, you are here, this is your real home.'"
On the second trip two years later, he collected information about mining and brought costumes and home artifacts, including cowboy and Indian outfits. The early trips to the west of the United States inspired the periods of cowboy pictures and Native Americans who dramatized the Old West. His portrayal of Native Americans tends to be sympathetic, indicating they are in harmony with their environment, as shown by In Crystal Depth (1906).
Upon returning to Chadds Ford, he painted a series of farming scenes for Scribner's, discovering a landscape that was less dramatic than the West but a rich environment for his art: "Everything lies in its subtlety, everything is so soft and simple, so no affected. "His painting Mowing (1907), not done for illustration, is one of the most successful illustrations of rural life.
He married Carolyn Bockius of Wilmington and settled in Chadds Ford in 1908 to build a family on 18 acres (73,000 m 2 ) land near the historic Brandywine battlefield. Right now he has left Pyle, and the commission comes quickly. The hope is that he will make enough money with his illustrations to buy the luxury of painting what he wants; but as his family and income grow, he finds it difficult to stop the illustration.
Wyeth created a stimulating household for his gifted children, Andrew Wyeth, Henriette Wyeth Hurd, Carolyn Wyeth, Ann Wyeth McCoy, and Nathaniel C. Wyeth. Wyeth is very friendly, and frequent visitors include F. Scott Fitzgerald, Joseph Hergesheimer, Hugh Walpole, Lillian Gish, and John Gilbert. According to Andrew, who spends most of his time with his father because of his ill childhood, Wyeth is a firm but patient father who does not speak to his children. His hard work as an illustrator gives his family the financial freedom to follow their own artistic and scientific activities. Andrew then became one of America's leading artists in the second half of the 20th century, and Henriette and Carolyn also became artists; Ann became an artist and composer. Nathaniel became an engineer for DuPont and worked on a team that found plastic soda bottles. Henriette and Ann married Wyeth's two boys, Peter Hurd and John W. McCoy. Wyeth is the grandfather of artists Jamie Wyeth and Michael Hurd and musician Howard Wyeth.
In 1911, Wyeth began to move away from Western subjects and depicted classical literature. He painted the series for the Treasure Island edition (1911), by Robert Louis Stevenson, considered by many to be his best illustration group. The results of this great success finance his home and studio. He also illustrated the editions of Kidnapped (1913), Robin Hood (1917), The Last of the Mohicans (1919), Robinson Crusoe (1920), Rip Van Winkle (1921), The White Company (1922), and The Yearling (1939). She works for leading magazines, including Century , Harper's Monthly , Ladies' Home Journal , McClure's , Outing , Popular Magazine , and Scribner. His early works were sold directly at a good price, but only a short while later he received royalties. Wyeth will read the book carefully before doing the contracted illustrations, and he specifically creates a scene that is illustrated thinly in the book, adding to the details and moods of his own, as in Old Pew (1911).
In 1914, Wyeth hated the commercialism that became his back, and for the rest of his life, he fought internally for his capitulation, accused himself of "self-mutilating with the accursed success in the images and skin illustrations." He complained about the money people "who wanted to buy me little by little" and that "an illustration should be made practical, not only in its dramatic statement, but it should be something that will adjust to the limitations of the engravers and printers. kill the underlying inspiration to create the mind Instead of expressing that inner feeling, you are expressing an outward mind... or imitating that feeling. "
Wyeth also creates posters, calendars and advertisements for clients such as Lucky Strike, Cream of Wheat, and Coca-Cola, as well as Beethoven, Wagner and Liszt's paintings for Steinway & amp; Children. He painted mural subjects of history and allegory for the Federal Reserve Bank of Boston, the Westtown School, the First National Bank of Boston, the Roosevelt Hotel, the Franklin Savings Bank, the National Geographic Society, the Carolina Savings Fund Society, and other public. and private buildings. During the second World War, he contributed patriotic images to government and private institutions.
Her unflattering portrait and landscape paintings changed dramatically in her lifelong style when she first experimented with impressionism in the 1910s (feeling close to the "New Hope Group"), the principles of the divisionist painter Giovanni Segantini, then in the 1930s, an turn. for the realistic American regionalism of Thomas Hart Benton and Grant Wood, painting with thin oil and, occasionally, egg tempera. It was the media favored by his son, Andrew, and introduced to them both by his son-in-law Peter Hurd. Wyeth works quickly and experiments constantly, often working on a larger scale than necessary, according to energetic and great visions, often reminiscent of his ancestral past. He can imagine, sketch, and paint a great painting in just three hours.
