Harry Humphrey Moore Figurative Paintings
American, 1844-1926
Born deaf in New York City, Harry Humphrey Moore was a student of Thomas Eakins when attending a school for the deaf in Philadelphia. Eakins recommended he study at École des Beaux-Arts in Paris where he became a student of Jean-Léon Gérôme.
Completing his studies in 1869, Moore traveled in Spain with Eakins, and he was so impressed by the landscape that he stayed several years. In 1872, he married and moved to Morocco and also went to Japan, having been encouraged by the artist Robert Blum.
Moore’s reputation was established by his interest in Oriental subject matter — along with William Heine, Edward Kern and Winckworth Allan Gay, Moore was one of the first American artists to visit Japan. There he created about sixty paintings of Oriental subject matter including temples, gardens and Geisha girls.
Throughout his life, Moore was a world traveler, spending much of his time in Paris, but returned to America to spend time in San Francisco between 1864 and 1907.
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Artist: Harry Humphrey Moore
Japanese Girl Promenading
By Harry Humphrey Moore
Located in New York, NY
Harry Humphrey Moore led a cosmopolitan lifestyle, dividing his time between Europe, New York City, and California. This globe-trotting painter was also active in Morocco, and most importantly, he was among the first generation of American artists to live and work in Japan, where he depicted temples, tombs, gardens, merchants, children, and Geisha girls. Praised by fellow painters such as Thomas Eakins, John Singer Sargent, and Jean-Léon Gérôme, Moore’s fame was attributed to his exotic subject matter, as well as to the “brilliant coloring, delicate brush work [sic] and the always present depth of feeling” that characterized his work (Eugene A. Hajdel, Harry H. Moore, American 19th Century: Collection of Information on Harry Humphrey Moore, 19th Century Artist, Based on His Scrap Book and Other Data [Jersey City, New Jersey: privately published, 1950], p. 8).
Born in New York City, Moore was the son of Captain George Humphrey, an affluent shipbuilder, and a descendant of the English painter, Ozias Humphrey (1742–1810). He became deaf at age three, and later went to special schools where he learned lip-reading and sign language. After developing an interest in art as a young boy, Moore studied painting with the portraitist Samuel Waugh in Philadelphia, where he met and became friendly with Eakins. He also received instruction from the painter Louis Bail in New Haven, Connecticut. In 1864, Moore attended classes at the Mark Hopkins Institute in San Francisco, and until 1907, he would visit the “City by the Bay” regularly.
In 1865, Moore went to Europe, spending time in Munich before traveling to Paris, where, in October 1866, he resumed his formal training in Gérôme’s atelier, drawing inspiration from his teacher’s emphasis on authentic detail and his taste for picturesque genre subjects. There, Moore worked alongside Eakins, who had mastered sign language in order to communicate with his friend. In March 1867, Moore enrolled at the prestigious École des Beaux-Arts, honing his drawing skills under the tutelage of Adolphe Yvon, among other leading French painters.
In December 1869, Moore traveled around Spain with Eakins and the Philadelphia engraver, William Sartain. In 1870, he went to Madrid, where he met the Spanish painters Mariano Fortuny and Martin Rico y Ortega. When Eakins and Sartain returned to Paris, Moore remained in Spain, painting depictions of Moorish life in cities such as Segovia and Granada and fraternizing with upper-crust society. In 1872, he married Isabella de Cistue, the well-connected daughter of Colonel Cistue of Saragossa, who was related to the Queen of Spain. For the next two-and-a-half years, the couple lived in Morocco, where Moore painted portraits, interiors, and streetscapes, often accompanied by an armed guard (courtesy of the Grand Sharif) when painting outdoors. (For this aspect of Moore’s oeuvre, see Gerald M. Ackerman, American Orientalists [Courbevoie, France: ACR Édition, 1994], pp. 135–39.) In 1873, he went to Rome, spending two years studying with Fortuny, whose lively technique, bright palette, and penchant for small-format genre scenes made a lasting impression on him. By this point in his career, Moore had emerged as a “rapid workman” who could “finish a picture of given size and containing a given subject quicker than most painters whose style is more simple and less exacting” (New York Times, as quoted in Hajdel, p. 23).
