Rezumat
Cea mai cunoscută pictură a lui Robert Johnson este Grain Elevator, Kansas (1933), din colecția Smithsonian American Art Museum, Washington, D.C.. Catalogul documentează 1 lucrări ale lui Robert Johnson; cele 1 intrări de mai jos sunt cele mai cunoscute, listate în ordine de clasament, cu dată, muzeu de păstrare și descriere.
Robert Johnson: cele 10 principale picturi
Robert Johnson: în colecțiile muzeelor
Muzeul care deține cele mai multe dintre picturile prezentate pe această pagină.
| Muzee | Oraș | Lucrări lui Robert Johnson | Picturi din această listă |
|---|---|---|---|
| Washington, D.C. | 1 | Grain Elevator, Kansas |
Robert Johnson: principalele picturi pe ani
Toate lucrările datate ale lui Robert Johnson listate pe această pagină sunt din 1933; acestea sunt prezentate mai jos, în ordine alfabetică.
Picturile lui Robert Johnson: întrebări de referință
Care este cea mai cunoscută pictură a lui Robert Johnson?Afișează răspunsul
Grain Elevator, Kansas (1933)
Câte lucrări ale lui Robert Johnson sunt documentate?Afișează răspunsul
Catalogul conține 1 lucrări ale lui Robert Johnson.
În ce muzee se află cele mai cunoscute picturi ale lui Robert Johnson?Afișează răspunsul
În principal în Smithsonian American Art Museum (Washington, D.C.). Tabelul cu muzee de mai sus oferă distribuția completă.
Robert Johnson: note biografice
The Divergent Path of a Scholar
Born in Hopewell, Virginia, Robert Johnson was shaped by a family deeply rooted in the visual arts. His mother possessed a love for painting, and his brother, Ben, would eventually find distinction as a director of conservation for the Los Angeles County Museum. While his early years were marked by an instinctive pull toward the canvas, his path was not a direct one. He was a man of both intellect and physical prowess, attending Duke University on a football scholarship and later navigating the rigorous studies of Duke Law School. Yet, the quiet pull of the brush remained, a private passion held during the demanding years of his legal training.
The turning point arrived when his curiosity about the great art of Europe led him away from the predictable trajectory of a legal career. He spent two years living in a small German village, immersing himself in the language and the vast history of European art. This period of wandering and study prepared him for a profound decision. After returning to the United States and balancing the conflicting demands of law and art, he sought the guidance of Frank Wright at George Washington University. It was there that he received the counsel to commit his highest energies and best working time entirely to his craft, a realization that prompted him to turn his law practice over to his partner and embrace the life of a full-time painter in 1987.
The Discipline of the Studio
His formal training was as diverse as it was rigorous, spanning various disciplines and masters. He sought out the most disciplined environments to refine his hand, moving from the study of painting to the structural complexities of sculpture and the precision of drawing. His education was a collection of intense, focused periods under the guidance of several instructors, including David Leffel, Robert Beverly Hale, Michael Burban, and Barney Hodes. He even spent time in the studio of Lajos Markos in Houston, Texas, absorbing the nuances of form and light.
His technical development is marked by several notable milestones:
- Achieving Master status by the Oil Painters of America in 2017.
- Winning first place national awards from The Artists Magazine and the Salmagundi Club in New York.
- Receiving six awards from the Oil Painters of America.
- Earning the American Art Collector Magazine award of Excellence.
A Life Divided Between Studios
Today, his life is split between the quietude of Vienna, Virginia, and the light of Taos, New Mexico. This duality of environment informs the breadth of his output, which has included twenty-one one-man shows in private galleries across the United States. He has not only focused on his own practice but has also dedicated himself to passing on his knowledge, producing seven instructional videos and teaching workshops throughout the United States and Canada. His written word, specifically his book On Becoming a Painter, serves as a reflection of the long, deliberate process he underwent to find his voice.
His work has found a place in significant collections, such as the Smithsonian American Art Museum in Washington, D.C., which holds his watercolor Grain Elevator, Kansas. This piece, a study of industrial architecture and landscape, reflects the precision and observational depth he cultivated through years of dedicated study. From the rural structures of the American landscape to the complex textures of his subjects, his work remains a product of that singular decision to give his best self to the canvas.