Frank Weston Benson Paintings in New York Metropolitan Museum of Art Frank W Benson

American painter

Frank Weston Benson
circa 1895
Born	(1862-03-24)March 24, 1862 Salem, Massachusetts
Died	November 15, 1951(1951-eleven-15) (aged 89) Salem, Massachusetts
Nationality	American
Education	School of the Museum of Fine Arts, Boston, Académie Julian Paris.
Known for	Impressionist painting

Frank Weston Benson, ofttimes referred to as Frank W. Benson, (March 24, 1862 – November 15, 1951) was an American artist from Salem, Massachusetts known for his Realistic portraits, American Impressionist paintings, watercolors and etchings. He began his career painting portraits of distinguished families and murals for the Library of Congress. Some of his all-time known paintings (Eleanor, Museum of Fine Arts, Boston; Summer, Rhode Island School of Design Museum) draw his daughters outdoors at Benson's summer domicile, Wooster Subcontract, on the island of North Haven, Maine. He also produced numerous oil, wash and watercolor paintings and etchings of wildfowl and landscapes.

In 1880, Benson began to study at the School of the Museum of Fine Arts, Boston nether both Otto Grundmann and Frederic Crowninshield.^[1] In 1883 he travelled to Paris to study at the Académie Julian.^[2] He enjoyed a distinguished career as an instructor and department head at the School of the Museum of Fine Arts, Boston. He was a founding member of the X American Painters, American University of Arts and Letters and The Society of Boston Artists.

Biography [edit]

Early years [edit]

Frank Weston Benson was born to George Wiggin Benson, a successful cotton broker, and Elisabeth Poole,^{[iii] [four] [five] : 13} from families who founded Salem, Massachusetts. Benson obtained his appreciation of the sea from his grandfather, Helm Samuel Benson. When he was 12, he was given a sailboat^{[5] : xiii} in which he explored the waterways and marshes and raced against his brother, John Prentiss Benson. To encourage pedagogy, Benson's parents gave their children a weekly assart to foster independent study and hobbies, such as Salem'south Hamilton Hall dance classes, Lyceum lectures^[6] or equipment for photography. The brothers kept active past participating in sports, as well every bit fishing and hunting.^{[5] : 16–17}

Benson's father gave him a shotgun and taught him how to hunt shore birds along the N Shore and wildfowl in the local fields and marshes.^{[five] : 13} He spent nearly all of his weekends hunting or fishing in the fields, marshes and streams.^{[5] : 16–17} To his practiced friend Dan Henderson, he wrote of their childhood adventures:

"Nosotros used to spend our Saturdays chasing coot and sometime squaws in Salem Harbor. Then, later on working hard all mean solar day to become one bird, in we would assemble at Sam Shrum'southward or mine and chew the rag until we were so sleepy we could not concord up our heads. What a minute account each had to give of each movement of every bird seen and every shot missed. It was almost criminal to miss an easy shot in those days, then many excuses had to be invented. One word would have served for all in my example if it had been invented then, I was generally 'rattled,' I retrieve, when yous and I went ducking."^{[v] : sixteen–17}

His brother, John Prentiss Benson, was an architect and painter in his own correct. Both sons may have been influenced by their mother, Elisabeth Poole Benson, who Frank once remarked, had "a little room" on the meridian floor of their business firm where she would get to pigment and "forget about the residuum of the globe".^[vii]

Artistic studies [edit]

An gorging birdwatcher and wildfowl hunter, Benson wanted to exist an ornithological illustrator.^{[v] : 8} At the historic period of 16, he painted Rail,^[viii] one of his first oil paintings, subsequently a hunting trip.^{[v] : 8} He began his studies at the School of the Museum of Fine Arts, Boston in 1880,^{[5] : 263} and at that place befriended Joseph Lindon Smith,^{[5] : xx} Robert Reid and Edmund Charles Tarbell.^[ix] Capitalizing on what he learned, Benson held drawing classes in Salem and painted landscapes during the summer of 1882.^{[5] : 263}

