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Seller's Description:
Very Good. No Jacket. Size: 4to-over 9; Some waffling on pages near fore edges, otherwise clean, crisp, bright white, like new pages, nice color illustartions of paintings. Ft. bd has lower bumped tip, back bd. has small closed tear on lower spine. 120 pages. Unmarked, text square in spine.
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Seller's Description:
Near Fine. No Jacket. Catalogue for gallery sale Jan. 12-Feb. 25, 2006. Price list printed on separate sheet of paper included. Nice pictorial hardcover. Solid near fine.
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Seller's Description:
New. 0945936753. *** FREE UPGRADE to Courier/Priority Shipping Upon Request *** – – *** IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT-FLAWLESS COPY, BRAND NEW, PRISTINE, NEVER OPENED Catalog is 120 pages and contains essays by scholars William Gerdts and Carol Lowrey. There are 35 cataloged paintings in the exhibition and a chronology of Lie's life. The catalog is beautifully illustrated with gorgeous reproductions of the artist's work...ranging from the artist's early Tonalist-inspired landscapes to the radiant mountain and coastal scenes that comprise his mature work and contributed to his reputation as one of the most celebrated landscape painters of his era. Lie was born in Moss, Norway, the only son of a Norwegian civil engineer and his Connecticut-born wife. He began studying art at the age of twelve, spending three months in the studio of his cousin, the artist Christian Skredsvig. Later that year, while residing in Paris with his famous uncle and namesake, the novelist Jonas Lauritz Edemil Lie, he took drawing lessons during the evening and visited the Louvre and Luxembourg museums. After moving to New York City in 1893, he studied art under Dewing Woodward at Felix Adler's Ethical Culture School. On graduating in 1897, he worked for Manchester Mills, a textile factory in New York, while continuing his formal training at the Cooper Union School, the Art Students League, and probably, the National Academy of Design. From about 1900 to 1906, Lie painted outdoors in the countryside around Ridgefield, New Jersey, with fellow members of the Country Sketch Club, producing landscapes that reveal the impact of Tonalism and the muted color harmonies of James McNeil Whistler, and that, as noted by one contemporary critic, 'conveyed a sense of the elemental spirit of nature and the natural scene. ' In January of 1901 he made his professional debut at the National Academy of Design, where his A Gray Day, a moody, tonal landscape painted at Rockaway Beach, was selected for inclusion in that year's annual. Two months later, he contributed five oils to an exhibition of work by the County Sketch Club held at the Art Institute of Chicago, and in 1903, his canvas, A Winter Idyll (location unknown) was acquired by the celebrated painter William Merritt Chase from the annual exhibition of the Pennsylvania Academy of the Fine Arts in Philadelphia. Lie's star was clearly on the rise; he went on to receive a silver medal at the Louisiana Purchase Exposition in 1904, and he had solo shows at the New Gallery in New York and the Pratt Institute in Brooklyn in 1905. In 1906 Lie left his job at Manchester Mills and tuned his full attention to painting. During that same year he traveled to Paris, where he saw and was deeply inspired by the paintings of Claude Monet, an experience that caused him to brighten his palette considerably. His belief in the power of color was further enhanced in 1909, when, on another trip to Paris, he was drawn to the work of avant-garde painters such as the Fauvist Henri Matisse and the Post-Impressionist Paul Gauguin. Lie's gamble that he could make it in the competitive New York art world paid off: as early as 1907 the critic James Huneker had informed his readers that there was something special about Lie's art, referring to him as a 'painter of poetic temperament and individual vision, ' while a writer for Craftsman praised his ability to translate the moods of nature into paint. In 1912, by which time Lie had abandoned his Tonalist approach in favor of a robust style in which he fused aspects of Realism and Impressionism, he was identified by a penman for Current Literature as 'one of the most promising of the younger artists now working in New York, ' expressing an artistic vision shaped by his American milieu and training and by his Scandinavian background. Lie resided in Plainfield, New Jersey from 1901 until 1910, when he returned to Manhattan and began incorporating urban motifs--the streets,...