In 1874, Moore settled in New York City, maintaining a studio on East 14th Street, where he would remain until 1880. During these years, he participated intermittently in the annuals of the National Academy of Design in New York and the Pennsylvania Academy of the Fine Arts in Philadelphia, exhibiting Moorish subjects and views of Spain. A well-known figure in Bay Area art circles, Moore had a one-man show at the Snow & May Gallery in San Francisco in 1877, and a solo exhibition at the Bohemian Club, also in San Francisco, in 1880. Indeed, Moore fraternized with many members of the city’s cultural elite, including Katherine Birdsall Johnson (1834–1893), a philanthropist and art collector who owned The Captive (current location unknown), one of his Orientalist subjects. (Johnson’s ownership of The Captive was reported in L. K., “A Popular Paris Artist,” New York Times, July 23, 1893.) According to one contemporary account, Johnson invited Moore and his wife to accompany her on a trip to Japan in 1880 and they readily accepted. (For Johnson’s connection to Moore’s visit to Japan, see Emma Willard and Her Pupils; or, Fifty Years of Troy Female Seminary [New York: Mrs. Russell Sage, 1898]. Johnson’s bond with the Moores was obviously strong, evidenced by the fact that she left them $25,000.00 in her will, which was published in the San Francisco Call on December 10, 1893.) That Moore would be receptive to making the arduous voyage across the Pacific is understandable in view of his penchant for foreign motifs. Having opened its doors to trade with the West in 1854, and in the wake of Japan’s presence at the Philadelphia Centennial Exposition of 1876, American artists were becoming increasingly fascinated by what one commentator referred to as that “ideal dreamland of the poet” (L. K., “A Popular Paris Artist”).
Moore, who was in Japan during 1880–81, became one of the first American artists to travel to the “land of the rising sun,” preceded only by the illustrator, William Heime, who went there in 1851 in conjunction with the Japanese expedition of Commodore Matthew C. Perry; Edward Kern, a topographical artist and explorer who mapped the Japanese coast in 1855; and the Boston landscapist, Winckleworth Allan Gay, a resident of Japan from 1877 to 1880. More specifically, as William H. Gerdts has pointed out, Moore was the “first American painter to seriously address the appearance and mores of the Japanese people” (William H. Gerdts, American Artists in Japan, 1859–1925, exhib. cat. [New York: Hollis Taggart Galleries, 1996], p. 5).
During his sojourn in Japan, Moore spent time in Tokyo, Yokohama, Kyoto, Nikko, and Osaka, carefully observing the local citizenry, their manners and mode of dress, and the country’s distinctive architecture. Working on easily portable panels, he created about sixty scenes of daily life, among them this sparkling portrayal of a young woman dressed in a traditional kimono and carrying a baby on her back, a paper parasol...
Category
Late 19th Century Harry Humphrey Moore Figurative Paintings
Materials
Oil, Wood Panel
Japanese Children with Tortoise
By Harry Humphrey Moore
Located in New York, NY
Harry Humphrey Moore led a cosmopolitan lifestyle, dividing his time between Europe, New York City, and California. This globe-trotting painter was also active in Morocco, and most importantly, he was among the first generation of American artists to live and work in Japan, where he depicted temples, tombs, gardens, merchants, children, and Geisha girls. Praised by fellow painters such as Thomas Eakins, John Singer Sargent, and Jean-Léon Gérôme, Moore’s fame was attributed to his exotic subject matter, as well as to the “brilliant coloring, delicate brush work [sic] and the always present depth of feeling” that characterized his work (Eugene A. Hajdel, Harry H. Moore, American 19th Century: Collection of Information on Harry Humphrey Moore, 19th Century Artist, Based on His Scrap Book and Other Data [Jersey City, New Jersey: privately published, 1950], p. 8).
Born in New York City, Moore was the son of Captain George Humphrey, an affluent shipbuilder, and a descendant of the English painter, Ozias Humphrey (1742–1810). He became deaf at age three, and later went to special schools where he learned lip-reading and sign language. After developing an interest in art as a young boy, Moore studied painting with the portraitist Samuel Waugh in Philadelphia, where he met and became friendly with Eakins. He also received instruction from the painter Louis Bail in New Haven, Connecticut. In 1864, Moore attended classes at the Mark Hopkins Institute in San Francisco, and until 1907, he would visit the “City by the Bay” regularly.