On Benson'south 21st birthday his parents gave him a souvenir of $two,000 to study in Europe.^[10] He traveled to Paris and studied at the Académie Julien from 1883 to 1884 with Edmund Tarbell and Joseph Lindon Smith; Joseph Lindon Smith and Benson shared an apartment.^{[5] : 263 [9]} At the Academy, Benson studied under Jules-Joseph Lefebvre, William Turner Dannat, and Gustave Boulanger.^[9] Gustave Boulanger, 1 of Benson'due south teachers at Académie Julien, said to him: "Beau, your career is in your easily... you will exercise very well."^[10] After his study at Académie Julien, Benson traveled to England's Royal University to see his painting "After the Storm" on showroom.^[x] He as well spent time in Italy, Kingdom of belgium, Germany, and Brittany.^[one]

• 

  Runway, c. 1878–1879, Private collection

• 

  Afterward the Storm, 1884, Private collection

Influences [edit]

Benson was "deeply influenced" by Johannes Vermeer and Diego Velázquez, masters from the seventeenth-century.^[eleven] Vermeer painted few works during his lifetime, almost 35-36 [universally accepted] paintings, but almost each of them has become a masterpiece. The Dutch artist from Delft was acute in his depiction of light and "poetic quality" of his subjects.^{[12] [xiii]}

• Influences

• 

  Johannes Vermeer, Girl with a Pearl Earring, ca. 1660–1670, Royal Pic Gallery Mauritshuis, The Hague

• 

  Diego Velázquez, The Waterseller of Seville, 1623, Apsley House, London

Impressionism, particularly the piece of work of Claude Monet, played a role in the development of Benson's own American Impressionistic mode. He capitalized on Monet'southward color palette and brush strokes and keenly depicted "reflected light", yet maintained some particular in the composition. Per Chambers, Benson represented American people with an "ideal of grace, of dignity, of elegance."^[14]

• Influences from Impressionism

• 

  Claude Monet, Two Girls in a Boat

• 

  Claude Monet, Pont d'Argenteuil

Benson'south watercolors reminded some critics of Winslow Homer'southward works.^{[5] : 144}

• Influences from Winslow Homer

• 

  Winslow Homer, Afterwards the Tornado, watercolor, 1899, Art Institute of Chicago

• 

  Winslow Homer, The Fog Warning, watercolor, 1885, Museum of Fine Arts, Boston

• 

  Winslow Homer, oil, Artists Sketching in the White Mountains, 1868, Portland Museum of Fine art

Works of his friends:

• Influences from the works of his friends

• 

  Robert Reid,Tempting Sweets

• 

  Robert Reid,Her First Born, 1888, Brooklyn Museum

• 

  Edmund Tarbell, The Sisters, 1921, Gibbes Museum of Art, Charleston, South Carolina

• 

  Edmund Tarbell, Arrangement in Pink and Gray (Afternoon Tea), ca. 1894, Worcester Art Museum

• 

  Abbott Thayer, Mural at Fontainbleau Forest, 1876

• 

  Abbott Thayer, Dublin Pond, 1894

• 

  Abbott Thayer, Winged Effigy, 1889, Art Institute of Chicago

• 

  Willard Metcalf, My Wife and Daughter, ca. 1917

Benson was non ane to experiment with emerging art forms, similar Cubism, Expressionism and Fauvism. As American Impressionism extended to Post-Impressionism near 1913, Benson stayed with traditional genres and his American Impressionist style. As a result, "The pretty, genteel life that Benson had depicted was criticized. Benson's reaction was to turn to nature, and birds replaced the women and children as his objects of interest." said Dean Lahikainen, curator of the Peabody Essex Museum.^[11]

Marriage and children [edit]

In the summer of 1884 Benson painted at Concarneau, along with Willard Metcalf and Edward Simmons.^[fifteen] While there, Benson became engaged to the daughter of friends from Salem, Massachusetts, Ellen Perry Peirson. They married in 1888 when Benson had established himself in his career^[eight] and raised 4 children: Eleanor (built-in 1890), George (born 1891), Elisabeth (built-in 1892) and Sylvia (built-in 1898).^{[5] : 263}

• 

  In Summer, 1887, Individual collection. Portrait of Ellen Perry Peirson.

