Женя (jenya444) wrote in classic_art_ru,

Матиас Альтен

Город наш существует уже двести лет, в нем сто тысяч жителей, и ни одного, который не был бы похож на других, ни одного подвижника ни в прошлом, ни в настоящем, ни одного учёного, ни одного художника...
Чехов, "Три сестры"

Посёлок Grand Rapids в западной части Мичигана стал городом в 1850 году. Через город протекает река, естественно Grand River. Родившийся в Германии Матиас Альтен перехал в США с семьёй (родители, брат, сестра) в 1889 году в возрасте 17 лет; семья поселилась в городе Grand Rapids, известным своим производством мебели. Первая работа Альтена - как раз декоратор мебели на местной фабрике. Постепенно он начал рисовать и в 1899 году открыл свою студию. В местном музее сейчас проходит выставка художника, приуроченная к 150-летию со дня его рождения.

alten-family-portrait 1915

Художник с женой и детьми (1915). На фотографии три дочки: Элеаноре тут 19, Камелии - 17, Виоле - 12.


Автопортрет, 1913


Автопортрет, 1926


Канал к озеру Ридс, 1915


Озеро Ридс с купающимися, 1918


Мальчик с тачкой, 1926


Портрет Камелии (1924). Этого портрета на выставке не было, зато к нему нашёлся вот такой текст

Alten’s portrait of his second daughter portrays a modern and confident young woman in the midst of the Roaring Twenties. Camelia Alten Demmon sat for her portrait not long after she married Ralph Waldo Demmon, an architect whose image graces the pendant painting of this work (Fig. 4). In their respective images, Camelia and Ralph turn toward one another to suggest conversation and to imply affinity. They complement one another in color as well, with Camelia wearing colorful, patterned clothing and set against a darker background and Ralph embodying a lighter palette. Their individual poses align along traditional gender stereotypes — Camelia more closed and compact, with her hands crossed demurely in front of her body, and Ralph occupying more space with one hand firmly planted on his hip and the other outstretched to hold a walking stick. In this way, these portraits adhere closely to conventional portraiture format.

Camelia, however, appears anything but traditional in this image. Just prior to the time that she sat for this portrait, she was attending Michigan State Normal College (which became Eastern Michigan College in 1956, and then Eastern Michigan University in 1959), from which she graduated in 1925. College attendance for all populations increased dramatically in the decades following World War I. While it was not unusual to see women enrolled in American colleges and universities in the early years of the twentieth century, by the 1920s when Camelia attended school in Ypsilanti, the number of women who attained college degrees had risen dramatically.

Alten shows his daughter’s cool independence through her upright stance, her strong eye contact with the viewer, and her up-to-date clothing. She has bobbed her hair in the flapper style and wears an ornate floral headband across her upper forehead. Her tubular dress is the height of fashion: cap sleeves daringly expose the entire length of her arm and the straight chemise style de-emphasizes any curves in the chest, waist, or hips. Considered rather shocking when first introduced, for its raised hems and lowered waistlines, by the mid-1920s, this flapper-style dress signified the wearer as a fashionable, modern, and youthful woman. Alten highlights his daughter’s beauty with several references to flowers: the headband, the print of the dress (which he punctuates with occasional impasto flourishes), and the decorative fabric flowers that grace her hip.

Альтен много путешествовал: был в Дании, Испании, Франции, рисовал во Флориде и Калифорнии, вот орегонский пейзаж


Гора Худ (Маунт-Худ), Орегон, 1909


While in Portland, Oregon, painting the Haaks’ portraits, the artist captured a picturesque view of Mount Hood and some of the surrounding woodlands, which had recently been designated the Oregon National Forest and maintained by the newly established U.S. Forest Service. Anchored in the right foreground by tall pines, some of which are cropped at the top in the manner of the Impressionists, the scene unfolds into the far distance, punctuated at the center axis by the snowcovered peak of Mount Hood. No longer content to paint each shrub and every blade of grass as he had in A Bayou at North Park, here the artist uses an abbreviated brush stroke to suggest stands of trees along the valley floor and short, unblended dabs of white and red to suggest a small group of flowers in the foreground. The palette — mixed with copious amounts of white and blue — practically glows in the early summer sun.


Обнажённая, 1931


Юбка в полоску, 1917


Сагунто (Валенсия), 1922


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