1989 Fine Arts Museums of San Francisco California Colorists
The Club of Vi was a group of artists who painted outdoors, socialized, and exhibited together in and around Oakland, California in the 1910s and 1920s. They included Selden Connor Gile, Baronial Gay, Maurice Logan, Louis Siegriest, Bernard von Eichman, and William H. Clapp.[ane] They were somewhat isolated from the artistic mainstream of the San Francisco Bay Area at the time, and painted in more advanced styles than most of their peers, specially after existence inspired by modern trends represented in the Panama Pacific International Exposition of 1915.
Artists [edit]
William Henry Clapp (1879-1924) was the terminal to join the grouping and had the most cosmopolitan background, including art training in Montreal and Paris and a six-calendar month stay in New York City. Having lived in Oakland in his youth, he returned in 1917, settled in Piedmont, and began teaching life drawing at the California School of Arts and Crafts. He was appointed acting managing director of the almost new Oakland Art Gallery in 1918 and served as its director from 1919 to 1952. In 1923 he organized the kickoff of six annual Society of Six exhibitions at that venue. Although he brought exposure through the gallery to more radical styles of painting, his own work adhered to the features of American Impressionism.
Selden Connor Gile (1877-1947) was the oldest fellow member of the group, more than than 20 years older than Siegriest (1899-1989) and von Eichman (1899-1970). Nancy Boas, writer of The Society of Six: California Colorists, chosen Gile "the forceful centre of the Half-dozen--teacher, provider, and provocative critic."[2] Primarily self-taught, he enthusiastically embraced a vigorous style using wide, rapid brushstrokes and intense, non-naturalistic colors. His home was the social center for the Half dozen, who would follow their days of plein-air painting with critique sessions, food, and drinking.
August (Gus) François Pierre Gay (1890-1948) immigrated from his native France to the Usa in 1901, resided primarily with his male parent and three younger sisters in Alameda, California from 1903 to 1920,[3] and studied at the California School of Craft in Berkeley (1918–19) and at the California School of Art in San Francisco while working at several odd jobs.[4] In 1919 and 1920, when his art was exhibited at the Oakland Fine art Gallery with the work of Gile, Gay's early on use of colour was called "unafraid."[v] By 1921 Gay was a Monterey resident, sharing a studio with Clayton Sumner Price in the Stevenson Firm, and exhibiting equally a regular fellow member of the Carmel-by-the-Bounding main art colony.[four] Between 1923 and 1926 Gay exhibited with the Club of Six at the Oakland Fine art Gallery, but withdrew his fine art from the 1927 prove in a dispute with the oft dictatorial Selden Gile.[half dozen] While frequently exhibiting his bold Fauvist paintings throughout California (including shows at the Galerie des Beaux Arts, Los Angeles Museum and San Francisco Art Association), he developed a second career as a fine furniture craftsman and was invited to join the Monterey Society, which was founded by East. Charlton Fortune for the purpose of making ecclesiastical furnishings.[7] In the 1930s he created on the Monterey Peninsula several federally and privately funded murals, which are today regarded equally masterpieces.[8] In 1942 Gay moved with his wife to the Carmel Woods and built a home with his ain hands. He died on March 9, 1948.[4]
Images [edit]
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Selden Connor Gile, Joaquin Miller Home, 1915, oil on sail, Oakland Museum of California
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Louis Siegriest, Gile'southward Business firm, 1921, oil on canvas, Oakland Museum of California
References [edit]
- ^ "Club of Six", askart.com
- ^ Nancy Boas, The Society of 6: California Colorists (San Francisco: Bedford Arts, 1988), p. 26. ISBN 9780520210547
- ^ U.South. Demography of 1910, ED 5, Sail 11A; U.S. Census of 1920, ED11, Sail 16B
- ^ a b c Edwards, Robert W. (2012). Jennie Five. Cannon: The Untold History of the Carmel and Berkeley Art Colonies, Vol. ane. Oakland, Calif.: East Bay Heritage Project. pp. 204–205, 257, 265, 488–389, 406–409, 689. ISBN9781467545679. An online facsimile of the entire text of Vol. i is posted on the Traditional Fine Arts Organization website ("Archived re-create". Archived from the original on 2016-04-29. Retrieved 2016-06-07 .
{{cite web}}: CS1 maint: archived copy as title (link)). - ^ The Oakland Tribune, 13 July 1919, p. eleven.
- ^ The Oakland Tribune, 13 March 1927, p. Due south-5.
- ^ Carmel Pino Cone, 25 August 1939, pp.17-xviii.
- ^ Carmel Pine Cone: 29 December 1933, p.3; 12 January 1934, p.7; 29 March 1935, p.7; 19 July 1935, p.9; 21 August 1936, p.3; 25 August 1939, p.three; i September 1939, p.1.
Additional resources [edit]
- "Louis Bassi Siegriest Reminiscences," interview by Corinne 50. Gilb, 1954, Academy of California Regional Oral History Role, Bancroft Library, Berkeley
- Ruth Lilly Westphal, ed. (1986). Plein Air Painters of California: The North. ISBN 0961052015
- Steven A. Nash, ed. (1995). Facing Eden: 100 Years of Landscape Art in the Bay Surface area. ISBN 0520203623
- William Clapp biography in progress
- Gallery newsletter with images
Source: https://en.wikipedia.org/wiki/Society_of_Six
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