Current Location:
Hanging Fence Storage -> Section #3
Location Notes:
IDC; Hanging Fence Storage; Section #3

Mathias J. Alten: An American Impressionist ➔ An Unruly Wind

Artwork
Identifier:
2016.65.30
Artist:
Alten, Mathias Joseph
Credit:
Gift of George H. and Barbara Gordon
Medium:
Oil on Canvas
Date:
1910
Dimensions:
Artworks - Height: 12.25 in Width: 18 in
Description:
Cows along a stream with a partial fence. Windmill in the background.
Wikipedia Summary:

Mathias Alten (1871–1938) was an American impressionist painter from Grand Rapids, Michigan.

Career

Mathias Joseph Alten worked as an artist between 1890 and 1938. Although best known for his land- and seascapes he was also an accomplished portrait, floral, and animal painter. William H. Gerdts, a pre-eminent authority on American regional painting, describes Alten's style as that of a "second-generation Impressionist." Alten studied at the acclaimed Académie Julian and at the Académie Colarossi where he won a gold medal for the best figure drawing. As early in his career as 1905, Alten was being invited to show his paintings in museum exhibits. During his lifetime, his work was exhibited at the National Academy in New York, The Chicago Institute of Art, the Corcoran Gallery in Washington, D.C., the Pennsylvania Academy of the Fine Arts, the Detroit Institute of Art and other smaller venues.

As catalogs from those aforementioned exhibits show, Alten's paintings hung among the works of acclaimed artists such as Childe Hassam, Edward Henry Potthast, Charles Russell, H.O. Tanner, Frederic Remington, O.E. Berninghaus, George Bellows, J.S. Sargent, E.L. Blumenschein, Thomas Eakins, William Merritt Chase and William Wendt – as well as those of his similarly distinguished friends - H.R. Poore of Old Lyme, Connecticut, and E.I. Couse of Taos, New Mexico.

According to Gerdts, "By 1898 Alten appears to have felt the need for greater professional training and exposure … to more cosmopolitan experience in artistic craftsmanship and association." He made a number of voyages to Europe; first to study his craft in Paris (with the help of wealthy patrons) in 1899. Then, attracted to the Hague School of Dutch artists, he spent 1910-11 working in the Netherlands amidst the settings favored by the Maris brothers, Jozef Israëls, Willem Roelofs, and even Vincent van Gogh and Piet Mondriaan's (Eng. "Mondrian") early work. Later, Alten fell under the influence of the work of Spanish painter Joaquín Sorolla. Several working trips to Spain followed.

An exhibit of Alten's sun-drenched canvasses from the 1920s was held at the Holt Galleries in New York City. The Literary Digest for October 12, 1929, featured the showing with an article and a reproduction of one of the Spanish marine scenes on its front cover. This was perhaps the high point of Alten's national recognition.

Alten's career entailed an astounding amount of travel; especially given the conditions at the time – sea voyages, less than luxurious trains, horse-drawn carriages … even donkeys. He frequently visited noted art colonies such as Étaples in France; Old Lyme, Connecticut; Taos, New Mexico; Laguna Beach, California and Tarpon Springs, Florida. But, although Alten painted alongside fellow artists, he never became a resident member of any artists' colony. Nor did he formally, by designation or choice, become a follower of specific "schools" such as the Fauves in France or the Ashcan School of the Depression era.

Alten continued his working trips within the US well into the 1930s, traveling to both coasts, Florida, Taos and always within his beloved West Michigan. His subject matter was notably diverse; landscapes, still lifes, seascapes, animals and portraits - often of judges throughout Michigan, as well as other notables as far afield as California and Oregon.

His style evolved in accordance with both the tastes of the times and his own preferences. He never felt pressure to veer into the overtly "modernist" style which artists of the generation after his frequently embraced.

Over the years, various local (West Michigan) arts-affiliated organizations named Alten as an honorary member. Regional and national organizations sought his membership as well. By 1904, he had joined the pioneering Society of Western Artists, one of the era's most influential art organizations. And, in 1916, he was invited to become a member of the National Arts Club in New York. In addition, Alten was a longtime member of Detroit's prestigious Scarab Club by which he was awarded a Gold Medal for his art in 1920.

According to James A. Straub, the compiler of his Catalogue Raisonne, Alten is often referred to as the "dean of Michigan painters." Alten died, at age 67, in March 1938 at 1593 East Fulton Street in Grand Rapids, Michigan. That home is now listed on the National Register of Historic Places. More information can be found on AskArt.com.

External links

  • Mathias J. Alten at American Art Gallery
  • Mathias J. Alten Papers at Grand Valley State University
  • Mathias J. Alten Digital Collection at Grand Valley State University
  • Mathias J. Alten Catalogue Raisonné by Jim Straub

Archives of American Art

  • Mathias Joseph Alten exhibition catalog, 1979
  • Mathias Joseph Alten scrapbook, 1920-1965
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Oil painting is the process of painting with pigments with a medium of drying oil as the binder. Commonly used drying oils include linseed oil, poppy seed oil, walnut oil, and safflower oil. The choice of oil imparts a range of properties to the oil paint, such as the amount of yellowing or drying time. Certain differences, depending on the oil, are also visible in the sheen of the paints. An artist might use several different oils in the same painting depending on specific pigments and effects desired. The paints themselves also develop a particular consistency depending on the medium. The oil may be boiled with a resin, such as pine resin or frankincense, to create a varnish prized for its body and gloss.

Although oil paint was first used for Buddhist paintings by Indian and Chinese painters in western Afghanistan sometime between the fifth and tenth centuries, it did not gain popularity until the 15th century. Its practice may have migrated westward during the Middle Ages. Oil paint eventually became the principal medium used for creating artworks as its advantages became widely known. The transition began with Early Netherlandish painting in Northern Europe, and by the height of the Renaissance oil painting techniques had almost completely replaced the use of tempera paints in the majority of Europe.

In recent years, water miscible oil paint has come to prominence and, to some extent, replaced traditional oil paint. Water-soluble paints contain an emulsifier that allows them to be thinned with water rather than paint thinner, and allows very fast drying times (1–3 days) when compared with traditional oils (1–3 weeks).

https://en.wikipedia.org/wiki/Mathias_Alten;https://en.wikipedia.org/wiki/Oil_painting
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