Arthur N. Colt, "The Wrestlers", Oil on canvas c. 1938 More Information
Arthur N. Colt, “The Wrestlers”, Oil on canvas c. 1938
ARTHUR N. COLT (1889-1972) USA
The Wrestlers c. 1938
Oil on canvas
Signed: A. N. Colt in lower right corner
For more information on Colt see: Who Was Who in American Art (Madison, Conn.: Sound View Press, 1985). p.125. Hove, Arthur, ed. Wisconsin Alumnus Vol. 61, No. 9 (January 1960), “Portrait Patterns” Art Digest v. 9 (December 15, 1934) p. 7
Canvas: H: 29 ½” x W: 34”
Framed: H: 38 ½” x W: 43”
Arthur Colt studied painting at the Art Institute of Chicago and in Paris. He was not only an important Wisconsin painter but also an influential teacher. He taught at the University of Wisconsin, Madison, founded a summer art colony at Black River and Devil’s Lake, WI and went on to form the Colt School of Art. Arthur Colt exhibited at the Madison Salon of Art Exhibition in 1934.
Belgian art dealer Isy Brachot coined the French word Hyperréalisme, meaning Hyperrealism, as the title of a major exhibition and catalogue at his gallery in Brussels in 1973. The exhibition was dominated by such American Photorealists as Ralph Goings, Chuck Close, Don Eddy, Robert Bechtle and Richard McLean; but it included such influential European artists as Gnoli, Richter, Klapheck and Delcol. Since then, Hyperealisme has been used by European artists and dealers to apply to painters influenced by the Photorealists. However, Hyperrealism is contrasted with the literal approach found in traditional photorealist paintings of the late 20th century. Hyperrealist painters and sculptors use photographic images as a reference source from which to create a more definitive and detailed rendering, one that often, unlike Photorealism, is narrative and emotive in its depictions. Strict Photorealist painters tended to imitate photographic images, omitting or abstracting certain finite detail to maintain a consistent over-all pictorial design. They often omitted human emotion, political value, and narrative elements. Since it evolved from Pop Art, the photorealistic style of painting was uniquely tight, precise, and sharply mechanical with an emphasis on mundane, everyday imagery. Hyperrealism, although photographic in essence, often entails a softer, much more complex focus on the subject depicted, presenting it as a living, tangible object. These objects and scenes in Hyperrealism paintings and sculptures are meticulously detailed to create the illusion of a reality not seen in the original photo. That is not to say they’re surreal, as the illusion is a convincing depiction of (simulated) reality. Textures, surfaces, lighting effects, and shadows appear clearer and more distinct than the reference photo or even the actual subject itself.
Oscar B. Erickson, “Early Morning Rockport”, Oil on canvas c. 1940
OSCAR B. ERICKSON (1883 – 1970) American
Early Morning Rockport c. 1940
Oil on canvas
Marks: Original exhibition label verso: THE NORTHWEST ART LEAGUE,
INC., Oscar B. Erickson, Early Morning Rockport, oil
For brief bibliographical listing see: Who Was Who in American Art,
(Madison, Conn.: Sound View Press, 1985), p. 189.
Canvas (sight): H: 21” x W: 23”
Frame: H: 26 1/2” x W: 28 1/2”
Oscar Erickson was born in Milwaukee, Wisconsin. He studied painting and printmaking at the Milwaukee Art League and later at the Herron Art Institute of Chicago. He exhibited at the Chicago Academy of the Fine Arts, the Hoosier Salon from 1927 to 1942, the Illinois State Museum, and the Norwegian Club.
@hd_jewels