• 

Instructor [edit]

Benson became a Portland, Maine Schoolhouse of Art instructor in 1886.^{[v] : 263 [viii]} The spring of 1889 he began instruction antique drawing at the Schoolhouse of the Museum of Fine Arts, Boston and in 1890 became head of the Painting department.^{[5] : 263 [x]} The school's reputation grew and its enrollment tripled under the leadership of Philip Hale, Benson and Edmund C. Tarbell. Students were assessed on the ground of their skill and placed at the appropriate level (from low to high): Hale had a grade for beginners, Benson full-bodied on how to depict figures while Tarbell covered still lifes.^{[v] : 24} Benson, a favored instructor chosen "Cher Maitre" ("Honey Master") by his students,^{[10] [16]} taught until 1913.^[15] Among his pupils were the portraitist Marie Danforth Page^[17] and the miniaturist Bertha Coolidge.^[eighteen]

Works [edit]

Moonlight on the Waters oil 1899

William H. Gerdts, art historian, wrote of Benson's work in his introduction to Faith Andrews Bedford's biography of the painter: "Frank Benson painted some of the most beautiful pictures ever executed by an American creative person. They are images alive with reflections of youth and optimism, projecting a way of life at once innocent and idealized and still resonant with a sense of certain, selective realities of contemporary times."^[11] His work was also function of the art competitions at the 1932 Summer Olympics and the 1936 Summertime Olympics.^[nineteen]

Realism [edit]

Benson opened his showtime studio in Salem in 1886 with his friend, Phillip Little, and began painting portraits,^{[5] : 263 [8]} an occupation in which Benson took seriously. He in one case said: "The more a painter knows nigh his subject, the more he studies and understands information technology, the more the truthful nature of it is perceived by whoever looks at it, even though it is extremely subtle and not easy to run into or understand. A painter must search deeply into the aspects of a subject, must know and empathise information technology thoroughly before he can represent information technology well."^[x]

Benson took a Boston studio in 1888^{[5] : 263} with Edmund C. Tarbell.^[fourteen] He gained favorable attending in his kickoff showing at the Guild of American Artists in New York, with a piece that suggested the influence of academic Realism.^[xv]

At the suggestion of his friend, Joseph Lindon Smith, Benson spent several summers in Dublin from 1889 to 1893,^{[five] : 26} where he painted with and was influenced by Abbott Thayer. By the early 1890s he began using his family unit every bit subjects. Benson afterwards recalled information technology was then that he realized design was the most important component of painting. Consequently, works of the period evidence a greater interest in and command of pattern, silhouette, and abstract design.^[15]

• 

Impressionism [edit]

It was only after joining the "Ten American Painters" in 1898 that Benson shifted from the decorative painting of murals (for the Library of Congress) and allegories, to a genuine interest in plein-air Impressionism.^[15]

Continuing a blueprint that the Bensons would follow for years, the family left Boston during the summers. The family spent summers in New Castle, New Hampshire from 1893 to 1900,^{[v] : 263} where Benson made some of his first Impressionist paintings, such equally Children in the Woods and The Sisters. ^[10] The popularity of The Sisters, a painting of daughters Elizabeth and Sylvia, won medals in expositions throughout the U.s.a. and in Paris, was a prelude to the successes of the next twenty years, when Benson became famous for a series of paintings of his family.^{[ten] [15]} Later New Castle, the Bensons spent their summers on North Haven Island in Penobscot Bay in Maine at Wooster Subcontract.^{[5] : 263} Benson made Impressionist works of his family in hostage at Wooster Farm en plein air.^[20] The summer dwelling afforded a nifty view of the bay and surrounding area. Almost the firm was an old orchard, large fields provided plenty of space for the children to play and for a garden, and the property stood beside a wooded area.^{[5] : 72}

Like the French Impressionists, Benson focused on capturing light. To his daughter Eleanor he said, "I follow the light, where it comes from, where it goes."^[ten] A critic said of Benson's work: "It is impossible to believe that mere paint, all the same clearly laid on, tin glow and shimmer and sparkle as does that aureate light on his canvas."^[eleven]

