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CLAUDE CLARK (1915 - 2001) The Turner's House.
CLAUDE CLARK (1915 - 2001)
The Turner's House.
Oil on canvas, 1947. 405x505 mm; 16x20 inches. Signed in oil, lower right.
Provenance: ex-collection the artist; The Little Gallery, East Newark, NJ, with the stamp and typed gallery label (with the artist's Philadelphia address) on the stretcher bar; estate of the artist, Oakland, CA.
Claude Clark was an innovative painter and printmaker who worked in Philadelphia, and later Oakland. After winning a 4 year scholarship to the Pennsylvania Museum and School of Industrial Art., he was supported by Dr. Albert C. Barnes, who gave him access to his famous collection at the Barnes Foundation from 1939-1944. In 1944 his painting Cutting Pattern was the second work by an African-American artist accepted into the Barnes Foundation, after one by Horace Pippin. He also was a colleague of Dox Thrash and Raymond Steth in the Philadelphia Fine Print Worskhop and the WPA workshop from 1939-1942, where he helped develop carborundum etching. His paintings and prints are in the collections of the Metropolitan Museum of Art, New York, the Saint Louis Art Museum, the Smithsonian Institution, Washington, DC and the De Young Museum, San Francisco. Lisa Mintz Messenger, African American Artists, 1939-1945, p. 48.
The Turner's House.
Oil on canvas, 1947. 405x505 mm; 16x20 inches. Signed in oil, lower right.
Provenance: ex-collection the artist; The Little Gallery, East Newark, NJ, with the stamp and typed gallery label (with the artist's Philadelphia address) on the stretcher bar; estate of the artist, Oakland, CA.
Claude Clark was an innovative painter and printmaker who worked in Philadelphia, and later Oakland. After winning a 4 year scholarship to the Pennsylvania Museum and School of Industrial Art., he was supported by Dr. Albert C. Barnes, who gave him access to his famous collection at the Barnes Foundation from 1939-1944. In 1944 his painting Cutting Pattern was the second work by an African-American artist accepted into the Barnes Foundation, after one by Horace Pippin. He also was a colleague of Dox Thrash and Raymond Steth in the Philadelphia Fine Print Worskhop and the WPA workshop from 1939-1942, where he helped develop carborundum etching. His paintings and prints are in the collections of the Metropolitan Museum of Art, New York, the Saint Louis Art Museum, the Smithsonian Institution, Washington, DC and the De Young Museum, San Francisco. Lisa Mintz Messenger, African American Artists, 1939-1945, p. 48.
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