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colors and broken brushwork akin to the
Impressionists. His wife Anna died in 1892, but Weir remarried her sister, Ella Baker, the same year. By this new marriage, he inherited another farm in Windham, CT. This new site was now his rightful property, but it was not the first time he had ever seen the Windham farm. He had been there with Anna in years past. On his first stop there in 1882, the beautiful farm and surrounding village made quite an impact on him. He had this to say: "This is really the first Connecticut village that I have really ever known, & now I feel that a charm is connected with all villages, such as I have read of but never appreciated"
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354:. Such a prestigious event meant that the art world had taken notice of the American brand of Impressionism. Furthermore, Weir felt compassion for those who lost their jobs in the 1893 depression. Railroad bankruptcies led to unemployed workers, but Weir helped raise money for them with painting exhibitions.
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down the street from Weir's
Windham farm. He used complementary colors to unite the image with equal tonal quality and to depict the realistic reflection of the bridge seen on the water. While there is pictorial unity in the piece, Weir contrasted the bridge and its surrounding setting by placing the
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for the first time, and reacted strongly: "I never in my life saw more horrible things...They do not observe drawing nor form but give you an impression of what they call nature. It was worse than the
Chamber of Horrors." He complained about the Impressionists in a letter from April 15, 1877, to his
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By 1891 Weir had reconciled his earlier misgivings about impressionism and adopted the style as his own. His one-man show at the
Blakeslee gallery in the same year clearly displayed his newfound affinity for the Impressionist style. His work demonstrated a tendency for a lighter palette of pastel
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who summered with Weir on his farm, before purchasing his own home in Falls
Village, Connecticut. The pastoral setting of his farms often feature in his paintings. They were a healthy escape from the hustle and bustle of urban New York City. Weir loved working in the city, but it often became too
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much for him to bear. Branchville and
Windham served as comfortable getaways. According to art historian Hollis Clayson, "Life on the street could often frustrate and aggravate, but contemplated from far off, experienced exclusively as a visual phenomenon, it could satisfy".
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During the remainder of his life Weir painted impressionist landscapes and figurative works, many of which centered on his
Connecticut farms at Branchville and Windham. His style varied from traditional, vibrant impressionism to a more subdued and shadowy
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in late 1897 to protest what they saw as the overemphasis on
Classical and Romantic Realism over Impressionism by the Society. The Ten exhibited for twenty years until its demise, due to the death of members and the prominence of newer styles.
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parents saying, "They do not observe drawing nor form but give you an impression of what they call nature". As a conservative academic painter at this stage in his career, Weir was esteemed by his
European peers during his training years.
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380:. As a rule, his paintings done after 1900 showed a renewed interest of the academicism prevalent in the work of his younger days, with subjects treated less realistically and a greater emphasis placed on drawing and design.
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In 1874, Weir shared a studio at 5 Rue de Pont de Lodi in Paris with
Finnish artist Albert Edelfelt, who would become a lifelong friend. The two studied together at the École des Beaux-Arts under Jean-Léon Gérôme.
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322:. In 1889, the two artists exhibited and sold a large portion of their paintings at Ortgies Gallery in New York. Weir was also close friends with the still life and landscape painter
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in London before returning to New York City in 1877. Upon his return to NYC, Weir became a charter member of the Society of American Artists and continued exhibiting his work at the
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red bridge against the greens of woods and the blues of water and sky and by juxtaposing the geometric man-made bridge with the natural sinuous curves of the trunks and branches.