Through his function as a instructor, work as an creative person and amalgamation with professional organizations for artists, Benson was a leader in American Impressionism.^[14] In 1898 Benson and 9 other artists including William Merritt Chase, Thomas Dewing, Childe Hassam, and J. Alden Weir formed "Ten American Painters". They conducted annual exhibitions of their works in New York Metropolis and often showed in other cities, such as Boston, and became known every bit the American Impressionists.^[ten] The Traditional Fine Arts Arrangement claimed he was "one of the last great American Impressionists."^[xi]

• 

  Eleanor Holding a Shell, 1902, Private collection

• 

Wild fauna [edit]

Before Benson began his Impressionist paintings of his family, he made many seascape and landscape paintings.^[10] He used several mediums or techniques to capture his love of wildlife, including wash, watercolor, oil, lithography and etching.^[21] Regarding his artistic mastery, Peabody Essex Museum curator Dean Lahikainen commented: "Benson was a unique artist, in that he had mastered so many different mediums and subjects. And from his early works right until the very stop, low-cal is what he was interested in."^[xi]

Reminiscent of Benson's original goal as an artist to become an ornithological illustrator,^{[five] : 8} birds were the subjects of most of his washes, etchings, and watercolors.^[6]

Wash paintings

At the Cape Cod hunting cabin that he purchased with his brothers-in-constabulary, Benson began working with blackness-and-white wash in the 1890s. The works were a commercial success, and so much so that Benson was not able to keep up with the need.^[21]

Etching

In 1914, Benson began carving as an interesting pastime, one that along with his middle for aesthetics, required him to master the complex technique for the desired effect.^{[5] : 112} In 1915 he first exhibited etchings of wild fowl, to popular acclaim.^{[5] : 116–117} Benson turned increasingly to the depiction of landscapes featuring wildlife, an outgrowth of his interest in hunting and fishing. He went on to produce a steady and profitable output of etchings. Once virtually recognized for his Impressionist paintings, he became equally popular with his etchings. Arthur Philpott, a critic for the Boston Globe, claimed Benson was the "best known and most pop etcher in the earth."^{[5] : 117–118} To one of his daughters he said, "The whole process from the bare plate to the finished print is full of fascinating possibilities and possible failures."^{[five] : 112} Benson, one of the all-time printmakers of the 20th century, is credited with making wildlife prints a distinct genre.^[22] Benson was a member of the Order of American Graphic Artists, known equally The Society of American Etchers from 1915 - 1947, based in New York City and participated in many exhibitions.

Watercolors

Benson's watercolor paintings began on a Canadian fishing trip in 1921.^[21] and were oft the products of bird-hunting sojourns in Cape Cod and salmon fishing expeditions in Canada. were favorably compared to like works by .^{[5] : 134, 144} A critic wrote of his watercolors, "The dear of the almost primitive wilderness which appears in many of (Winslow) Homer's landscapes and the swift, sure touch with which he suggests rather than describes--these also characterize Benson's work. The confinement of the northern wood is very much like Homer's." Benson fabricated more than 500 watercolors in his lifetime.^[21]

Oil paintings

Hunter in a Gunkhole (1915) and Twilight (1930) are a few examples of Benson's oil paintings of wild animals settings.^[21]

Benson was elected in 1919 as the offset president of the Essex County Ornithological Society.^{[five] : 264}

At the request of fellow artist and conservationist Jay Norwood "Ding" Darling, Benson designed the second Federal Duck Stamp in 1935.^{[five] : 235}

Gallery [edit]

• 

  Eleanor, 1907

• 

  Summer, 1909

• 

  Elizabeth and Ann, c.1909

• 

  Summer, portrait of countess Rita de Candia, 1909

• 

  Margaret Gretchen Stiff, 1909

• 

  Playing Solitaire oil 1909

• 

  Against the Heaven, ca. 1912

• 

  Study for Young Girl with a Veil, 1912

• 

  The Greyness Room, 1913

• 

  The Dining Room Tabular array, 1919

• 

  Great White Herons 1923

Decease and posthumous sales [edit]

He is buried in Salem's Harmony Grove Cemetery.^[23]

To appointment the highest price brought at auction for an oil painting by Benson is $four.one million, realized at Sotheby'due south in 1995.^[24]

