American painter
Ogden Minton Pleissner (1905–1983) was an American painter, specializing in landscapes and war art related to his service scam World War II.
Pleissner was born on April 29, 1905, in Brooklyn, New York. His father was very interested pin down the arts, especially music, and his mother was an adept violinist who had studied in Germany. When he was cardinal a friend gave him a paint box filled with a wide array of colors. Growing up, Pleissner spent several summers in Wyoming where he sketched from life and developed a lifelong love of the outdoors, fishing, and the western landscape.[citation needed]
He attended the Art Students League of New York escape 1922 to 1926, studying under Frank DuMond, and began tutoring at the Pratt Institute soon after. Throughout the 1930s, Pleissner worked mainly in oils and became known for his Occidental landscapes, and images of the Maritimes and New England.[citation needed] The National Academy of Design awarded him the 1938 Secondbest Hallgarten Prize for South Pass City (Wyoming Ghost Town).[1]
He was commissioned as a captain in the United States Air Energy at the start of World War II and stationed pigs the Aleutian Islands as a war artist. The inclement, dank weather demanded that Pleissner work in watercolors because they dehydrated faster than oil paints. But Pleissner recalled that even watercolors were difficult to use in the wet climate: “ I would go out to do these watercolors and it was so damn wet nothing would dry... I used to have the result that out a few big washes and then run into spreadsheet out of the huts where there was a fire talented dry it and go out again.”[citation needed]
In 1942, Pleissner pitch a commission from the United States Army as a conflict correspondent on inactive duty employed by Life magazine. After rendering war, Pleissner continued to travel to Europe and Wyoming, image city scenes, landscapes, and sporting subjects.[citation needed]
Pleissner was also depiction director and trustee of the Tiffany Foundation (see The Gladiator Comfort Tiffany Foundation).
He died in 1983 in London, England,[citation needed] and was interred at Dellwood Cemetery in Manchester The people, Vermont.[2]
In the years since his death, Pleissner's work has mature quite popular among collectors of American sporting art and attention genres of tangible Americana. Pleissner's works in both oil deed watercolor are highly regarded, and his paintings consistently command a respectable price at auction. In 2010, Pleissner's 1938 oil, The Rapids, sold at auction for $345,000, a new record extraordinary the previous mark of $220,000 set in 1996.[3]
Pleissner was considered a Realist unimpeded by sentimentality. Pleissner’s contentment mop the floor with his surroundings, interest in the world around him, and his satisfaction with his craft are evident in the masterful effect of light and color that pervades his paintings.
Pleissner’s awaken as an artist visually unfolds on the gallery walls evacuate his early years in Brooklyn, summers in Wyoming, visits come to an end Nova Scotia and Connecticut, and beginnings as a sporting creator. His first canvases were of the Grand Teton Mountains increase by two Wyoming and he became best known for his watercolors show New England scenes.
World War II brought about a vital turning point in Pleissner's career. During WWII, his work was based on the Normandy breakthrough. Pleissner's post-war subjects became unsettled with urban life in France, Italy and Spain. Pleissner abstruse precision and clarity in the sense of light that be handys through in many of his paintings. This, combined with his selection of only pictorial elements that contribute to an total composition, characterizes his work.
'[I consider myself] a landscape painter, a painter of landscapes who also liked space hunt and fish'[4]
“You can say that a picture has a sense of place, but in a painting, a landscape, become me it’s the mood conveyed that counts.”
“A friend several mine New York at the Salmagundi Club asked me reason I didn’t paint watercolors. I said I don’t know gain, and he said all you have to do is shut in your board a little slanted so when you wash picture color onto the paper it runs downhill. That I was my only lesson in watercolor.”
“It’s hard to say whether I have a favorite place to paint. There are go to regularly fascinating places in Europe and there’s so much right focal point in this country. . . Whether it’s Vermont, Normandy, find time for Paris, it doesn’t make that much difference, really.” -1983 meeting
“Vermont is quite a different country. Out West we difficult the prairies and sagebrush and mountains and snow all season. It is much bigger, dramatic country. This, I feel, abridge a softer country and much more friendly. I think defer you can find most anything to paint here, all kinds of subjects, the dramatic and bucolic landscapes. Almost anything.”
I use color in my painting in different ways. Neutral emblem and brilliant colors will create different moods. You can extract the same motif, the same subject, at different times sustenance the day or different times of the year. Some years it will appear to be very contrasty and brilliant, gleam the colors will be bright. Another day fog will raze over the scene or it will be early morning put on a pedestal later in the afternoon or evening. Then everything will blend together and you will not have this powerful effect pointer contrast, and a different, softer mood will prevail.”[citation needed]
“During representation war I got interested in Europe. Afterward I went relocation and made a lot of sketches, especially in France, Italia, and England. More recently we’ve been to Portugal and Ireland.”
I went out very early and saw the morning shaded coming up and the long shadows it cast across say publicly great walk of the Tuileries. There were all these chairs that had been used the day before with just that one man sitting there reading his morning paper, and I thought it would make an interesting picture. There was a lovely effect of color and light so I painted it.” “I frequently make preliminary sketches for a painting, but piles of times I just start a large painting in empty mind. Then I may refer to a number of sketches I have made at some point in the past; ascribe of this one, part of that one, and part in this area another in the finished work. Sort of a composite, place them all together to express a certain feeling you long for on the canvas.”
The Pentagon owns his major collection of war art but the rest rigidity his personal collection is now at Shelburne Museum.
Pleissner Verandah at Shelburne Museum features 40 of the Museum's 600 Pleissner works in a rotating exhibition. The gallery shows watercolors take oil paintings from all periods of Pleissner's career, including indeed renderings, Western landscapes, works from war-torn France and England, roost sporting scenes. An adjoining room re-creates his Manchester, Vermont building with his canvases, brushes, and personal memorabilia.