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PETER KRASNOW (1887-1979)
Love
$1,400.00
Lithograph 1928 Edition:c.20
19 x 8 in (48.2 x 20.3 cm)
Signed: uns
Framed:
Remark:
Framed:
Remark:
SKU: Y.4,2
Categories: American, PETER KRASNOW
Tags: 1928, Lithograph, PETER KRASNOW
BIO: Peter Krasnow (1886 – 1979) Born in the Ukraine, Russia, Krasnow immigrated to the United States in 1908; he was evading military service. He settled in Chicago and attended the School of the Art Institute of Chicago, earning tuition fees by working there as a maintanence man. He graduating in 1915 and soon moved to New York with his new wife Rose, a writer and poet. He exhibited at the Whitney Studio Club and was part of a vibrant group of artists that included photographer Edward Weston. Persuaded by Weston, Krasnow and Rose moved to California in 1922. He was immediately brought into the small and vital art world. His initial success as a portraitist earned early recognition and ‘a living’. Included in Stanton’s Wright’s “Exhibition of the Group of Independent Artists” in 1923, Krasnow’s circle of contemporaries included painters Boris Deutsch, Henrietta Shore, and Lorser Feitelson; writer D.H. Lawerence; as well as photographer Edward Weston.
Krasnow’s early paintings reflected a European tradition, dark in color and nostalgic in content that would open up to a lighter palette and freedom of expression influenced by the California light landscape.
In 1930 he received a Guggenheim Grant, which allowed Krasnow and Rose to live in the south of France from 1931-1934. When he returned - at the urging of his close friend, Edward Weston, he turned to carving, stimulated by the trees felled in his wife’s garden. From the massive trunks, the varieties of grain(oak, citrus, olive, cypress) and the very contorted and expressive smaller branches of these treetrunks, Krasnow carved remarkable sculptures resembling totemic art forms, some segmented, that he termed ‘demountables’.
By the 1940's Krasnow returned painting, moving further into abstraction and geometric form that coincided with John Entenza’s focus upon ‘arts and architecture’. He developed a ‘California palette’ of bright, pastel, light colors. Simultaneously he recalled his Jewish heritage in a subtle introduction of spiritual themes and iconography into expressionistic designs. ‘Life Force’ became a subtle theme. Krasnow worked across techniques and forms, to include lithography and watercolor.
Peter Krasnow died in Los Angeles in 1979Peter Krasnow (1886 – 1979) Born in the Ukraine, Russia, Krasnow immigrated to the United States in 1908; he was evading military service. He settled in Chicago and attended the School of the Art Institute of Chicago, earning tuition fees by working there as a maintanence man. He graduating in 1915 and soon moved to New York with his new wife Rose, a writer and poet. He exhibited at the Whitney Studio Club and was part of a vibrant group of artists that included photographer Edward Weston. Persuaded by Weston, Krasnow and Rose moved to California in 1922. He was immediately brought into the small and vital art world. His initial success as a portraitist earned early recognition and ‘a living’. Included in Stanton’s Wright’s “Exhibition of the Group of Independent Artists” in 1923, Krasnow’s circle of contemporaries included painters Boris Deutsch, Henrietta Shore, and Lorser Feitelson; writer D.H. Lawerence; as well as photographer Edward Weston.
Krasnow’s early paintings reflected a European tradition, dark in color and nostalgic in content that would open up to a lighter palette and freedom of expression influenced by the California light landscape.
In 1930 he received a Guggenheim Grant, which allowed Krasnow and Rose to live in the south of France from 1931-1934. When he returned - at the urging of his close friend, Edward Weston, he turned to carving, stimulated by the trees felled in his wife’s garden. From the massive trunks, the varieties of grain(oak, citrus, olive, cypress) and the very contorted and expressive smaller branches of these treetrunks, Krasnow carved remarkable sculptures resembling totemic art forms, some segmented, that he termed ‘demountables’.
By the 1940's Krasnow returned painting, moving further into abstraction and geometric form that coincided with John Entenza’s focus upon ‘arts and architecture’. He developed a ‘California palette’ of bright, pastel, light colors. Simultaneously he recalled his Jewish heritage in a subtle introduction of spiritual themes and iconography into expressionistic designs. ‘Life Force’ became a subtle theme. Krasnow worked across techniques and forms, to include lithography and watercolor.