On October 19, 2006, a watercolor painting by Benson was sold at auction for $165,002. The painting was anonymously donated to an Oregon Goodwill Industries site, most likely without the owner knowing of its value. Bidding on the shopgoodwill.com website started at $10, and increased after the work was authenticated.^[25]

Figure in a Room [edit]

Figure in a Room by Frank Weston Benson, 1912, oil on canvas - New Britain Museum of American Art

Benson's Figure in a Room, a 1912 realistic oil painting of a woman standing behind a pocket-size table in a room, was involved in a controversy that surfaced long subsequently the death of the creative person.^[26] The Detroit Club apparently purchased the painting in 1914, post-obit an exhibit held there by Benson. At some time during the next several decades, the painting was replaced on the club'southward premises by an excellent fake or forgery, which was inserted into the painting's original frame. The original Benson was eventually obtained by a collector named Donald Purdy, and after by the New Great britain Museum of American Art. The false Benson painting remaining with the Detroit Order was finally sold for $38,500 to an attorney and his wife, at an auction held by Christie's in 1986. When the new owners began their ain inquiry of the painting many years subsequently, they learned that the New Britain Museum had a strikingly like painting from Benson in their collection; the couple's subsequent effort to sell the painting ended when Sotheby's (who also learned of the New Britain painting) pronounced it to be a likely simulated. A lawsuit was filed against Christie'south, alleging negligence and/or fraud;^[27] simply a Delaware Court ruled in favor of the defendants,^[28] opining that the auctioneer's fiduciary responsibility was with the seller rather than with the purchaser. The court also noted that Christie's six-year warranty of authenticity, clearly communicated, had long since expired. Today, the two "Figure in a Room" paintings involved in this controversy hang side by side at the New Great britain (CT) Museum; visitors are invited to decide for themselves which is existent and which is imitation. Benson scholar, Faith Andrews Bedford, notes that the frame is a hand-carved frame by Wilfred Thulin, 1 of the members of the famed Boston school of arts and crafts framemakers. She has recently donated to the museum the mandarin coat worn by the model in the painting.

Exhibitions and shows [edit]

• 1885 - Subsequently the Storm at the Royal Academy in London
• 1889 - National University of Design in New York, won starting time prize for Orpheus
• 1891 - First private bear witness of Benson's work, Chase Gallery, Boston with Edmund C. Tarbell
• 1894 - Outset known wildfowl exhibition, exhibited Swan Flight
• 1897 - With nine other men, held their own exhibition in New York Urban center
• 1898 - First exhibition every bit the Ten American Painters in New York City
• 1899 - Second exhibition as the X American Painters in New York City, including Children in the Woods, the beginning Impressionist painting exhibited by Benson
• 1900 - The Sisters was presented at the Paris Exposition Universelle and won a silver medal
• 1904 - First known exhibition of a still life by Benson
• 1912 - Start known showing of blackness and white launder drawings, Ten American Painters bear witness
• 1913 - First one-man show devoted to wash drawings of wildfowl, Copley Lodge of Art, Boston
• 1915 - Benson's etchings were exhibited for the first fourth dimension, The Guild of Boston Artists
• 1915 - Start one-human show devoted to etchings, George Gage Gallery
• 1915 - Beginning one-man show devoted to etchings in New York, Kennedy Galleries
• 1916 - First one-man show devoted to etchings exterior of the The states, British Museum
• 1922 - First exhibition of his watercolors in New York, Boston and Cleveland
• 1945 - His last i-man exhibition of etchings at Arthur Harlow & Sons Gallery, New York
• 1950 - His terminal exhibition at the Pennsylvania Academy of the Fine Arts^{[5] : 263–264}

Retroactive exhibitions of his piece of work occurred in 1921 at the Guild of Boston Artists in 1917,^{[v] : 241} Corcoran Gallery of Fine art, in 1924 at the Carnegie Establish and the Akron Art Museum, in 1936 at Guy E. Mayer Gallery in New York and in 1938 in the Museum of Fine Arts in Boston.^{[5] : 263–264} Such was its popularity that the exhibition broke the museum'south attendance records.^{[5] : 241}

Awards and acclaim [edit]

