This biography from the Archives of AskART:
|  A designer, painter and illustrator, Eyvind Earle is noted for backgrounds he created for Disney classic films such as Sleeping Beauty and Lady and the Tramp.
He also designed popular greeting cards that utilized more than 500 of
his paintings. In 1961, he established his own animation company,
and continuously painted landscapes in oil and acrylic, using acrylic
before 1971 and oil after that. His most famous paintings are of
California mountains and valleys of western Canada.
He was born
in New York City to parents who separated. At age ten, he was
kidnapped by his father, artist and movie director Ferdinand Earle, and
for the next four years, they traveled and painted around the world
including Mexico City, France, England, and Belgium. When he was
14, Eyvind had his first one-person show, which was held in Ascain,
France. Shortly after he ran away to rejoin his mother, who was
living in Hollywood, California, and who had been the fourth of five
wives of Ferdinand.
It was the beginning of the
Depression. He took a job as sketch artist at United Artists
Studio and studied briefly at the Art Center School of Design in Los
Angeles with Lorser Feitelsen and Ferdinand Earle, his father.
Beyond that he had little formal study, and described his style as
"designed realism" and "abstracted view" (Samuels) that reflected his
admiration for Georgia O'Keeffe and Vincent Van Gogh.
In
1936, a sponsor gave him twenty-five dollars a month so he could paint
in Mexico, and the following year he traveled the United States on a
bicycle. He had a one-man show in New York, which sold out at
twenty-five dollars per painting.
Earle avoided World War II, asserting he was a conscientious objector.
Sources:
Peggy & Harold Samuels, Biographical Encyclopedia of Artists of the American West
Edan Hughes, Artists in California, 1786-1940
Peter Hastings Falk, Editor, Who Was Who in American Art |
Biography from American Design Ltd.:
|  Eyvind Earle creates images where large geometric forms predominate;
trees are pressed flat against the foreground, and there angular barns
and receding curves of the horizon.
On these forms Earle imposes detail that is both realistic and
decorative, hinting here of the Flemish Masters, there of the Japanese
printmaker - scored bark, weathered planks, the tracery of shadows.
When invited to describe his creative process more fully, Earle speaks
in mystical terms. A student of Yoga since the age of 16, he began work
for many years by meditating and then rushing to canvas to paint
beautiful scenes which appeared to him.
"I've found," says Earle "that the wonderful thing about screen
printing is the inventiveness you can exercise with it. You can decide
to do a thousand things as you print." |
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