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In 1912 Weir was selected the first president of the Association of American Painters and Sculptors, but resigned a year later following the association's sponsorship of the
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Weir gained further notoriety and in 1893, the American Art Association grouped his works together with those by Twachtman for a comparative exhibit with pieces done by
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Clayson, Hollis (2011), "Enthralled and Dismayed by Paris: Julian Alden Weir in the Transatlantic World", in Wardle, Marian (ed.),
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with whom he shared a studio and would become a lifelong friend. While in France he studied under the famous French artist
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from 1869, starting the first academic art program on an American campus. His niece was artist and educator
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151:(August 30, 1852 – December 8, 1919) was an American impressionist painter and member of the
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Weir was born on August 30, 1852, the second to last of sixteen children, and raised in
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from 1895. It is a technical masterpiece, displaying a truss bridge that spanned the
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494:, Hartford, Connecticut. Weir's farm and studio at Branchville are protected as the
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and the human figure, which he rendered in a realist style not unlike the work of
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Ett gott parti : Scener ur Ellan de la Chapelles och Albert Edelfelts liv
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776:. New York: The Press Publishing Co. (The New York World). 1918. p. 216.
191:, also became a well-known landscape artist who painted in the styles of the
870:
American Impressionism and Realism: The Painting of Modern Life, 1885–1915.
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872:, New York: Metropolitan Museum of Art, pp. 61, 83, 137, 140, 358,
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414:. He was interred at Windham Center Cemetery in Windham, Connecticut.
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The Weir Family, 1820–1920: Expanding the Traditions of American Art
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The Weir Family, 1820–1920: Expanding the Traditions of American Art
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Civic Art: A Centennial History of the U.S. Commission of Fine Arts
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Bolger, Doreen; Curry, David Parker; Weinberg, H. Barbara (1994),
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Cummings, Hildegard; Fusscas, Helen K.; Larkin, Susan G. (1991),
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from 1916 until his death in 1919. He was an early member of the
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908:, Washington, D.C.: U.S. Commission of Fine Arts, p. 557
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890:, Storrs: William Benton Museum of Art, pp. 55–56,
995:(2nd ed.), New York: Abbeville Press Publishers,
603:(in Swedish). Svenska litteratursällskapet i Finland.
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Today Weir's paintings are in the collections of the
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in Paris in 1873. His peers included Finnish painter
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schools. He was professor of painting and design at
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Members of the American Academy of Arts and Letters
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1017:, Greenwich: The Bruce Museum of Arts and Science,
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Julian Alden Weir, 1910. In his last decade of life
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440:The most critically acclaimed painting by Weir is
953:, New Haven: Yale University Press, p. 123
306:, after having acquired farm property, now the
159:. Weir was also one of the founding members of
667:. "The Give-and-Take of Buildings and Trees".
1800:Pennsylvania Academy of the Fine Arts faculty
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1055:American Artists Abroad and their Inspiration
904:Luebke, Thomas E., ed. (2013), "Appendix B",
8:
1039:, New York: the National Academy of Design,
1830:American alumni of the École des Beaux-Arts
1103:Restoration of the Weir House & Studios
433:1880 bust of J. Alden Weir, sculpted by
218:in the early 1870s before enrolling at the
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1013:American Impressionism: The Beauty of Work
296:Roses in a Silver Bowl on a Mahogany Table
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969:J. Alden Weir: An American Impressionist
272:His works as a young artist centered on
1795:Art Students League of New York faculty
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770:"American Academy of Arts and Letters"
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46:J. Alden Weir in the late 19th century
951:The Life and Letters of J. Alden Weir
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402:. Weir later became president of the
383:In 1897, Weir became a member of the
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1815:Artists from Ridgefield, Connecticut
417:Among Weir's pupils was the painter
412:American Academy of Arts and Letters
1805:Artists from Greenwich, Connecticut
1053:Stula, Nancy; Noble, Nancy (2004),
935:, New Hampshire: UPNE, p. 63,
917:, New Hampshire: UPNE, p. 12,
774:World Almanac and Encyclopedia 1919
722:Cummings, Fusscas & Larkin 1991
1865:20th-century American male artists
1775:19th-century American male artists
1108:Weir family papers and photographs
738:. Antiques & Fine Art Magazine
25:
1850:20th-century American printmakers
888:J. Alden Weir: A Place of His Own
853:Bolger, Curry & Weinberg 1994
841:Bolger, Curry & Weinberg 1994
817:American women artists, 1830–1930
710:Bolger, Curry & Weinberg 1994
698:Bolger, Curry & Weinberg 1994
653:Bolger, Curry & Weinberg 1994
302:In the 1880s Weir moved to rural
1810:People from West Point, New York
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1112:L. Tom Perry Special Collections
1072:Weir Farm National Historic Site
496:Weir Farm National Historic Site
308:Weir Farm National Historic Site
267:Weir Farm National Historic Site
1790:American Impressionist painters
597:Vainio-Kurtakko, Maria (2022).
