Well-Listed Rockport/Gloucester Artist Oil Nautical/Seascape Painting Phoenix AZ

For your consideration is a vintage impressionist oil painting of ships in Lobster Cove, located within Annasquam Harbor, complete with the historic Annasquam wooden bridge in the background. Annasquam is a village within the city of Gloucester, Massachusetts. This beautiful original painting is by the esteemed artist Emile Albert Gruppé (1896-1978). On the back of the panel remains a vintage label from Epsteins, an art supply store that was located at 210 Main st. Gloucester, Massachusetts. I acquired the painting from an estate of a former antiques dealer in Fall River, Massachusetts. I was told the painting has been in storage for forty years! I am estimating the painting to be from the 1930's-1940's time period. This painting is in excellent original condition. Under a black light it shows no signs of paint loss, in-painting or repair. Unframed the painting measures 16" in height x 20" wide and it is paired together with a very handsome carved silver leaf wooden frame, together it measures 20" x 24". The vintage frame has a depth of 2" and is in overall very good condition with some very minor surface abrasions consistent with its age. This "fresh to the market" impressionist gem of a painting will make for a welcome addition to any savvy art connoisseur's collection! Please call me @ show contact info with any questions or to view the painting with no obligations to buy. Thank you, Tom. As for the artist, Emile Gruppé was born in Rochester, New York in 1896. He became a renowned New England landscape and marine painter. Although he is best known for his variety of Impressionistic landscapes, he also painted figures and portraits. Emile was the son of Charles P. Gruppé (1860-1940), a painter of Barbizon-inspired landscapes. In fact, Gruppé's family was decidedly artistic; his brother, Karl, would go on to become a noted academic sculptor, his other sibling, Paulo, became a cellist, and their sister, Virginia, made watercolor painting her forte. Emile learned the rudiments of painting and drawing from his father, he went on to attend classes at the Art Students League, studying figure techniques under Charles Chapman and George Bridgman. His formal training also included studying landscape methods with John Carlson in Woodstock, New York during the late 1910s, an experience that led to his decision to specialize in outdoor painting. Gruppé also studied with Richard Miller in Paris and with Charles Hawthorne in Provincetown, Massachusetts. Although he appreciated all of his instructors, Gruppé later stated that it was "John Carlson who turned me into a painter," teaching to him to see all "the pictorial possibilities of a subject." Emile Gruppé began his career painting landscapes in a subtle Tonalist manner that reflected the influence of his father, as well as the nuanced Impressionism of Carlson. He initially derived his subject matter from locales in upstate New York; however, on a visit to an exhibition at the National Academy of Design, he saw some paintings of Gloucester, the famous fishing port on Massachusetts' North Shore, and decided to go and see this picturesque locale for himself. He made his initial visit to Gloucester in the summer of 1925 and was instantly attracted to its maritime ambience. Indeed, Gruppé began spending every summer in Gloucester, going on to establish a studio on Rocky Neck, in East Gloucester. As well as painting views of the town's bustling waterfront and its streets and houses, he taught plein air classes to groups of enthusiastic students who were drawn to his artistic outlook, as well as his outgoing personality. In 1942, along with Bridgman, Carlson, Miller and Chapman, he established the Gruppé Summer School, which he continued to operate until 1970. During the 1930s, feeling that he had outgrown his early tonal style and wishing to impart a greater degree of verve and sparkle to his paintings, Gruppé adopted a more direct and personal mode of painting in which he combined a dynamic brand of Realism with the light and atmospheric concerns of Impressionism. His mature work is much admired for its robust brushwork, rich palette, thick impasto, and keen sense of compositional design. A dedicated artist, Gruppé is said to have painted every day, producing about two hundred oils a year. Gruppé exhibited at the major national annuals, including those of the National Academy of Design, where he made his debut in 1915. His paintings were also shown at regional venues, such as the Connecticut Academy of Fine Arts, the North Shore Art Association, and the Rockport Art Association, where they won numerous awards and prizes. His professional affiliations included Allied Artists of America, the Connecticut Academy of Fine Arts, the North Shore Art Association, the Gloucester Society of Artists, the Rochester Art Association, the Sarasota Art Association, the St. Augustine Art Association, and the Salmagundi Club of New York. While Cape Ann provided Gruppé with the majority of subjects for his brush, he also took winter trips to Jeffersonville, Vermont, where he painted views of birch trees, meandering country roads, and old barns and farmhouses. During his later years, he usually spent his winters in Florida, painting and teaching art classes. Considered a master of color and technique, Gruppé passed on his aesthetic precepts through his books, Brushwork for the Oil Painter (1977), Gruppé on Painting (1979) and Gruppé on Color (1979). Gruppé passed away in East Gloucester on September 28th 1978. A retrospective exhibition of his work was held at the North Shore Art Association in 1997. His paintings can be found in numerous public and private collections, not only in the United States but around the world! Again, please call me @ show contact info with any questions or to view the painting with on obligations to buy. Thank you, Tom.

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