PRENDERGAST, Maurice Brazil - b. 1859 St. John's, Newfoundland, d. 1924 New York - WGA

PRENDERGAST, Maurice Brazil

(b. 1859 St. John's, Newfoundland, d. 1924 New York)

American painter, born in Canada, educated in Boston. In 1886 he worked his way to Europe on a cattle boat and studied in Paris at Julian’s and at the Colarossi Academy. His brother, Charles Prendergast (1869-1948), an artist and frame maker, often assisted him financially. He again went abroad in the early 1890s, and during the rest of his life he gravitated between New York City and Europe, visiting various countries.

In New York he joined the independent group of artists called The Eight. Prendergast evolved a style akin to Post-Impressionism. Much freer in his brushstroke, his landscapes and figure compositions evoked the quality of a gay tapestry.

Prendergast’s work was strongly associated from the beginning with leisurely scenes set on beaches and in parks. His early work was mostly in watercolour or monotype, and he produced over two hundred monotypes between 1895 and 1902. He also experimented with oil painting in the 1890s, but did not focus on that medium until the early 1900s.

He developed and continued to elaborate a highly personal style, with boldly contrasting, jewel-like colours, and flattened, patternlike forms rhythmically arranged on a canvas. Forms were radically simplified and presented in flat areas of bright, unmodulated colour. His paintings have been aptly described as tapestry-like or resembling mosaics.

He is well represented in the Barnes Foundation, Merion, Pa., and in other leading collections throughout the United States.

Along the Shore
Along the Shore by

Along the Shore

In 1908, the artists group Ash Can School (or The Eight) announced new bearings in 20th-century American art. Its members concentrated on the unappealing sides of modern urban life. Maurice Prendergast and Ernst Lawson tried to reconcile this subject-matter with a lyrical use of colour derived from Impressionism. The modernity of Prendergast’s art did not reside in his subject-matter, it came from the priority he assigned technique over subject.

Prendergast studied in Paris and readily absorbed Post-Impressionist aesthetics after 1890. His lively compositions guaranteed him success not long after his return to Boston in 1894. His work, often executed in watercolour, remained distinctively carefree even into the 20th century, at a time when frequent stays in New York had put him in touch with the Ash Can School.

Central Park, New York
Central Park, New York by

Central Park, New York

In 1908, the artists group Ash Can School (or The Eight) announced new bearings in 20th-century American art. Its members concentrated on the unappealing sides of modern urban life. Maurice Prendergast tried to reconcile this subject-matter with a lyrical use of colour derived from Impressionism. The modernity of Prendergast’s art did not reside in his subject-matter, it came from the priority he assigned technique over subject.

Prendergast studied in Paris and readily absorbed Post-Impressionist aesthetics after 1890. His lively compositions guaranteed him success not long after his return to Boston in 1894. His work, often executed in watercolour, remained distinctively carefree even into the 20th century, at a time when frequent stays in New York had put him in touch with the Ash Can School.

Ponte della Paglia, Venice
Ponte della Paglia, Venice by

Ponte della Paglia, Venice

Prendergast studied in Paris and readily absorbed Post-Impressionist aesthetics after 1890. His lively compositions guaranteed him success not long after his return to Boston in 1894. His financial circumstances assured, he was able to depart for Europe again in 1898. In Europe he would spend almost two years in France but also in Italy, where he visited Rome, Capri, Siena and - above all - Venice.

Umbrellas in the Rain
Umbrellas in the Rain by

Umbrellas in the Rain

Prendergast studied in Paris and readily absorbed Post-Impressionist aesthetics after 1890. His lively compositions guaranteed him success not long after his return to Boston in 1894. His financial circumstances assured, he was able to depart for Europe again in 1898. In Europe he would spend almost two years in France but also in Italy, where he visited Rome, Capri, Siena and - above all - Venice.

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