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William Michael Harnett Munich Still Life oil painting


Munich Still Life
Painting ID::  30841
William Michael Harnett
Munich Still Life
mk68 Oil on canvas Newark Newark Museum 1884 USA

   
   
     

William Michael Harnett After the Hunt oil painting


After the Hunt
Painting ID::  31929
William Michael Harnett
After the Hunt
mk77 1885 Oil on canvas 71 1/2x48 1/2in

   
   
     

William Michael Harnett Still life with Three Tobacco oil painting


Still life with Three Tobacco
Painting ID::  39085
William Michael Harnett
Still life with Three Tobacco
mk140 1880 Oil on canvas 27.3x38.1cm

   
   
     

William Michael Harnett Still Life with Letter to Mr.Clarke oil painting


Still Life with Letter to Mr.Clarke
Painting ID::  39289
William Michael Harnett
Still Life with Letter to Mr.Clarke
mk146 1879 Oil on canvas

   
   
     

William Michael Harnett Dinge fur eine Mubestunde oil painting


Dinge fur eine Mubestunde
Painting ID::  45389
William Michael Harnett
Dinge fur eine Mubestunde
mk181 1879 Ol auf Leinwand 38x51.5cm

   
   
     

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     William Michael Harnett
     1851-1892 Harnett was born in Clonakilty, County Cork, Ireland during the time of the potato famine. Shortly after his birth his family emigrated to America, settling in Philadelphia. Becoming a United States citizen in 1868, he made a living as a young man by engraving designs on table silver, while also taking night classes at the Pennsylvania Academy of the Fine Arts and later, in New York, at Cooper Union and at the National Academy of Design. His first known oil painting, a still life, dates from 1874. The style of trompe l'oeil painting that Harnett developed was distinctive and inspired many imitators, but it was not without precedent. A number of 17th century Dutch painters, Pieter Claesz. for instance, had specialized in tabletop still life of astonishing verisimilitude. Raphaelle Peale, working in Philadelphia in the early 19th century, pioneered the form in America. What sets Harnett's work apart, besides his enormous skill, is his interest in depicting objects not usually made the subject of a painting. Harnett painted musical instruments, hanging game, and tankards, but also painted the unconventional Golden Horseshoe (1886), a single rusted horseshoe shown nailed to a board. He painted a casual jumble of second-hand books set on top of a crate, Job Lot, Cheap (1878), as well as firearms and even paper currency. His works sold well, but they were more likely to be found hanging in a tavern or a business office than in a museum, as they did not conform to contemporary notions of high art. Harnett spent the years 1880?C1886 in Europe, staying in Munich from 1881 until early 1885. Harnett's best-known paintings, the four versions of After The Hunt, were painted between 1883 and 1885. Each is an imposing composition of hunting equipment and dead game, hanging on a door with ornate hinges at the right and keyhole plate at the left. These paintings, like the horseshoe or currency depictions mentioned earlier, are especially effective as trompe l'oeil because the objects occupy a shallow space, meaning that the illusion is not spoiled by parallax shift if the viewer moves. Overall, Harnett's work is most comparable to that of the slightly younger John F. Peto. The two artists knew each other, and a comparison can be made between two paintings featuring violins. Harnett's Music and Good Luck from 1888 shows the violin hanging upright on a door with ornate hinges and with a slightly torn piece of sheet music behind it. The elements are arranged in a stable, deliberate manner. Peto's 1890 painting shows the violin hanging askew, as well as chipped and worn, with one string broken. The sheet music is dog-eared and torn around the edges, and placed haphazardly behind the instrument. The hinges are less ornate, and one is broken. Harnett's objects show signs of use but are well preserved, while Peto's more humble objects are nearly used up. Crippling rheumatism plagued Harnett in his last years, reducing the number but not the quality of his paintings. He died in New York City in 1892. Other artists who painted similar compositions in Harnett's wake include his contemporary John Haberle and successors such as Otis Kaye and Jefferson David Chalfant.

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