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Emma Fordyce MacRae"Canals in Annecy, France" by Emma Fordyce MacRae (1887-1974) American Framed20th Century
20th Century
$4,500
£3,408.33
€3,914.35
CA$6,305.97
A$6,855.86
CHF 3,634.99
MX$82,184.41
NOK 46,198.81
SEK 42,324.39
DKK 29,254.82
About the Item
A lovely scene of the canals in Annecy, France by renowned American artist Emma Fordyce MacRae (1887-1974).
This work highlights the geometric nature of the historic architecture along the canal and is painted with a soothing pastel palette. With it simplified forms and lack of figures, this work captures the essence of the charming city, which looks largely unchanged today.
The work is oil on gessoed board and is housed in its original Newcomb Macklin style frame behind glass. It is unsigned.
Size:
14 inches tall by 17 inches wide (painting)
20 inches tall by 23 inches wide by 1.75 inches deep (frame)
Provenance:
Private collection, NY;
Acquired from the above
About the artist:
Among the most esteemed members of "The Philadelphia Ten," Emma Fordyce MacRae (1887-1974) developed a distinct and singular manner of painting that was wholly her own. By drawing upon the aesthetic influences of Japanese art and Renaissance painting and updating them with a modernist's sensibility, MacRae created a visually harmonious and striking style that was at once both timeless and modern.
Born in Vienna in 1887, MacRae was raised in New York City and enrolled in the Art Students League in 1911. By the time she joined the Philadelphia Ten in 1937, MacRae had already established herself as an artist of note, exhibiting widely in New York, Boston and elsewhere in New England, and winning awards from organizations such as the National Association of Women Painters and Sculptors, and the Allied Artists of America. Her work was widely acclaimed; the critic for The Philadelphia Inquirer, for example, wrote of her work "the most alluring we have seen for many a moon" and commented on its "quality of decoration which is eminently gratifying."
MacRae often incorporated the texture and surface of her supports into her compositions by purposefully leaving areas exposed, integral to the overall aesthetic of her work. MacRae would begin by layering gesso on her support creating a hard, plaster-like surface. She would often then sketch her subject with a black chalk or pencil, leaving the outlines of this underdrawing visible in her final composition. By leaving areas of the canvas or masonite visible under her thinly applied paint layer, MacRae created a chalky, mottled aesthetic which evokes a timeless feeling of an Italian fresco or tapestry. She would also scrape away the paint and leave her surfaces unvarnished, further playing up their decorative qualities.
Condition: Good overall condition. Rounded corners with small losses and touch up. Some toning to cloth liner. Original frame with wear and small losses. It is ready to be displayed and enjoyed!
- Creator:Emma Fordyce MacRae (1887-1974, American)
- Creation Year:20th Century
- Dimensions:Height: 20 in (50.8 cm)Width: 23 in (58.42 cm)Depth: 1.75 in (4.45 cm)
- Medium:
- Movement Style:
- Period:
- Condition:Good overall condition. Rounded corners with small losses and touch up. Some toning to cloth liner. Original frame with wear and small losses. It is ready to be displayed and enjoyed!
- Gallery Location:Yardley, PA
- Reference Number:1stDibs: LU2911217274772
Emma Fordyce MacRae
Philadelphia Ten Woman Artist, Emma Fordyce Macrae grew up in New York City where she attended the Art Students League (1911-13) and (1915-18). She had studios in New York City and Gloucester, Massachusetts where she summered. In 1937 she began exhibiting with the Philadelphia Ten Women Painters. She was also the only Philadelphia Ten member to attain full membership in the National Academy of Design in New York. She rarely sold her work due to her wealth and in 1983 Richard York Gallery held an exhibit of 30 of her works. Her paintings combine floral arrangements with a patterned, often figural, background in a fresco style that she developed after visiting the Roman wall paintings at Pompeii and Herculaneum. She never varnished her work as to maintain the frescoed appearance.
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