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1922 Print Julian Alden Weir Plowing Buchwheat Cattle Oxen Impressionism XAT3

1922 Print Julian Alden Weir Plowing Buchwheat Cattle Oxen Impressionism XAT3

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This is an original 1922 black and white halftone print of "Plowing for Buckwheat."


This 89+ year old Item is rated Near Mint +. No creases. No natural defects. No surface rub. No tears. No water damage. Please note: the actual image is darker and a cooler tone than the digital image.

  • Product Type: Original Halftone Print; Black / White
  • Grade: Near Mint +
  • Dimensions: Approximately 6.5 x 9 inches; 17 x 23 cm
  • Authentication: Serial-Numbered Certificate of Authenticity w/ Full Provenance
  • Protection: Packaged in a custom archival sleeve with an acid-free black board (great for display, gift-giving, and preservation)

Period Paper is pleased to offer a collection of limited edition prints from an edition of 712, representing the original paintings of Julian Alden Weir, an American Realist and Impressionist painter. Containing an original photogravure portrait of the artist and exceptionally printed monochrome halftones of WeirÕs paintings and various artistsÕ portraits of Weir, the collection is primarily comprised of figurative and landscape subjects. Weir, a longtime resident of Branchville, Connecticut, largely drew inspiration for his landscape paintings from his own property, which is wonderfully represented in the collection. Though lacking the vibrancy of the WeirÕs original Impressionist paintings, each image exceptionally captures his subdued, nuanced and deft application of shadowy tonalism, a style most often associated with George Inness and James McNeill Whistler. The rare collection offers a unique opportunity to own a distinct representation of the work of an important American artist.

This piece was illustrated by Weir, Julian Alden. There is no visible artist signature.

Weir, Julian Alden

Julian Alden Weir (30 August, 1852 Ð 8 December, 1919) was an American Realist and Impressionist painter working in the late nineteenth and early twentieth centuries. The son of Robert Walter Weir, a professor of drawing at the Military Academy at West Point, Julian Alden Weir was the fourteenth of sixteenth children born to a family of artists. Born and raised in West Point, New York, Julian attended the National Academy of Design in the early 1870s prior to moving to Paris to attend the École des Beaux-Arts in 1873.

WeirÕs time in Europe was an intense period of study and immersion in artistic technique and European art history, an experience his artist father felt vital to the development of his young and gifted son. During his four years in Europe, Weir traveled extensively throughout France, Spain, Holland and England, while pursuing his studies under the direction of master painter Jean-Léon Gérࡠme and exhibiting at the Paris Salon, his work primarily figurative and still life in theme, often in a style similar to that of Édouard Manet. Though WeirÕs learning, emulation, adoption and application of the strict, historic rules of art during this time proved foundational to his development, Weir was already developing his unique individuality, the result of which would be his later transformative shift to a unique interpretation of the Impressionist style.

Weir returned to the United States in 1877, establishing himself as a portrait and still life painter while working as an instructor at the Art Students League in New York City. During this period, Weir helped found the Society of American Artists, before splitting off to form ÒThe Ten,Ó a group of American Impressionists who diverged from the Society to exhibit their works outside the rigid standards and exclusive environment of the prevailing Academy. During this time, Weir made several return visits to Europe, for study as well as an art buyer for himself and other Americans collectors. It was a result of this role and his relationship with the collector Erwin Davis that Weir would come to possess what is perhaps his most important source of inspiration.

Returning form Europe, Davis was drawn to a painting Weir had purchased for himself. Davis offered Weir a 153-acre farm in Branchville, Connecticut and ten dollars in exchange for the painting. Weir agreed, and in 1882 received the Branchville farm, a site of perpetual inspiration over the remainder of his career.

Weir drew inspiration from the landscape of his new property and his style became increasingly Impressionistic in style, capturing the emotive intangibles of nature. Writing in 1876, Weir stated that to him, Òthere are no rules except those which your own feelings suggest and he who renders nature to make one feel the sentiment of such, to me is the greatest man." Weir achieved his effects in both the traditional, vibrant incarnation of Impressionism, as well as a subdued, nuanced and deft application of shadowy tonalism, a style most often associated with George Inness and James McNeill Whistler (with whom Weir was friends). During his later career, Weir also explored etching, becoming a skilled printmaker.

In 1912, Weir was elected the first president of the Association of American Painters and Sculptors, but resigned in 1913 after the association sponsored the modernist Armory Show. Prior to his death in 1919, Weir also served as the president of the National Academy of Design. WeirÕs paintings are in the collections of major museums throughout the United States, including the Metropolitan Museum of Art (New York) and the Phillips Collection and Smithsonian American Art Museum. (Washington, D.C.).

Keywords specific to this image: Field, Farm, Landscape, Sowing

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