NationMaster - Encyclopedia: Ten American Painters

The Ten American Painters resigned from the Society of American Artists in late 1897/early 1898 to protest the large size and commercialism of that group's exhibitions. 1897 was a common year starting on Friday (see link for calendar). ... 1898 was a common year starting on Saturday (see link for calendar). ...

The Ten were Childe Hassam, J. Alden Weir, John Henry Twachtman, Robert Reid, Willard Metcalf, Frank Weston Benson, Edmund Charles Tarbell, Thomas Wilmer Dewing, Joseph DeCamp, and Edward Simmons. When Twachtman died in 1902, William Merritt Chase joined. Abbott H. Thayer and Winslow Homer were asked to join the group when it was formed but refused. Frederick Childe Hassam (October 17, 1859 - August 27, 1935) was an American Impressionist painter. ... Julian Alden Weir (1850-1919) was an American impressionist painter. ... John Henry Twachtman (August 4, 1853-August 8, 1902) was a US impressionist painter. ... Robert Reid is the name of: Robert Gillespie Reid (1842–1908), a Scottish railway contractor. ... Willard Leroy Metcalf (July 1, 1858–March 9, 1925) was an American artist. ... Edmund Charles Tarbell (April 26, 1862 - August 1, 1938) was an American Impressionist painter. ... Summer (1890) Thomas Wilmer Dewing (May 4, 1851 – November 5, 1938) was an American painter working at the turn of the 20th century. ... Joseph Rodefer DeCamp (November 5, 1858 - February 11, 1923) was an American painter. ... 1902 was a common year starting on Wednesday (see link for calendar). ... William Merritt Chase (November 1, 1849 - October 25, 1916) was an American painter known as an exponent of Impressionism and as a teacher. ... Winslow Homer (February 24, 1836 - September 29, 1910) was an American painter. ...

All of the Ten were active in either New York City or Boston. All were influenced by Impressionism. Midtown Manhattan, looking north from the Empire State Building, 2005 New York City (officially named the City of New York) is the largest city and largest metropolitan area, by population, in the United States. ... Nickname: Beantown, The Hub, Athens of America Location in the state of Massachusetts Founded September 17, 1630 County Suffolk County Mayor Thomas Menino (Dem) Area - Total - Water 232. ... Impressionism was a 19th century art movement, that began as a loose association of Paris-based artists who began publicly exhibiting their art in the 1860s. ...

Categories: Artist stubs | United States painters | Visual art movements | Impressionism

Results from FactBites:

Hunter Museum of American Art (568 words)
	The majority of American artists who adopted impressionism in the last decades of the nineteenth century had either studied formally in Paris, or Barbizon, or Giverny, or they had spent sufficient time there to absorb the movement's aesthetic principles.
	Yet in implementing those tenets, the Americans were inclined to be less doctrinaire in the application of impressionist light and color theory and characteristic brush technique.
	Consequently, some critics and art historians, the notable E. Richardson for example, find the American development generally more decorative than that of the French innovators (a natural evolution reflecting the tendency of second-generation practitioners to refine, but at the same time reduce, the boldness and experimental vigor of the original style to an ornamental idiom).

The Philadelphia Ten: A Women's Artist Group 1917–1945 (4416 words)
	A member of The Philadelphia Ten and a PSDW graduate, Nancy Maybin Ferguson, expressed this philosophy when explaining her decision to study painting, “I don’t think it was a natural love for painting that made me first begin to study; rather it was that I wanted to do some work in the world.
	Thus membership in The Philadelphia Ten, providing “moral support, friendly competition and good fellowship,” may have been even more important for women artists than it was for their male counterparts, given the uphill battle they fought to achieve parity in the marketplace and in the close-knit and tradition-bound art establishment.
	While some might fault The Philadelphia Ten for their resistance to modernism, their exhibitions were clearly an invitation to critical discussion of their work, and The Philadelphia Ten were not accused of seeking “the immunity of feminine fragility,” as were the members of the New York Society of Women Painters.

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