In 1865, Moore went to Europe, spending time in Munich before traveling to Paris, where, in October 1866, he resumed his formal training in Gérôme’s atelier, drawing inspiration from his teacher’s emphasis on authentic detail and his taste for picturesque genre subjects. There, Moore worked alongside Eakins, who had mastered sign language in order to communicate with his friend. In March 1867, Moore enrolled at the prestigious École des Beaux-Arts, honing his drawing skills under the tutelage of Adolphe...
Category
Late 19th Century Harry Humphrey Moore Figurative Paintings
Materials
Oil, Wood Panel
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BORN
1956 Vermillion, SD
EDUCATION
1982 M.F.A. in Painting, University of Iowa, Iowa City, IA 1981 Skowhegan School of Painting, Skowhegan, ME 1981 M.A. in Painting, University of Iowa, Iowa City, IA 1978 B.F.A. in Painting, Washburn University, Topeka, KS
SOLO EXHIBITIONS
2013 Hirschl & Adler Modern, New York, NY
2009 Hirschl & Adler Modern, New York, NY
2007 Hirschl & Adler Modern, New York, NY
2004 Hirschl & Adler Modern, New York, NY
2003 Randall Exon: A Quiet Light, James A. Michener Art Museum,
Doylestown, PA
2001 Mulvane Museum of Art, Topeka, KS
2000 More Gallery, Philadelphia, PA
1998 More Gallery, Philadelphia, PA
1996 More Gallery, Philadelphia, PA
1994 More Gallery, Philadelphia, PA
1993 Tasis England American School, Main Gallery, Thorpe, Surrey, England 1992 More Gallery, Philadelphia, PA
Theatre Gallery, Washburn University, Topeka, KS
Widener University Art Museum, Chester, PA 1990 Charles More Gallery, Philadelphia, PA
1988 West Chester University, McKinney Gallery, Mitchell Hall, West Chester, PA Charles More Gallery, Philadelphia, PA
Carleton College, Northfield, MN
1987 University of Maine at Machias, University Gallery, ME
Topeka Public Library, Central Gallery, KS 1986 More Gallery, Philadelphia, PA
1984 More Gallery, Philadelphia, PA
Stoneybrook School, Suffolk, Long Island, NY
1981-82 Florence Wilcox Gallery, Swarthmore College, PA Beauchamp Gallery, Topeka, KS
SELECTED GROUP EXHIBITIONS
2019 Unforeseeable Thereness, Stanek Gallery, Philadelphia, PA
2018 Vis-à-Vis, Hirschl & Adler Galleries, New York, NY
2017 The New Baroque, Booth Gallery, New York, NY, curated by Robert
Zeller
Painted Landscapes: Contemporary Views, Heritage Museums and Gardens, Sandwich, MA
2016 Mixed Environs: Contemporary Painters, Lore Degenstein Gallery, Susquehanna University, Selinsgrove, PA
2015 Home is Where the Art Is, Hirschl & Adler Galleries, New York, NY 2014 Our American Life, Hirschl & Adler Galleries, New York, NY
2014 Edge of the Seat, The Rye Arts Center Gallery, Rye, NY
2013 Duets: Art in Conversation, Hirschl & Adler Galleries, New York, NY 2012 Haunting Narratives: Detours from Philadelphia Realism, 1935-Present,
Woodmere Art Museum, Philadelphia, PA
Structuring Nature, Walton Arts Center, Fayetteville, AR Summer Selections, Hirschl & Adler Modern, New York, NY
2011 Masterworks: The Best of Hirschl & Adler, Hirschl & Adler Galleries, New York, NY
2010 Summer Selections, Hirschl & Adler Modern, New York, NY
2009 Holiday Selections, Hirschl & Adler Modern, New York, NY
2008-2009 American Green – Art and Stewardship, Somerville-Manning Gallery, Greenville,
DE
2008 Holiday Selections, Hirschl & Adler Modern, New York, NY
Summer Selections, Hirschl & Adler Modern, New York, NY 2007 Finding a Form: Influences in Figurative Painting, Tower Gallery,
Philadelphia, PA
Holiday Selections, Hirschl & Adler Modern, New York, NY Summer Selections, Hirschl & Adler Modern, New York, NY
2006-2008 Visions of the Susquehanna, Susquehanna Art Museum, PA; Governor’s Residence, Harrisburgh, PA; Washington County Museum of Fine Arts, Hagerstown, MD; Roberson Center for Art and Science, Binghamton, NY.