Emily Vanderbilt Binney oil 1894

In the 1890s he began receiving his first awards, after the turn of the century he won awards for his Impressionist paintings, and his wildlife watercolors and etchings won awards in the 1920s and 1930s and up to age 86.^[21] In 1914 the Boston Transcript called Benson "America's Well-nigh Medalled Painter."^[6]

Awards that Benson won include:

• 1889 Third Hallgarten Prize, National Academy in New York for Orpheus ^{[5] : 263–264 [10]}
• 1891 Thomas B. Clark Prize, National University^[ix]
• 1896 Shaw Fund Prize, Order of American Artists^[9]
• 1900 Silvery Medal, Paris Exposition Universelle for The Sisters ^{[5] : 263–264}
• 1903 Get-go Prize, Carnegie Prize, Pittsburgh ^[29]
• 1906 Thomas R. Proctor Prize, National Academy^[ix]
• Henry Ward Ranger Fund prize for Still Life, at present at the National Museum of American Art^[21]
• 1922 Frank G Logan prize for Notwithstanding Life ^[30]
• 1924 Frank K Logan prize^[30]

He received an honorary Master of Fine Arts caste from Tufts University in 1930 and was selected into the National Institute of Letters and Arts in 1945.^{[5] : 264}

Organizations [edit]

• 1888 - Became a member of the Guild of American Artists^{[v] : 263–264}
• 1897 - Elected associate, National Academy of Design, New York^{[v] : 263–264}
• 1898 - Founding member of the American Academy of Arts and Letters^{[five] : 263–264}
• 1898 - Resigned from the Society of American Artists^{[5] : 263–264}
• 1905 - Achieved full membership status, National Academy of Design, New York^{[five] : 263–264}
• 1914 - With six others, founded The Guild of Boston Artists^{[5] : 263–264} Having difficulty getting local artist'southward piece of work exhibited outside of Boston, Benson helped plant The Social club of Boston Artists^{[5] : 112} and was the president for thirteen years.^[6] Modeled on the historic guilds of Europe, the system held high professional standards in a supportive environs. In their Newbury gallery, annual shows of works of all members were interspersed with two-week ane-person shows that highlighted the work of individual artists.^{[5] : 112}
• 1926 - Elected a Young man of the American Academy of Arts and Sciences^[31]
• 1937 - Offset documented showing as a member of the Society of American Graphic Artists

Encounter as well [edit]

• List of works by Frank Weston Benson

Notes [edit]

