Born in Rockford, Illinois on Jan. 1, 1868, Hobart moved to California with his family when he was a small boy. He studied art in San Francisco at the School of Design under Stanton and Cadenasso, and privately with William Keith. He then spent three years at the ASL in NYC under Blum and Bridgman and completed his art training in Paris. The turning point in his career came in 1915 at the PPIE. During the exposition Hobart was awarded a silver medal and received praise from local art critics for his development of color monotype prints. When the Oakland Civic Art Gallery opened in 1916, an entire room was devoted to his monotypes. In that year Hobart left the Monterey Peninsula and established a studio in San Francisco. From his studio came portraits of Carl Oscar Borg, Mrs. Leo Lentelli, and Gottardo Piazzoni. Often compared to Cézanne, he is nationally known for his Impressionist portraits and landscapes. Exhibitions: California Society of Etchers; Del Monte Gallery (Monterey), 1912-13; California Artists, Golden Gate Park Museum, 1915; Panama-Calif. Exposition (San Diego), 1915; Los Angeles County Museum of Art, 1915, 1918; Pennsylvania Academy of the Fine Arts, 1915; Kennedy Gallery (NYC), 1916; NY Architectural League, 1916; National Academy of Design, 1916; Calif. Liberty Fair, 1918 (1st prize); San Francisco Art Association, 1918 (prize), 1921 (1st prize), 1922 (gold medal); Western Ass'n of Art Museum Directors, 1922; Bohemian Club, 1922, 1923 (solo), 1929; Golden Gate International Exhibition, 1939; Oakland Museum, 1981. Work in Permanent Collections: San Francisco Museum of Art; CHS; Bohemian Club; De Young Museum; Mills College (Oakland); Oakland Museum; Salinas High School; Nevada Museum (Reno); Monterey Peninsula Museum.
A painter of pop-art realism combined with a great respect for traditional methods and subject matter, Wayne Thiebaud is one of the most prominent of the Bay Area painters in California in the latter part of the 20th century. His reputation spread far beyond his own state. In his painting, he focuses on the commonplace in a way that suggests irony and objective distance from his subjects. He also makes a point of keeping an independent distance from the New York art scene. He was born in Mesa, Arizona, in 1920, and for one summer during his high school years he apprenticed at the Walt Disney Studio and then studied at an Los Angeles trade school the next summer. He earned a degree from Sacramento State College in 1941. From 1938 to 1949, he worked as a cartoonist and designer in California and New York and served as an artist in the United States Army. In 1950, at the age of thirty, he enrolled in Sacramento State where he earned a Master's Degree in 1952 and began teaching at Sacramento City College. In 1960, he became assistant professor at the University of California, Davis, where he remained through the 1970s and influenced numerous artist students. However, he did not have much following among Conceptualists because of his adherence to basically traditional disciplines, emphasis on hard work rather than creativity, and love of realism. On a leave of absence, he spent time in New York City where he became friends with Willem De Kooning and Franz Kline and was much influenced by these abstractionists as well as Pop Artists Robert Rauschenberg and Jasper Johns. During this time, he began a series of very small paintings based on images of food displayed in windows, and he focused on their basic shapes. Returning to California, he pursued this subject matter and style, isolating triangles, circles, squares, etc. He also co-founded the Artists Cooperative gallery, now Artists Contemporary Gallery, and other cooperatives including Pond Farm, having been exposed to the concept of cooperatives in New York. In 1960, he had his first one-man shows in San Francisco at the Museum of Art and New York at the Staempfli and Tanager galleries. These shows received little notice, but two years later, a 1962 New York Sidney Janis Gallery exhibition officially launching Pop Art, brought him national recognition although he disclaimed being anything other than a painter of illusionistic form. In 1963, he turned increasingly to figure painting, wooden and rigid with each detail sharply emphasized; in 1967 his work was shown at the Biennale Internationale, and in 1985, he was elected to the American Academy and Institute of Arts and Letters.
Harriet Whitney Frishmuth was born on September 17, 1880 in Philadelphia, Pennsylvania. A student of such renowned artists as Auguste Rodin and Gutzon Borglum, Frishmuth's reputation and career grew steadily throughout the first several decades of the twentieth century, with exhibitions at the National Academy of Design, the Academy of Fine Arts in Philadelphia, the Salon in Paris, the Golden Gate International Exposition (1939-1940) and the National Association of Women Painters and Sculptors. Her favorite models were dancers, especially Desha Delteil - immortalized in Frishmuth's most famous work, The Vine - a model particularly popular with artists for her ability to hold difficult poses for long periods of time. The final exhibits of Frishmuth's work took place in New York City in 1929, but she remained active in the art world for many years following. Frishmuth passed away in 1980 at the age of 99. A proponent of the Beaux Arts style - Frishmuth was exceptionally critical of modern art, often calling it "spiritless" - her works can now be seen in some of the world's leading museums and collections, including the Metropolitan Museum of Art in New York City, the Dallas Museum of Art, and Ohio University's Kennedy Museum of Art.