In the 1930s, he restored an old captain's home in Port Clyde, Maine, named "Eight Bells" after Winslow Homer's painting, and brought his family there for the summer, where he paints mainly the sea. The museum began buying paintings, and in 1941, he was elected to the National Academy and exhibited regularly.
Death and inheritance
In 1945, Wyeth and his grandson (son of Nathaniel C. Wyeth) were killed when the car they drove was hit by a freight train on the railroad near Chadds Ford's home.
At the time, Wyeth had worked on an ambitious set of murals for the Metropolitan Life Insurance Company that described pilgrims in Plymouth, a series completed by Andrew Wyeth and John McCoy.
In June 1945, he had received the honorary degree of master of arts from Bowdoin College. Wyeth is a member of the National Academy, the Society of Illustrators, the Philadelphia Water Color Club, the Fellowship of the Pennsylvania Academy of Fine Arts, the Philadelphia Art Alliance, the Chester County Art Association, and the Wilmington Fine Arts Society.
A significant public collection of Wyeth's works is on display at the Brandywine River Museum in Chadds Ford, and in Maine, at the Portland Museum of Art and the Farnsworth Art Museum in Rockland. The Brandywine River Museum offers a tour of N. C. Wyeth House and Studio at Chadds Ford. The house and studio were designated as a National Historic Landmark in 1997. Homes and studios are open to the public for touring. His studio was arranged as if he had just left - a palette he used on the day his death sat on his last canvas.
Other works
- Cut (1907)
- Long John Silver and Hawkins (1911)
- The Long Roll (1911)
- The Great Train Robbery (1912)
- Stop Firing (1912)
- Fence Builder (1915)
- Mysterious Foreigner (1916)
- Scottish Tribal Head (1921) by Jane Porter (originally published in 1809)
- Stand and Send (1921)
- Rip Van Winkle (1921)
- Giant (1922)
- Drum (1925, reissued in 1928 and 1953) a book by James Boyd with illustrations by N. C. Wyeth OCLCÃ, 246805249 and OCLCÃ, 485435631
- The Deerslayer (Scribners, 1925, reissued in 1929) by James Fenimore Cooper (originally published 1841) OCLCÃ, 1301654
- Family Views (1932): 60-foot-19-foot murals including the likeness of a Wyeth family member, located in a building in downtown Wilmington, Delaware
- Dying of the Winter (1934)
- Men of Concord and some others as depicted in Henry David Thoreau's Journal (1936), a book edited by Francis H. Allen, illustrated by N.C. Wyeth OCLCÃ, 275651
- Alchemist (1938)
- Deep Cover Lobsterman (1939)
- War Letter (1944)
- Night arrives (1945)
See also
- Brandywine School
- National Museum of American Illustration
Note
Further reading
- Marietta/Cobb Art Museum. The Wyeths: N.Ã, C., Andrew and Jamie . Marietta, Ga: Marietta/Cobb Museum of Art, 1998. ISBNÃ, 0966297709
- Michaelis, David, and N. C. Wyeth. N.Ã, C. Wyeth: A Biography . New York: Knopf, 1998. ISBNÃ, 0679426264 OCLCÃ, 38566271
- Wyeth, N. C., Douglas Allen, and Douglas Allen. N.Ã, C. Wyeth: Paintings, Illustrations, and Collected Mural . New York: Crown Publisher, 1972. ISBN: 051750054X
- Wyeth, N. C., and Kate F. Jennings. N. Wybury New York: Crescent Books, 1992. ISBNÃ, 0517067137
External links
- Victoria Browning Wyeth discusses his family art at Conversations from Penn State
- The Wyeth Collection at the National Museum of American Illustration
- N.Ã, C. Wyeth Biography
- Bronco Buster , Cream of Wheat 1906 or 1907 ads, permission from Minneapolis Institute of Arts
- N C Wyeth/Newell Convers The artwork of Wyeth can be seen on the American Art Archives website
- N.Ã, C. Wyeth, Legend of Charlemagne, 1924, oil on canvas, from Bryn Mawr College Art and Artifact Collection
- N.Ã, C. Wyeth Catalog RaisonnÃÆ'  © Online Catalog raisonnà © from the Brandywine River Museum
- Illustration "Thor's Journey with the gigantic Skrymir" c. 1920
- Works by N. C. Wyeth in Project Gutenberg
- The work by N.C. Wyeth in Faded Page (Canada)
- Works by or about N. C. Wyeth in the Internet Archive
Source of the article : Wikipedia
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