File:Frank Duveneck (1918) (14776626585).jpg

Identifier: frankduveneck00heer (find matches)
Title: Frank Duveneck
Year: 1918 (1910s)
Authors: Heermann, Norbert
Subjects: American art
Publisher: New York: Houghton Mifflin Company
Contributing Library: Whitney Museum of American Art, Frances Mulhall Achilles Library
Digitizing Sponsor: Metropolitan New York Library Council - METRO

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hich was looked upon as nothing short ofphenomenal. The admirable study of a Cir-cassian in the Boston Museum of Fine Artsbelongs to that year. At that time competitivecompositions were made, the prize-winnerswere granted the use of a studio, the expensesfor models to complete the prize competitionusually being paid in addition. Duveneck wonthis prize in 1872. After establishing himself inthe newly won studio he did not, and indeedsoon proved that he did not have to, return toDietzs class, for to this time belongs that seriesof canvases of which we need recall only one,the Whistling Boy.,, In this picture are fullyevident the qualities which startled and quicklyattracted the other painters and students to him.Foremost among these is the expressive useof the paint itself, an astonishing virtuosity ofbrushwork closely related to Franz Hals, in UNFINISHED PORTRAIT STUDY1873 Note the vitality of brush expression in large planes, just preced-ing the development of detail within the planes.
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UNFINISHED PORTRAIT STUDY1873 FRANK DUVENECK 25 which the daring and yet perfectly controlledhand defines planes, textures, and color with anunhesitating brush — loaded with paint. Evento the amateur this method makes an appeal,its chief merit being liveliness and force withrich, vibrant color. Later, in the portrait ofthe Woman with Forget-Me-Nots, which isdated 1876, we feel the distinct ripening in pic-torial insight. The fact that Duveneck at thattime used to take his pictures to the Pinakothekand set them beside the old masters, the Dutchand Flemish being his favorite ones, makes usunderstand that as the Whistling Boy wasDuveneck pure and simple, the Woman withForget-Me-Nots is a development, throughan inspiration that comes straight from theNetherlands, the hands being very suggestiveof Rubens. Duveneck used a restricted palettein those days, composed chiefly of plain earthcolors. A student who once asked some onewho knew Duveneck in Munich, what kind ofbrushes and colors the

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