2006 Summer Selections, Hirschl & Adler Modern, New York, NY
2004 179th Annual: An Invitational Exhibition of Contemporary American Art,
National Academy of Design, New York, NY
Selected Works from the Ballinglen Collection, United States Embassy to Ireland, Ambassadors Residence, Phoenix Park, Dublin, Republic of Ireland. Part of the Art in the Embassies Program, Washington D.C.
2001 Personal Affinities, Contemporary Artists Influenced by the works of Edwin Dickinson, Pennsylvania Academy of the Fine Arts Museum, Philadelphia, PA
2000 December Show, Fenton Gallery, Cork City, Ireland
Works from the Archives, Ballinglen Arts Foundation, Ballycastle, County Mayo, Ireland
1999 New Realism for a New Millennium, Memorial Art Gallery, University of Rochester, NY
Indomitable Spirits, The Figure At The End Of The Century, The Art Institute of
Southern California, Laguna Beach, CA
1998 Visual Poetry, A Selection of Work by Artists Inspired by the Words and
Sentiments of Walt Whitman, Stedman Gallery, Rutgers University, Camden, NJ The Artist's Window, Lee Hansley Gallery, Raleigh, NC
Embodied Fictions, Twelve Contemporary Figure Painters, The Boyden Gallery, St. Mary's College of Maryland, St. Mary’s City, MD
1997 Abstract and Image, Four Painters, Hopkin's Center, Dartmouth College, Hanover, NH
An Extended View: Landscapes by Philadelphia Artists, Levy and Paley Galleries,
Moore College of Art and Design, Philadelphia, PA
1996 Figure Drawings, Hillyer Hall, Smith College, Northampton, MA
Figurative Paintings, Edith Caldwell Gallery, San Francisco, CA
A Show of Hands (Exhibit and auction to assist AIDS research), Moore College of Art and Design, Philadelphia, PA
1994 Figures in the Landscape, More Gallery, Philadelphia, PA
1992 Landscapes by Randall Exon & Joseph Byrne, Dartmouth College, Hanover, NH 1991 A Show of Hands, Moore College of Art and Design, Philadelphia, PA
1991 Ten Contemporary Philadelphia Painters, Westmoreland Museum, Greensburg, PA 1991 Sport in Art, Woodmere Museum, Chestnut Hill, PA
1990 Myth and Monument, More Gallery, Philadelphia, PA
1990 Evidence of the Senses, 7 Painters, Woodmere Museum, Chestnut Hill, PA
Pollack Award Winners, Mulvane Gallery, Washburn University, Topeka, KS 1989 Works on Paper, More Gallery, Philadelphia, PA
Nocturnes, More Gallery, Philadelphia, PA
1986 Nature Morte, Southern Alleghenies Museum of Art, St. Francis College, Loretto, PA 1984 The Spirit of the Coast: Paintings, Monmouth Museum, NJ
Drawings: Personal and Intimate, More Gallery, Philadelphia, PA
Night Paintings, Florence Wilcox Gallery, Swarthmore, PA
1983 Realist Direction, Penn State University Museum, University Park, PA 1981 Graduate Student Traveling Exhibit, University of Iowa, Iowa City, IA 1980 Selected Painters, Mulvane Gallery, Washburn University, Topeka, KS 1979 Artists Choose Artists Exhibit, University of Missouri at Kansas City Art
Gallery, MO
JURIED SHOWS
1990 Philadelphia Art Now, Philadelphia Museum of Art, PA
1989 State of Pennsylvania Juried Exhibition, William Penn Museum, Harrisburg, PA 1987 State of Pennsylvania Juried Exhibition, William Penn Museum, Harrisburg, PA 1984 Butler Institute of American Art Annual Exhibit, Youngstown, OH
National Academy of Design Biannual Competition, New York, NY 1981 32nd Iowa Artists Exhibition, Des Moines Art Center, Des Moines, IA 1980 Iowa Artists Solon, Burnnier Gallery, Iowa State University, Ames, IA 1979 Kansas Bankers Association Exhibition, Topeka, KS
AWARDS/GRANTS/RESIDENCIES
2004 The Thomas Benedict Clarke Prize, 179th Annual Invitational Exhibition of Contemporary American Art, National Academy Museum and School of Fine Arts, New York, NY
2001 2nd Fellowship, Ballinglen Arts Foundation, Ballycastle, County Mayo, Ireland Eugene M. Lang Faculty Fellowship, Swarthmore College, PA
1997 Fellow, Ballinglen Arts Foundation, Ballycastle, County Mayo, Ireland 1992 Washburn Fellow, Washburn University, Topeka, KS
