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Arnold Friedman, Museum Piece #2 - Art Lover in Museum Exhibition, 1915-1930
Arnold Friedman, Museum Piece #2 - Art Lover in Museum Exhibition, 1915-1930
Arnold Friedman, Museum Piece #2 - Art Lover in Museum Exhibition, 1915-1930
Arnold Friedman, Museum Piece #2 - Art Lover in Museum Exhibition, 1915-1930
Arnold Friedman, Museum Piece #2 - Art Lover in Museum Exhibition, 1915-1930
Arnold Friedman, Museum Piece #2 - Art Lover in Museum Exhibition, 1915-1930
Arnold Friedman, Museum Piece #2 - Art Lover in Museum Exhibition, 1915-1930
Arnold Friedman, Museum Piece #2 - Art Lover in Museum Exhibition, 1915-1930
Arnold Friedman, Museum Piece #2 - Art Lover in Museum Exhibition, 1915-1930
Arnold Friedman, Museum Piece #2 - Art Lover in Museum Exhibition, 1915-1930
Arnold Friedman, Museum Piece #2 - Art Lover in Museum Exhibition, 1915-1930
Arnold Friedman, Museum Piece #2 - Art Lover in Museum Exhibition, 1915-1930
Arnold Friedman, Museum Piece #2 - Art Lover in Museum Exhibition, 1915-1930

Arnold Friedman

Museum Piece #2 - Art Lover in Museum Exhibition, 1915-1930
Oil on Wood Panel
14 1/2 × 10 in / 36.8 × 25.4 cm
$ 18,000.00
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Arnold Friedman studied with Robert Henri and Kenneth Hayes Miller at the Art Students League in 1905 . br Yet as he developed his style he abandoned the academic influence...
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Arnold Friedman studied with Robert Henri and Kenneth Hayes Miller at the Art Students League in 1905 . br Yet as he developed his style he abandoned the academic influence of his teacher. br He started experimenting with materials and techniques. br Friedmans intimate style recalls a variety of post-impressionist artists such as Pointillism of Pisarro, Vuillard and Nabis, and perhaps even Seurat. br His thick application of paint has definitive textual impasto that was influenced by his trip to Paris in 1909. br In "Museum Piece #2" , Friedman paints a large interior scene with the intimacy of a small room. The central figure is a woman studying perhaps a museum catalog. br She is rendered in a series of quick cross-hatching brushstrokes. While the background appears to have been executed in a palette knife. - The painting was executed on a one and quarter inch heavy wood panel and housed in an equally heavy and thick hardwood oak frame. In person, it has an unexpected presence Signed lower Left with gallery tags on verso. Heavy gessoed oak frame.
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Provenance

Salander - O'Reilly, Hollis Taggart, Marquie Gallery

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