Фредерицк Царл Фриесеке, 1914 - У Боудоару - графика

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Ово уметничко дело In the Boudoir је направио мушки American artist Frederick Carl Frieseke. The artwork was made with the following dimensions of 35 к 3 ин (16 к 46 цм). Уље на платну was applied by the painter as the technique for the masterpiece. The artwork is in the the digital collection of Лос Анђелес жупанија Мусеум оф Арт. модерна уметност Јавни домен artpiece is being provided with courtesy of Los Angeles County Museum of Art (www.lacma.org).: . Besides this, the alignment is пејзаж са односом 4: 3, што значи да дужина је за 33% дужа од ширине. Frederick Carl Frieseke was a painter, whose style can primarily be classified as Impressionism. The Impressionist painter was born in 1874 in Owosso, Shiawassee county, Michigan, United States and passed away at the age of 65 in the year 1939 in New York City, New York state, United States.

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• Штампа од акрилног стакла: A glossy print on acrylic glass, often named a print on plexiglass, will change the original artwork into magnificient wall décor. The work of art is custom-made with the help of modern UV printing machines. The great advantage of an acrylic glass art print is that sharp contrasts and also small image details become exposed due to the very subtle tonal gradation.
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In the Boudoir is typical of the many informal interior scenes Frieseke painted throughout his career. Although he much preferred to paint outdoors, the American public of the 1910s more readily bought his boudoir scenes of women involved in their toilette or in some other feminine activity. The artist’s wife, Sarah, better known as Sadie, usually posed as his model in their home. In this painting, as in many of Frieseke’s interiors of the 1910s, the model lounges in a room decorated with elegant French rococo furniture and an oriental carpet. In contrast to the figure’s restful pose, the scene is alive with decorative patterning. Frieseke’s interior is similar to those by Edouard Vuillard (18681940). Both artists often presented their figures in corners of rooms, viewing them diagonally and from a slightly elevated viewpoint. The floor tilts up, flattening the space of the room and thereby emphasizing the painting as an arrangement of flat shapes and patterns. Frieseke differed from Vuillard in his tendency to present his models more intimately attired or involved in more personal activities. In Torn Lingerie, 1915 (Saint Louis Art Museum), the model reveals her lovely leg while mending her slip, and in In the Boudoir she abandons her sewing basket to stretch out comfortably on the settee, allowing her kimono to slip off and expose her shoulders and breast. The palette of Frieseke’s interiors from his middle period varies in brilliance, some being as intense as his sunlit garden views. In the Boudoir is, in fact, one of his more delicate interiors of the mid-1910s: soft pastel blues, lavenders, and yellows predominate, and a silvery white is pervasive. There exists a smaller, almost exact version of In the Boudoir painted in a stronger palette (see Related Work). Frieseke occasionally painted smaller versions of completed paintings he admired. It is not known if the smaller version of this composition is such a replica or a study for the larger painting. When the painting was exhibited at the Anglo-American Exposition in London in 1914, it was praised for its subtlety and found more satisfactory than Frieseke’s other exhibit, The Garden Umbrella, n.d. (Telfair Academy of Arts and Sciences, Savannah, Ga.). According to a letter from the New York dealer Robert Macbeth to Frieseke, In the Boudoir was bought out of the 1915 Panama-Pacific International Exposition in San Francisco, where it won the grand prize. Mr. and Mrs. Baich, the collectors who donated the painting to the museum, began acquiring art in the mid-1910s and were known to purchase works from San Francsico dealers. Although it cannot be verified, it is quite plausible that the Balches may have bought In the Boudoir in 1915.