1901 "The Mall Central Park" Watercolor on Paper Matted Print by Maurice Prendergast

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The Mall Central Park 1901 Watercolor on Paper - Maurice Prendergast 8 x 10 Matted Print NEW.

Perfect for gift-giving, … Read more The Mall Central Park 1901 Watercolor on Paper - Maurice Prendergast 8 x 10 Matted Print NEW.

Perfect for gift-giving, never used. This is a double-matted print, size 10" x 8" including the matting, ready for framing, sealed in its original shrink wrap with price sticker on the back. The window opening showing the print measures 6-1/2" x 4-1/2". The artist, Maurice B. Prendergast (1859-1924) was an American artist, with a style of post-impressionism. This is an offset lithograph reproduction of the original watercolor on paper entitled, "The Mall, Central Park", 1901. The art shows people on the steps in Central Park, and the artist's signature is in the print. The back of the print states "Maurice Prendergrast, American 1859-1924, The Mall, Central Park, 1901, Watercolor on Paper, 38.8 x 57.1 cm." UPC: 423050000767. Was a gift from the Museum Shop from the Art Institute in Chicago, IL. Stored in a cool dry place. Comes from a smoke-free/pet-free home.

About Maurice B. Prendergast:
Maurice Prendergast was born in St. Johns, Newfoundland, but with the failure of his father's subarctic trading post, the family moved to Boston. There young Maurice was apprenticed to a commercial artist and at the outset was conditioned to the brightly colored, flat patterning effects that characterized his mature work. For many years thereafter loosely handled watercolor remained his favored medium and gave his work vibrant spontaneity. A shy and retiring individual, he remained a bachelor throughout his life, closely attached to his artist brother Charles, who was also a successful frame maker. For three years Maurice studied in Paris at the Atelier Colarossi and the Académie Julian. During one of his early stays in Paris, he met the Canadian painter James Morrice, who introduced him to English avant-garde artists Walter Sickert and Aubrey Beardsley, all ardent admirers of James McNeill Whistler. Prendergast's aesthetic course was set. A further acquaintance with Vuillard and Bonnard placed him firmly in the postimpressionist camp. He developed and continued to elaborate a highly personal style, with boldly contrasting, jewel-like colors, and flattened, patternlike forms rhythmically arranged on a canvas. Forms were radically simplified and presented in flat areas of bright, unmodulated color. His paintings have been aptly described as tapestry-like or resembling mosaics. A trip to Venice in 1898 exposed him to the delightful genre scenes of Vittore Carpaccio and encouraged him toward even more complex and rhythmic arrangements. He also became one of the first Americans to espouse the work of Cézanne and to understand and utilize his expressive use of form and color. In 1907, Prendergast was invited to exhibit with the Eight, colleagues of Robert Henri and exponents of the Ashcan school. Prendergast and the romantic symbolist Arthur B. Davies seem oddly mismatched to these urban realists, but all were united in an effort to stir the American art scene out of its conservative lethargy. In 1913 he was invited to participate in the famed Armory Show, which was largely arranged by his friend Davies. Not surprisingly, Prendergast's brilliantly unorthodox offerings were decried as resembling "an explosion in a paint factory." Prendergast's works were the most thoroughly modern and postimpressionist.

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