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Born in Braunschweig, Germany on Aug. 16, 1839. Schafer may have studied art in Düsseldorf since his paintings resemble those of other Düsseldorf-trained artists; however, he is believed to have been self-taught. He came to the U.S. in 1876 and arrived in San Francisco in 1880. After establishing a studio, he began exhibiting regularly with the local art association and the Mechanics' Institute Fairs. A peripatetic painter, he made regular sketching trips throughout the Northwest including Montana, Wyoming, Colorado, Idaho, Oregon, Washington, British Columbia, and Alaska. During his last years he painted theatrical scenery in San Francisco and Oakland theaters. Schafer had a home in Oakland from 1880 until his death on July 18, 1927. His landscapes, which often include Indians, were mostly done before 1890 and number about 500. Due to alcoholism, his works are often uneven in quality. Exh: Mechanics' Inst. (SF), 1879-84; Calif. State Fair, 1880, 1894. In: Oakland Museum; Seattle Museum; Monterey Peninsula Museum; Shasta State Historical Monument; Bancroft Library (UC Berkeley); CHS; Crocker Museum; Hoover Inst. (Palo Alto); Museum of Church History & Art (Salt Lake City); Society of Calif. Pioneers; Sonoma Co. Museum (Santa Rosa); Yosemite Museum; Alameda Public Library; Craigdarroch Castle (Victoria, B.C.) Source: Edan Hughes, "Artists in California, 1786-1940"
Biography, Rene Genis was a 20th century French painter renowned for his landscapes and still lifes and for his palette of very transparent blues and greens. Genis studied at the École des Beaux-Arts in Bordeaux, then at the École des Arts Decoratifs in Paris. Starting in 1959 he had numerous one-man exhibitions in Paris and New York. In the summer of 2002 he had a one-artist exhibition at Galerie 26 on the Place des Vosges, Paris. This still life by Genis entitled "L'Artichaut" was done in 1951 in Fauvist greens, yellows, reds and purples. His work can be seen in museums in Aix-en-Provence, Bordeaux, Lyon and at the Musée Municipal d'Art Moderne in Paris.
HUNT, Esther Anna (1875-1951). Painter, sculptor. Born in Grand Island, Nebraska on August 30, 1875. Esther Hunt moved to San Diego in 1881 and she grew up on a ranch there. From 1896-1900 she worked as an artist in Los Angeles. Upon moving to San Francisco, she studied art at the Mark Hopkins Institute (1901). As a means to finance her art studies, she began painting Chinatown subjects which she sent to a New York dealer who readily sold them. After studying portraiture with William M. Chase in New York City from 1905-06, she continued her studies for six years in Paris. While in Paris her portrait of her sister was hung in the Paris Salon. Returning to California, she had a studio in Los Angeles for four years and from 1918-27 she lived in San Francisco; during 1927-31 she lived in Greenwich Village in New York City. The years 1932-46 were again spent in San Francisco. Her oils, watercolors, etchings, and colored ceramic figurines were very popular with the general public during her productive years, having been reproduced commercially for postcards, calendars, prints, busts, etc. Hunt was very fond of the artistically-created and individually-named "children" she would never have in real life. After a stroke ended her career, she was taken to the Santa Ana (CA) Rest Home. A spinster, she died there on March 4, 1951. Member: Laguna Beach Art Ass'n. Exhibited: Panama California Expo (San Diego), 1915 (gold medal); San Francisco Art Ass'n, 1916. Works held: California Historical Society.
Landscape painter. Born in Norway on June 1, 1856. Jonnevold came to the U.S. in the 1880s and is known to have painted in the Northwest before moving to California in 1887. Settling in San Francisco, he maintained a studio at 1617 California Street. He was a self-taught painter except for brief study in the galleries of Paris in 1908. While in France, he was influenced by the Barbizon painters and their dark palette. Returning to California, he continued to paint the beauty of northern California in the Barbizon style. Often working in late afternoon when shadow prevails, he produced hundreds of attractive tree and meadow scenes which he exhibited in local galleries. By the time of the stock market crash in 1929, Jonnevold was poverty stricken and living alone at his small studio at 560 Kearny Street. In that year he was sentenced to two months in jail for aiming a gun at his landlord. Jonnevold disappeared from San Francisco about 1930. A letter at the Oakland Museum gives his date of death as June 9, 1955 but no location. His works have gained renewed respect in recent years and are highly sought after by collectors. Exhibitions: Calif. State Fair, 1899-1902 (awards); Mechanics' Inst. (SF), 1897; SFAA, 1908-12; Alaska-Yukon Expo (Seattle), 1909 (bronze medal); Kanst Gallery (LA), 1915. In: Oakland Museum; CHS; De Young Museum. Source: Edan Hughes,
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A prominent landscape and marine painter, Jules Eugène Pages spent most of his career in France where he was a well-known Impressionist painter, but he maintained close ties to his native city of San Francisco and was influential in introducing that painting style to Northern California. He was born in San Francisco, California on May 16, 1867 and was raised in the artistic milieu of his father's engraving business, where he worked as an apprentice. In 1888 he sailed to Paris to study at Academie Julian under Jules Lefebvre, Benjamin Constant, and Fleury. After returning to San Francisco, he worked as an illustrator for the Examiner and Call newspapers. Upon returning to Paris in 1902, he began teaching night classes at the Academie Julian and served as its director. Pages gained international recognition while in France and was made a Chevalier of the Legion of Honor in 1910. In 1915 he exhibited at the Panama Pacific International Exposition and was a member of the International Jury of Awards. Although he remained in France for forty years, he returned to his native city often to visit and exhibit. At the outbreak of World War II, Pages returned to San Francisco and died there on May 22, 1946. He was a member of the Bohemian Club; International Society of Sculptors & Painters in Paris. He exhibited at the Paris Salon, 1895 with honorable mention, and won Gold Medals there in 1899 and 1905. He also exhibited at the Steckel Gallery in Los Angeles in 1909; at the Bohemian Club, 1924, solo exhibition; the California Palace of Legion of Honor, 1946 memorial exhibition.