472:Smithsonian American Art Museum
230:, and became good friends with
1785:20th-century American painters
1770:19th-century American painters
1319:First Impressionist Exhibition
516:List of works by J. Alden Weir
1:
1485:Marc-Aurèle de Foy Suzor-Coté
975:Associated University Presses
965:Burke, Doreen Bolger (1983),
673:, 2016. Retrieved 28 may 2017
185:James Abbott McNeill Whistler
949:Young, Dorothy Weir (1960),
913:Wardle, Marian, ed. (2011),
408:U.S. Commission of Fine Arts
376:. He also became skilled at
27:American painter (1852–1919)
1840:Painters from New York City
1654:French impressionist cinema
991:Gerdts, William H. (2001),
736:"The Ten American Painters"
539:Society of American Artists
389:Society of American Artists
183:who taught such artists as
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1695:Pennsylvania Impressionism
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1084:"Weir, Julian Alden"
464:Metropolitan Museum of Art
404:National Academy of Design
248:National Academy of Design
216:National Academy of Design
143:Metropolitan Museum of Art
97:National Academy of Design
1835:Painters from Connecticut
1749:Pays des Impressionnistes
1543:Giovanni Battista Ciolina
1031:Larkin, Susan G. (2001),
1009:Larkin, Susan G. (2005),
406:. He was a member of the
175:. His father was painter
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1685:Decorative Impressionism
1680:California Impressionism
1120:Brigham Young University
504:Archives of American Art
476:Brigham Young University
470:, Washington, D.C.; the
258:and in private classes.
254:Women's Art School, the
234:. Weir also encountered
1705:Synthetic impressionism
1670:Amsterdam Impressionism
1495:Helen Galloway McNicoll
1346:Frederick Carl Frieseke
1098:Julian Alden Weir works
562:National Park Service.
500:Smithsonian Institution
366:The Phillips Collection
1780:American male painters
1376:Walter Elmer Schofield
1090:Encyclopedia Americana
1077:Lyman Allyn Art Museum
1059:Lyman Allyn Art Museum
1035:The Cos Cob Art Colony
993:American Impressionism
529:American Impressionism
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244:James McNeill Whistler
157:Greenwich, Connecticut
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1603:Władysław Podkowiński
1341:William Merritt Chase
1232:Pierre-Auguste Renoir
1116:Harold B. Lee Library
670:The Artist's Magazine
544:Ten American Painters
474:, Washington, D. C.;
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419:Harriet Campbell Foss
385:Ten American Painters
362:Afternoon by the Pond
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187:. His older brother,
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1510:Robert Wakeham Pilot
1500:James Wilson Morrice
1381:John Henry Twachtman
977:and Cornwall Books,
316:John Henry Twachtman
312:Albert Pinkham Ryder
232:Jules Bastien-Lepage
220:École des Beaux-Arts
173:West Point, New York
101:École des Beaux-Arts
70:West Point, New York
1623:Philip Wilson Steer
1475:William Blair Bruce
1262:Gustave Caillebotte
1182:Gustave Caillebotte
564:"Julian Alden Weir"
534:Art Students League
484:Portland Art Museum
482:, Provo, Utah; the
468:Phillips Collection
336:John Singer Sargent
334:Julian Alden Weir,
320:Art Students League
304:Wilton, Connecticut
282:Woman with a Parrot
256:Art Students League
1845:Pont-Aven painters
1732:The Impressionists
1700:Post-Impressionism
1578:Konstantin Korovin
1428:Frederick McCubbin
1272:Henry O. Havemeyer
788:"theChronicle.com"
492:Wadsworth Atheneum
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189:John Ferguson Weir
177:Robert Walter Weir
153:Cos Cob Art Colony
146:
1757:
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1690:Neo-Impressionism
1558:Antoine Guillemet
1538:Marie Bracquemond
1505:Laura Muntz Lyall
1371:Theodore Robinson
1366:Lilla Cabot Perry
1202:Armand Guillaumin
827:978-0-940979-01-7
724:, pp. 55–56.
