File:Brooklyn Museum Quarterly (1916) (14753629106).jpg

Identifier: brooklynmuseumqu46broouoft (find matches)
Title: Brooklyn Museum Quarterly
Year: 1916 (1910s)
Authors: Brooklyn Institute of Arts and Sciences. Brooklyn museum quarterly
Subjects:
Publisher: Brooklyn
Contributing Library: Gerstein - University of Toronto
Digitizing Sponsor: MSN

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ught after by many pupilsthroughout his life, and by theiu held in continued reverence for his guidancethroughout their professional careers. As a man, whether teacher or friend,beloved for tlie generosity and the kindly consideration with which his help wasgiven to all who sought it. Always an uncompromising searcher for truth inthe practice of his art and in liis judgment of the performance of others, yetalways inspired by a tolerant kindliness toward all who worked with sin-cerity, even though their achievement might be relatively small. Boyhood experience in a workshop, making and gilding altars, was followedat eighteen by cmploNnnent as assistant to an important decorator of churchesthen in Cincinnati. This gave him experience in the handling of brush andpaint such as artists rarely gain so young. The materials of his professionthenceforth presented no olistacle. Consequently, when in 1870 he entered tiieRoyal Academy in Munich, his progress was so phenomenal that by 1872 and 233
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PORTRAIT OF MANBy Frank Duveneck. Brooklyn Museum Collection 1873 he had painted some of his very notal)le canvases, sueli as the WhistlingBoy and the Portrait of Professor Loeffts. The year 1875 is marked by an exhiiiition of his work in Boston, tliatwas himself. Among artists, tiiis exhibition of his in 1875, followed in 1877 byattracted notice on account of its extraordinary freshness, vitality and absolutenewness of point of view; and apparently no one was more surprised than hecontributions to the National Academy Exhibition in New York from Duveneck,Chase, Weir, Shirlaw, and others from both Munich and Paris, has been referredto as the beginning of a new era in American art history. We have now come to one of the most important contributions lie was tomake to American art, the beginning of his career as a teacher, a work thatwas destined more and more to al^sorb hhn thenceforth, so deeply did he becomeinterested in the training of those who came for help. On Duvenecks return to

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