Peter Krasnow died in Los Angeles in 1979
BIO: Peter Krasnow (1886 – 1979) Born in the Ukraine, Russia, Krasnow immigrated to the United States in 1908; he was evading military service. He settled in Chicago and attended the School of the Art Institute of Chicago, earning tuition fees by working there as a maintanence man. He graduating in 1915 and soon moved to New York with his new wife Rose, a writer and poet. He exhibited at the Whitney Studio Club and was part of a vibrant group of artists that included photographer Edward Weston. Persuaded by Weston, Krasnow and Rose moved to California in 1922. He was immediately brought into the small and vital art world. His initial success as a portraitist earned early recognition and ‘a living’. Included in Stanton’s Wright’s “Exhibition of the Group of Independent Artists” in 1923, Krasnow’s circle of contemporaries included painters Boris Deutsch, Henrietta Shore, and Lorser Feitelson; writer D.H. Lawerence; as well as photographer Edward Weston.
Krasnow’s early paintings reflected a European tradition, dark in color and nostalgic in content that would open up to a lighter palette and freedom of expression influenced by the California light landscape.
In 1930 he received a Guggenheim Grant, which allowed Krasnow and Rose to live in the south of France from 1931-1934. When he returned - at the urging of his close friend, Edward Weston, he turned to carving, stimulated by the trees felled in his wife’s garden. From the massive trunks, the varieties of grain(oak, citrus, olive, cypress) and the very contorted and expressive smaller branches of these treetrunks, Krasnow carved remarkable sculptures resembling totemic art forms, some segmented, that he termed ‘demountables’.
By the 1940's Krasnow returned painting, moving further into abstraction and geometric form that coincided with John Entenza’s focus upon ‘arts and architecture’. He developed a ‘California palette’ of bright, pastel, light colors. Simultaneously he recalled his Jewish heritage in a subtle introduction of spiritual themes and iconography into expressionistic designs. ‘Life Force’ became a subtle theme. Krasnow worked across techniques and forms, to include lithography and watercolor.
Peter Krasnow died in Los Angeles in 1979Peter Krasnow (1886 – 1979) Born in the Ukraine, Russia, Krasnow immigrated to the United States in 1908; he was evading military service. He settled in Chicago and attended the School of the Art Institute of Chicago, earning tuition fees by working there as a maintanence man. He graduating in 1915 and soon moved to New York with his new wife Rose, a writer and poet. He exhibited at the Whitney Studio Club and was part of a vibrant group of artists that included photographer Edward Weston. Persuaded by Weston, Krasnow and Rose moved to California in 1922. He was immediately brought into the small and vital art world. His initial success as a portraitist earned early recognition and ‘a living’. Included in Stanton’s Wright’s “Exhibition of the Group of Independent Artists” in 1923, Krasnow’s circle of contemporaries included painters Boris Deutsch, Henrietta Shore, and Lorser Feitelson; writer D.H. Lawerence; as well as photographer Edward Weston.
Krasnow’s early paintings reflected a European tradition, dark in color and nostalgic in content that would open up to a lighter palette and freedom of expression influenced by the California light landscape.
In 1930 he received a Guggenheim Grant, which allowed Krasnow and Rose to live in the south of France from 1931-1934. When he returned - at the urging of his close friend, Edward Weston, he turned to carving, stimulated by the trees felled in his wife’s garden. From the massive trunks, the varieties of grain(oak, citrus, olive, cypress) and the very contorted and expressive smaller branches of these treetrunks, Krasnow carved remarkable sculptures resembling totemic art forms, some segmented, that he termed ‘demountables’.
By the 1940's Krasnow returned painting, moving further into abstraction and geometric form that coincided with John Entenza’s focus upon ‘arts and architecture’. He developed a ‘California palette’ of bright, pastel, light colors. Simultaneously he recalled his Jewish heritage in a subtle introduction of spiritual themes and iconography into expressionistic designs. ‘Life Force’ became a subtle theme. Krasnow worked across techniques and forms, to include lithography and watercolor.
Peter Krasnow died in Los Angeles in 1979