610:978-951-583-557-4
149:Julian Alden Weir
130:
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87:New York City, US
56:Julian Alden Weir
18:Julian Alden Weir
16:(Redirected from
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1734:(2006 TV series)
1726:Wilfrid de Glehn
1598:Nadežda Petrović
1563:Nazmi Ziya GĂĽran
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1356:Alphonse Maureau
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1293:Paul Durand-Ruel
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364:, c. 1908–1909,
286:Boy with a Sword
228:Jean-LĂ©on GĂ©rĂ´me
105:Jean-LĂ©on GĂ©rĂ´me
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80:December 8, 1919
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1618:JoaquĂn Sorolla
1593:Francisco Oller
1583:MartĂn Malharro
1528:Eugène Baudouin
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1480:William Brymner
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201:Yale University
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34:J. Alden Weir
31:
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1553:Eva Gonzalès
1438:John Russell
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1217:Claude Monet
1192:Paul CĂ©zanne
1187:Mary Cassatt
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795:. Retrieved
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740:. Retrieved
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683:Clayson 2011
678:
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665:Weiss, Jerry
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638:, p. 5.
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568:. Retrieved
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352:Paul Besnard
348:Claude Monet
345:
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324:Emil Carlsen
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252:Cooper Union
241:
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193:Hudson River
170:
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82:(1919-12-08)
1860:Weir family
1825:1919 deaths
1820:1852 births
1739:Louis Leroy
1637:Other media
1613:Max Slevogt
1588:Henry Moret
1433:Tom Roberts
1312:Exhibitions
1197:Edgar Degas
1165:Originators
757:Luebke 2013
636:Wardle 2011
585:Wardle 2011
400:Armory Show
141:, c. 1895,
1764:Categories
1649:Literature
1470:Henri Beau
1402:Australian
862:References
797:2022-02-14
624:Young 1960
490:; and the
274:still life
205:Irene Weir
181:West Point
62:1852-08-30
566:. nps.gov
397:modernist
298:, c. 1890
242:Weir met
167:Biography
161:"The Ten"
93:Education
1663:See also
1459:Canadian
1330:American
742:10 April
570:10 April
510:See also
374:tonalism
197:Barbizon
121:Movement
115:Painting
1719:Related
1710:The Ten
1521:artists
1461:artists
1404:artists
1332:artists
1286:Dealers
1255:Patrons
1093:. 1920.
378:etching
1043:
1021:
999:
981:
939:
921:
894:
876:
824:
607:
425:Legacy
338:, 1890
1744:Nadar
1644:Music
1519:Other
550:Notes
155:near
1041:ISBN
1019:ISBN
997:ISBN
979:ISBN
937:ISBN
919:ISBN
892:ISBN
874:ISBN
822:ISBN
744:2014
605:ISBN
572:2014
350:and
314:and
284:and
195:and
77:Died
52:Born
502:'s
486:in
478:'s
1766::
1118:.
1114:,
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1087:.
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690:^
643:^
506:.
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207:.
103:,
99:,
1148:e
1141:t
1134:v
830:.
800:.
746:.
613:.
574:.
64:)
60:(
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