1989 Eugene M. Lang Faculty Fellowship, Swarthmore College, PA
1988 Andrew Carnegie Prize, 163rd Annual Exhibition of the National
Academy of Design, New York, NY 1987
1985-86 1984
1981 1981 1980 1976, 78
TEACHING
1982-present 1994-00 1980-82
Best of Show prize, juried museum exhibition, The State Museum of Pennsylvania, Harrisburg, PA
Henry Luce Scholar, Bali, Indonesia
Julius Halgarten Prize for Best Painting by an Artist under 35 years of age Academy of Design Annual Exhibition, New York, NY
Iowa Artists Salon, Second Prize
Skowhegan Scholarship Award, University of Iowa, Iowa City, IA
Student Award, 32nd Iowa Artists Exhibition, Des Moines Art Center, IA
Charles Pollack purchase prize for the best painting from annual student exhibition, Washburn University, Topeka, KS
Professor in Studio Arts, Swarthmore College, Swarthmore, PA
Chair, Department of Art, Swarthmore College, Swarthmore, PA Teaching Assistant to Ben Frank Moss, University of Iowa, Iowa City, IA
VISITING ARTIST/LECTURES
2002 2001
1998 1995
1994 1993
1994, 1992 1992
1989
1987
1986 1985
1982
Pennsylvania State University, Abington, PA Hollins College, Roanoke, VA
Maryland Arts Institute, Baltimore, MD Beaver College, Glenside, PA
Union College, Department of Art, Schenectady, NY Allentown Art Museum, PA
Pennsylvania Academy of the Fine Arts, Philadelphia, PA Bucks County Community College, Newtown, PA
Tasis England American School, Thorpe, Surrey, England Boston Art Institute, MA
Boston University, M.F.A. program, MA
Beaver College, Department of Art, Philadelphia, PA
Dartmouth College, Department of Visual Studies, Hanover, NH Dartmouth College, Department of Visual Studies, Hanover, NH Carleton College, Northfield, MN
University of Maine at Machias, ME
Horsham College of Art, Horsham, England Stoneybrook School, Suffolk, Long Island, NY
Moore College of Art, Basic Drawing, Philadelphia, PA Vassar College, Department of Art, Poughkeepsie, NY
PUBLIC COLLECTIONS
Allentown Art Museum, PA
ARA Corporation, Philadelphia, PA
Security Pacific National Bank, Sanger Branch, Los Angeles, CA University of Iowa, Permanent Collection, Iowa City, IA
Mulvane Gallery Permanent Collection, Washburn University, Topeka, KS Woodmere Museum, Mt. Airy, Philadelphia, PA
Henry Luce Foundation, New York, NY
Henry Wendt Collection, Philadelphia, PA
Susquehanna Art Museum, Harrisburg, PA
SELECTED BIBLIOGRAPHY
Sozanski, Edward J. “Simple Situations, in almost holy light,” Philadelphia Inquirer , February 7, 2003
Francis, Naila,“Studies in Light, Space,” The Intelligencer, January 9, 2003
Thompson, Jodi, “Fabulous Realism, seeing the light,” Out & About, January 9, 2003
Hopkin, Alannah, The Irish Examiner, July 1, 2002
Hopkin, Alannah, The Irish Examiner, January 2002
Sosanski, Edward, Philadelphia Inquirer, February 2001
Carr, Jeffrey, “Landscapes of the Imagination,” American Artist, January 1999
“On The Town,” New York Times Art Review, November 1998
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Harry Humphrey Moore figurative paintings for sale on 1stDibs.
Find a wide variety of authentic Harry Humphrey Moore figurative paintings available for sale on 1stDibs. You can also browse by medium to find art by Harry Humphrey Moore in oil paint, paint, panel and more. Not every interior allows for large Harry Humphrey Moore figurative paintings, so small editions measuring 7 inches across are available. Customers who are interested in this artist might also find the work of Benjamin Stahl, Derek Buckner, and Anthony Ackrill. Harry Humphrey Moore figurative paintings prices can differ depending upon medium, time period and other attributes. On 1stDibs, the price for these items starts at $6,500 and tops out at $12,000, while the average work can sell for $12,000.
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