Charles Bird King was already widely recognized and admired as a portrait artist in the United States of America during his lifetime. He was born on 26 September 1785 in Newport, Rhode Island. In 1862 he died in Washington D.C. on March 18. He underwent classical painting training, which led him to Edward Savage in New York at the age of 15. There he learnt at a young age the then highly regarded craft of portrait painting, which was to fill out his artistic cosmos in the following years. Another station of his apprenticeship was the Royal Academy of Arts in London, where he studied for seven years with none other than Benjamin West.
In 1812 he returned to his home country, the USA, and finally settled in Washington D.C. Like many of his contemporary artist colleagues, Charles Bird King had to realize that painting is only suitable as a breadwinner if the order situation is right. And at that time, portraits were particularly in demand in the US capital. King knew how to make contacts with dignitaries and politicians in the capital of the United States, so that he made a good living as a commissioned portraitist. His works in this regard are particularly impressive because of their concrete brushwork. However, this, together with the unusual intensity of colour, lends the portraits a virility that makes each portrait appear to be a small masterpiece. Particularly noteworthy is King's depiction of important and also casual representatives of the Native American population; a work commissioned in large part by Thomas McKenney, who wanted to preserve the Native American heritage, which comprises more than 140 works. However, it is regrettable that Charles Bird King was so dedicated to portraiture. His few paintings, which can be attributed mainly to genre painting or classified as still lifes, suggest that a great representative of his art was at work here. They are unmistakably influenced by the Flemish and Dutch masters of past eras, whose art he must have come into contact with during his time in Europe. Their attention to detail is even enhanced by King's unusual colouring, which makes the works look very modern, like an anachronism to this day.
Charles Bird King was already widely recognized and admired as a portrait artist in the United States of America during his lifetime. He was born on 26 September 1785 in Newport, Rhode Island. In 1862 he died in Washington D.C. on March 18. He underwent classical painting training, which led him to Edward Savage in New York at the age of 15. There he learnt at a young age the then highly regarded craft of portrait painting, which was to fill out his artistic cosmos in the following years. Another station of his apprenticeship was the Royal Academy of Arts in London, where he studied for seven years with none other than Benjamin West.
In 1812 he returned to his home country, the USA, and finally settled in Washington D.C. Like many of his contemporary artist colleagues, Charles Bird King had to realize that painting is only suitable as a breadwinner if the order situation is right. And at that time, portraits were particularly in demand in the US capital. King knew how to make contacts with dignitaries and politicians in the capital of the United States, so that he made a good living as a commissioned portraitist. His works in this regard are particularly impressive because of their concrete brushwork. However, this, together with the unusual intensity of colour, lends the portraits a virility that makes each portrait appear to be a small masterpiece. Particularly noteworthy is King's depiction of important and also casual representatives of the Native American population; a work commissioned in large part by Thomas McKenney, who wanted to preserve the Native American heritage, which comprises more than 140 works. However, it is regrettable that Charles Bird King was so dedicated to portraiture. His few paintings, which can be attributed mainly to genre painting or classified as still lifes, suggest that a great representative of his art was at work here. They are unmistakably influenced by the Flemish and Dutch masters of past eras, whose art he must have come into contact with during his time in Europe. Their attention to detail is even enhanced by King's unusual colouring, which makes the works look very modern, like an anachronism to this day.
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