Frederick Carl Frieseke, Owosso, Michigan, American, 1874~1939

Frederick Carl Frieseke,  Owosso, Michigan, American,  1874~1939

Frederick Carl Frieseke,  Owosso, Michigan, American,  1874~1939

Frederick Carl Frieseke,  Owosso, Michigan, American,  1874~1939

Frederick Carl Frieseke,  Owosso, Michigan, American,  1874~1939

Frederick Carl Frieseke,  Owosso, Michigan, American,  1874~1939

Frederick Carl Frieseke,  Owosso, Michigan, American,  1874~1939

Frederick Carl Frieseke,  Owosso, Michigan, American,  1874~1939

Frederick Carl Frieseke,  Owosso, Michigan, American,  1874~1939

Frederick Carl Frieseke,  Owosso, Michigan, American,  1874~1939

 

Frederick Carl Frieseke, Owosso, Michigan, American, 1874~1939

 

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On April 7, 1874, Frederick Carl Frieseke was born in Owosso, Michigan. Frieseke left for France in 1898 after briefly attending the Art Institute of Chicago and the Art Students League in New York. He spent nearly the entirety of his career as an expatriate, keeping connections to the United States through his New York dealer, William MacBeth, and by making sporadic trips here. He enrolled in the Academie Julian, where he studied under Benjamin Constant (1845–1902) and Jean-Paul Laurens (1838–1921), following the example of numerous other young Americans. He seems to have interacted with James McNeill Whistler, who had just founded his Academie Carmen in Paris, at least briefly, and to have been influenced by him.

 

By 1900, Frieseke was spending his summers at Giverny, a village that had become well-known due to Monet's house and later the work of other painters, many of whom were Americans. He rented a home that had previously been home to American Impressionist Theodore Robinson in 1906, the year following his marriage to Sarah O'Bryan. Despite the property being close to Monet's, Frieseke had little interaction with the French artist. He reportedly discovered Pierre Auguste Renoir to be the most significant Impressionist. Nearly all of Frieseke's subject matter over the following thirty years came from his Giverny home and garden, which served as backdrops for a number of female models. However, in 1930, he also painted some Swiss landscapes and produced a series of watercolors of Florida scenes from his youth. The artist and his family made Normandy their home following World War I.

 

About three phases can be distinguished in Frieseke's career. Figures in the first exhibit his academic background and draughtsmanship the most clearly. These gradually transform into the most prevalent graphics of the following decade, which are composed of haphazardly applied blotches of vibrant color. The vast majority of them depict their protagonists in the garden, whether they are drinking tea, standing among the flowers, or simply enjoying the sunshine. Others feature models in vibrant, well-lit settings. The figures frequently appear indoors in Frieseke's more recent works, and their forms are given more substance and less fragmented brushwork.

 

In the late 1910s and early 1920s, when his career was at its height, Frieseke was arguably the most well-known of all active American artists. He was given various honors and medals, and both significant museums and individual collectors bought his artwork. Frieseke adopted Impressionism for his work decades after Monet and his contemporaries first popularized it, choosing to ignore the more recent aesthetic movements of the early 20th century. Nevertheless, both in Europe and the United States, his works received high praise. He received two medals in 1904—a silver one from the St. Louis Universal Exposition and a gold one from Munich. In 1908 and 1912, he was chosen as a member of the National Academy of Design and the Société National des Beaux Arts, respectively. At the Venice Biennale in 1909, seventeen of his canvases were on display, and in 1915, he took home the top prize at the Panama-Pacific International Exposition. One of his most devoted customers, John Wanamaker, commissioned him to paint a mural for his New York store.

 

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In the town of Le Mesnil sur Blangy, Normandy, he passed away on August 28, 1939. However, after his passing, when preferences in art had significantly shifted, his work was all but forgotten until the 1960s, when interest in American Impressionism began to resurface.

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