Albert Pinkham Ryder
Albert Pinkham Ryder ( born March 19, 1847 in New Bedford (Massachusetts ), † March 28, 1917 ) was an American painter who was best known for his poetic and moody allegorical works and seascapes adhere, as well as for his eccentricity. While his art shared an emphasis on subtle variations of color with the Tonalism, it was unique in the accentuation of the form in a way that some art historians see as prescient Modern Art.
Early life
Ryder was the youngest of four sons. New Bedford, a bustling whaling town in the 19th century, had a close connection to the sea, the Ryder probably gave inspiration in his later life. Little is known about his childhood. The Ryder family moved in 1867 or 1868 New York City, where an older brother had opened a successful restaurant.
Studies and early career
Ryder's early interest in art was nurtured in New York by William E. Marshall. From 1870 to 1873 and again from 1874 to 1875, studied Ryder Art at the National Academy of Design. There he made his first painting in 1873 and met the artist Julian Alden Weir, who became a lifelong friend. 1878 Ryder stepped into the newly formed Society of American Artists, a loosely organized group did not match their work with the academic standards of the time. Other members were Augustus Saint -Gaudens, Robert Swain Gifford (also from New Bedford ), Ryder's friend Julian Alden Weir, John La Farge, and Alexander Helwig Wyant. Ryder exhibited with this group from 1878 to 1887. His early works from the 1880s were often tonalistische landscapes, sometimes with cattle, trees and small buildings.
Artistic maturity
The 1880s and 1890s are considered to be Ryder's most creative and artistically mature years. His art was poetic and imaginative, and Ryder wrote poetry to accompany many of his works. His paintings often showed scenes from literature, opera, and religion. Ryder's characteristic style is characterized by bright, sometimes bad certain forms or stylized figures in a dream-like land or seascape. His scenes are often lit by dim sunlight or bright moonlight through eerie clouds. Ryder signed his works rarely.
Ryders methods
Ryder used his abundant colors and carefree. His paintings, which he often worked 10 years and more were made up of layers of paint and varnish over each other. He often painted on wet varnish or painted with quick drying paint over a layer of slow- drying ink. The result is that Ryder paintings remain unstable and darken. They crack and dry even after decades not completely, sometimes they disintegrate completely. For these reasons and because some Ryder paintings were terminated or revised by others after his death, some see paintings today are very different from the origination date.
Eccentricity and fame: Ryders late years
After 1900, his father died, Ryder's creativity went back dramatically. For the rest of his life he devoted his artistic energy occasional revisions of existing paintings, of which some were scattered in his New York apartment. Visitors were affected by his slovenly habits. Ryder never cleaned, the floor was covered by garbage, old food and thick layers of dust. For visitors he had to free up space for standing or sitting. He was shy and not looking for the community of others, received guests but polite and enjoyed telling stories and telling stories about his art. He earned a reputation as a loner, but held social contacts, corresponded happy and went on trips to visit his friends.
Although his creativity declined in the new century, his fame grew. Important collectors of American art collected his work and often acted as loaners for national art exhibitions; Ryder himself had the interest to exhibit his work is lost. 1913 shown in the historic Armory Show 10 of his works, an honor which shows his appreciation by modern artists of the time.
1915 Ryder's health deteriorated and he died in the home of a friend who took care of him. A memorial exhibition was held in 1918 at the Metropolitan Museum of Art in New York. While the works of many of his contemporaries in the 20th century were forgotten, his reputation remained largely intact thanks to its unique and forward- facing style.
The question of authenticity
In her book, Albert Pinkham Ryder: Painter of Dreams, write William Innes Homer and Lloyd Goodrich, "There are more fake Ryders than there are forgeries of any other American artist except his contemporary Ralph Blakelock ." The authors, Ryder, experts estimate the number of fakes on over 1000th They also claim (as of 1989) that some remain in private and museum collections, and are offered by art dealers and auction houses. One reason for this is that Ryder is easy to forge. Counterfeiters have a rich repertoire of techniques to age artificially images, such as painting on old canvases or baking to produce cracks. Counterfeits can be detected by visual and chemical analyzes, as well as by a demonstrable origin - a written documentation of the ownership of an image.