File:Frank Duveneck (1918) (14776641505).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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n 1904 and completed in 1909. It wasgiven in memory of his mother to St. MarysCathedral in Covington, Kentucky. The most comprehensive exhibition, outsideof Cincinnati, ever made of Duvenecks workwas, as I have indicated, his one-man galleryat the San Francisco Exposition in 1915. Itincluded thirty oil paintings, twelve Venetianand one Florentine etching, and a replica ofthe Memorial. This replica was taken fromthe marble copy in the Boston Museum ofFine Arts. In the group of paintings was oneof the earliest Munich canvases. It was a por-trait of a man with a red fez, its quiet, forcefulgrasp of character arousing at once a gooddeal of discussion among Munich artists. Themost important document of that time, TheOld Schoolmaster, painted in 1871, was notincluded in that collection. It was exhibitedin Boston in 1875, and sold for one hundred RIVA DEGLI SCHIAVONI, VENICE1880 Duvenecks etchings are of the same breadth and vigor as hispaintings. For him The Riva is one of unusual delicacy.
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FRANK DUVENECK 73 dollars to Dr. Angel, an art connoisseur, andwas owned until recently by his widow, whohas just presented the work to the Boston Mu-seum of Fine Arts. In speaking of the portraitof this old Munich teacher from the Old MansHome there, the Boston Transcript of 1875said: The portrait is that of an elderly manwho might be an antiquated fiddler in a Ger-man orchestra. Only the head and breast arethere, the coat being closely buttoned. Thecoloring is well-nigh perfection, every featureof age being elaborated with most vigorouseffect. The Nation of the same year speaksof the relief, the vigor, the frankness, and com-prehensive simplicity, qualities in it which aremost striking. A woodcut of this canvas wasmade by a Mr. Juengling, and proved a prize-winner among woodcuts in 1880. The Whistling Boy belongs to the year1872. The magic dexterity of the brush as dis-played here, the power of perception, the nat-ural expression and rich coloring remain amaz- 74 FRANK DUVENECK ing

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