Raised in Danbury, Connecticut, George de Forest Brush became a figure and portrait painter, especially of Plains Indian subjects whose tribal customs and traditions he depicted in a romantic style.... Read full biography
Raised in Danbury, Connecticut, George de Forest Brush became a figure and portrait painter, especially of Plains Indian subjects whose tribal customs and traditions he depicted in a romantic style. Unlike his peers, Frederic Remington and Charles Russell, he was not interested in dramatic scenes... Read full biography
Raised in Danbury, Connecticut, George de Forest Brush became a figure and portrait painter, especially of Plains Indian subjects whose tribal customs and traditions he depicted in a romantic style. Unlike his peers, Frederic Remington and Charles Russell, he was not interested in dramatic scenes but painted daily life, which presented a new aspect of these people to eastern viewers. He also painted "modern madonnas" or straightforward portraits of women, often with his wife, Mittie, and his... Read full biography
Raised in Danbury, Connecticut, George de Forest Brush became a figure and portrait painter, especially of Plains Indian subjects whose tribal customs and traditions he depicted in a romantic style. Unlike his peers, Frederic Remington and Charles Russell, he was not interested in dramatic scenes but painted daily life, which presented a new aspect of these people to eastern viewers. He also painted "modern madonnas" or straightforward portraits of women, often with his wife, Mittie, and his children as the models. He enrolled at age 16 for three years, 1871 to 1874, at the National Academy of Design with Lemuel Wilmarth. In 1873, thanks to an anonymous benefactor, he enrolled, along with Abbott Thayer, at the Ecole des Beaux-Arts in Paris... Read full biography
Raised in Danbury, Connecticut, George de Forest Brush became a figure and portrait painter, especially of Plains Indian subjects whose tribal customs and traditions he depicted in a romantic style. Unlike his peers, Frederic Remington and Charles Russell, he was not interested in dramatic scenes but painted daily life, which presented a new aspect of these people to eastern viewers. He also painted "modern madonnas" or straightforward portraits of women, often with his wife, Mittie, and his children as the models. He enrolled at age 16 for three years, 1871 to 1874, at the National Academy of Design with Lemuel Wilmarth. In 1873, thanks to an anonymous benefactor, he enrolled, along with Abbott Thayer, at the Ecole des Beaux-Arts in Paris as a pupil of Jean-Leon Gerome, whose academic style, solidly constructed figures, and highly finished technique had continuing influence on Br... Read full biography
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