1. ^ ^{a b} Claw, Bailey Van (2003). "Benson, Frank W(eston)". Grove Fine art Online. doi:ten.1093/gao/9781884446054.commodity.T007956.
2. ^ frankwbenson. Biography
3. ^ "Frank Weston Benson". The Fine art Institute of Chicago . Retrieved 2021-12-11 .
4. ^ "Frank Weston Benson". USEUM . Retrieved 2021-12-eleven .
5. ^ ^{a b c d e f g h i j chiliad fifty m n o p q r s t u 5 w x y z aa ab air conditioning advertising ae af ag ah ai aj ak al am an ao ap aq ar as at} Bedford (2000)
6. ^ ^{a b c d} McAllister, Salem Tales: Frank Weston Benson.
7. ^ Near John Benson.
8. ^ ^{a b c d} Peabody Essex Museum, Interactive Presentation, Benson Timeline.
9. ^ ^{a b c d e f} Dearinger, p. xl.
10. ^ ^{a b c d east f 1000 h i j thousand l} Bedford, Frank Weston Benson Biography, p. 1.
11. ^ ^{a b c d eastward f} Traditional Fine Arts Organisation, Light Shines on Frank Due west. Benson: American Impressionist.
12. ^ "Johannes Vermeer (1632-1675)". Mauritshuis, The Hague. Archived from the original on 2012-03-14. Retrieved 2011-07-05 .
13. ^ Pioch, Nicolas (2002-10-14). "Vermeer, Jan". The WebMuseum. Retrieved 2011-07-05 .
14. ^ ^{a b c} Chambers, Red and Golden.
15. ^ ^{a b c d e f} Hiesinger, p. 233.
16. ^ "Cher Maitre". Cher Maitre. 2011. Retrieved 2011-07-05 .
17. ^ Eleanor Tufts; National Museum of Women in the Arts (U.S.); International Exhibitions Foundation (1987). American women artists, 1830-1930. International Exhibitions Foundation for the National Museum of Women in the Arts. ISBN978-0-940979-01-7.
18. ^ Metropolitan Museum of Art (New York, N.Y.); Carrie Rebora Barratt; Lori Zabar (ane January 2010). American Portrait Miniatures in the Metropolitan Museum of Art. Metropolitan Museum of Art. ISBN978-1-58839-357-9.
19. ^ "Frank Weston Benson". Olympedia . Retrieved 2 Baronial 2020.
20. ^ Bedford, Frank Weston Benson Biography, p. ane-2.
21. ^ ^{a b c d eastward f g} Bedford Biography, p. 2.
22. ^ Frank W. Benson, AskArt.
23. ^ Spencer, Thomas Eastward. (2001). Where they're buried: a directory containing more than twenty thousand names. Baltimore: Clearfield Company, printed by Genealogical Publishing. p. 326. ISBN9780806348230.
24. ^ Forbes.com, Beguiling Gulls.
25. ^ Painting Sold at Goodwill for $165,002
26. ^ "Museum Ethics: Fakes on Display". New Great britain Museum of American Art (blog). 2010.
27. ^ Pileggi, Francis G.Ten. (2006). "Chancery Courtroom Bars Claim for Fake Artwork".
28. ^ "Johannes R. Krahmer and Betty P. Krahmer v. Christie's Incorporated". Delaware Chancery Court. 2006.
29. ^ Howland, Austin East. (1903). "Eighth Annual Exhibition of Paintings at Pittsburgh". Brush and Pencil. 13 (2): 137–153. doi:10.2307/25503679. JSTOR 25503679.
30. ^ ^{a b} "FRANK WESTON BENSON (1862-1951)PAPERS, 1864-1976". Peabody Essex Museum. Retrieved iii February 2015.
31. ^ "Book of Members, 1780–2010: Chapter B" (PDF). American Academy of Arts and Sciences. p. 17. Retrieved June 15, 2011.

References [edit]

• "About John Benson", John Prentiss Benson — American Marine Artist Volume site, Retrieved June 12, 2011.
• Bedford, Organized religion Andrews (1999). "Frank West. Benson: American Impressionist, published by Rizzoli, 1994". Faith Andrews Bedford. Archived from the original on 2011-07-04. Retrieved 2011-07-03 .
• Bedford, Faith Andrews (2000). The Sporting Fine art of Frank Due west. Benson. Jaffrey, NH: David R. Godine. ISBN1-56792-111-6.
• Chambers, B. "Frank W. Benson, Ruddy and Gilt". Butler Found of American Art. Archived from the original on 2011-09-27. Retrieved 2011-06-08 .
• Dearinger, David Bernard (2004). Paintings and Sculpture in the Drove of the National Academy of Design. Manchester, VT: Hudson Hills Press. ISBN1-55595-029-nine.
• "Frank Due west. Benson, American Impressionist, Interactive presentation, Timeline". Peabody Essex Museum. Archived from the original on 2011-07-25. Retrieved 2011-06-08 .
• "Frank Weston Benson (1862 - 1951)". AskART. 2000–2011. Retrieved 2011-06-xvi .
• Hiesinger, Ulrich Due west., Impressionism in America: The Ten American Painters, Prestel-Verlag, 1991.
• "Low-cal Shines on Frank W. Benson: American Impressionist". Traditional Fine Arts Organization, Inc. 2011. Retrieved 2011-07-05 .
• McAllister, Jim (2011). "Salem Tales: Frank Weston Benson". SalemWeb. Retrieved 2011-07-05 .

Further reading [edit]

• Chisholm, Hugh, ed. (1911). "Benson, Frank Weston". Encyclopædia Britannica. Vol. 3 (11th ed.). Cambridge University Printing.

External links [edit]

• Frank W. Benson information site
• Frank Weston Benson exhibition catalog
• Artwork by Frank Weston Benson

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Source: https://en.wikipedia.org/wiki/Frank_Weston_Benson

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