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Charles Ethan Porter (American, 1847-1923). Floral Still Life. Oil on canvas. 24 x 20 inches (61.0 x 50.8 cm). Signed lo...
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Description
Charles Ethan Porter (American, 1847-1923)Floral Still Life
Oil on canvas
24 x 20 inches (61.0 x 50.8 cm)
Signed lower right: C.E. Porter
Property of a Distinguished New York Collector
PROVENANCE:
Richard Smith, Rhode Island;
Acquired by the present owner from the above.
EXHIBITED:
Mason Fine Art, Atlanta, Georgia.
The son of a poor and illiterate laborer, Charles Ethan Porter became one of the first, if not the first, African-American artists to study at the National Academy of Design in New York. Porter's still life paintings, as evidenced by Floral Still Life and Still Life with Roses, embrace a soft, lush quality that differentiates them from many other American still life paintings of the nineteenth century, which are often characterized by a virtuosic but harder-edged technique. Porter's work embodies a soft focus while capturing a naturalistic immediacy, qualities apparent also in his landscapes.
Porter's work was enthusiastically received in the press and by his colleagues and students. He was a much-admired teacher to aspiring artists, and counted among his friends and patrons artist Frederic Edwin Church and writer Mark Twain. Thanks to the sponsorship of Mark Twain, Porter was able to travel to Paris in 1881-84, where he came under a variety of influences and was able to reach the heights of his ability. With the support of his friends and patrons, the artist went on to become a charter member of the Connecticut Academy of Fine Arts, exhibiting at the National Academy of Design, the American Society of Painters in Watercolor, and the Hartford Decorative Art Society.
Although Porter's personal life is rather obscure and undocumented, it is evident that he encountered racism regularly, and with increasing intensity. Porter was acclaimed by the press and was awarded important prizes, but after settling in Hartford, Connecticut, his race began to result in social isolation.
A Bavarian artist who shared his studio, Gustave Hoffman, had to sell Porters paintings door to door because no one would buy the work of a Black man. It is said that a significant part of his output in these years still hang unrecognized on the walls of Hartford homes. By the time of his death in 1923, racism had cast him into complete obscurity, and it was only very recently that he is once again recognized as one of the country's outstanding late nineteenth-century artists.
Framed Dimensions 31 X 27 Inches
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