Collection
William Merritt Chase
Découvrez une sélection d'affiches d'art choisies pour des demeures de caractère et des intérieurs réfléchis.
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Un lac de Long Island - William Merritt ChasePrint
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The Red Sash - William Merritt ChasePrint · Framed
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Woman Standing in a Landscape - William Merritt ChasePrint · Framed
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The Court Jester - William Merritt ChasePrint · Framed
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Terrace, Prospect Park - William Merritt ChasePrint · Framed
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Wind-Swept Sands - William Merritt ChasePrint · Framed
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A City Park - William Merritt ChasePrint · Framed
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Alice - William Merritt ChasePrint · Framed
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Deux femmes sur le flanc de la colline - William Merritt ChasePrint · Framed · Canvas
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Étude d'un modèle japonais (vue de dos) - William Merritt ChasePrint · Framed · Canvas
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Nu au kimono - William Merritt ChasePrint · Framed · Canvas
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La Nurserie - William Merritt ChasePrint · Framed · Canvas
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La page turque - William Merritt ChasePrint · Framed · Canvas
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Le Vieux Chemin vers la mer - William Merritt ChasePrint · Framed · Canvas
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Portrait de Dora Wheeler - William Merritt ChasePrint · Framed · Canvas
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Portrait de ma fille Alice - William Merritt ChasePrint · Framed · Canvas
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Dunes à Shinnecock - William Merritt ChasePrint
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Le Chasseur de marmites - William Merritt ChasePrint
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Une visite amicale - William Merritt ChasePrint
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Les Baigneuses - William Merritt ChasePrint
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Le Vieux Livre - William Merritt ChasePrint
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Shinnecock Hills - William Merritt ChasePrint
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Nature morte aux fleurs et colibri - William Merritt ChasePrint
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Portrait d'Harriet Hubbard Ayer - William Merritt ChasePrint
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Artist Biography
William Merritt Chase
Chase briefly joined the Navy at eighteen. After three months on the USS Vermont and USS Portsmouth he wrote to his father asking to arrange a discharge. He went to art school instead, which was probably better for everyone.
He studied at the Royal Academy of Munich, came home with a technique influenced by Velazquez and the dark tonalities of the old Dutch masters, and became one of the most important art teachers in American history. His pupils included Georgia O'Keeffe, Edward Hopper, Charles Sheeler, Joseph Stella, Marsden Hartley and Rockwell Kent. The list reads like a syllabus for twentieth-century American art.
In 1891 he founded the Shinnecock Hills Summer School on Long Island, the first plein-air painting school in the United States. His friend Stanford White designed his summer house there, with an integral studio. He taught outdoors, painting the dunes and scrubland of the South Fork with a luminous palette that anticipated the Impressionism he would later formally adopt. He was invited to join The Ten, the leading American Impressionist group, in 1902.
His most famous still-life subject was dead fish: whole fish lying on a plate against a dark background, painted with the same tonal precision he brought to landscapes and portraits. The subject sounds monotonous but the paintings are extraordinary, each fish rendered as an individual study in colour and light.
He was not modest. He decorated his studio with antiques and costumes and posed for photographs wearing a top hat. He believed art was a serious profession that deserved serious presentation, which for Chase meant looking like he meant it.
He studied at the Royal Academy of Munich, came home with a technique influenced by Velazquez and the dark tonalities of the old Dutch masters, and became one of the most important art teachers in American history. His pupils included Georgia O'Keeffe, Edward Hopper, Charles Sheeler, Joseph Stella, Marsden Hartley and Rockwell Kent. The list reads like a syllabus for twentieth-century American art.
In 1891 he founded the Shinnecock Hills Summer School on Long Island, the first plein-air painting school in the United States. His friend Stanford White designed his summer house there, with an integral studio. He taught outdoors, painting the dunes and scrubland of the South Fork with a luminous palette that anticipated the Impressionism he would later formally adopt. He was invited to join The Ten, the leading American Impressionist group, in 1902.
His most famous still-life subject was dead fish: whole fish lying on a plate against a dark background, painted with the same tonal precision he brought to landscapes and portraits. The subject sounds monotonous but the paintings are extraordinary, each fish rendered as an individual study in colour and light.
He was not modest. He decorated his studio with antiques and costumes and posed for photographs wearing a top hat. He believed art was a serious profession that deserved serious presentation, which for Chase meant looking like he meant it.
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