(1857 - 1944)
Charles Frederick Naegele was active/lived in New York, Tennessee, Georgia. Charles Naegele is known for portrait, figure, landscape and animal painting.
Biography from the Archives of askART
Following are excerpts from a New York Times review, March 10, 1896, of
a Charles Frederick Naegele exhibition at the Salmagundi Club in New
Biography from the Archives of askART
"Thirty or so portraits by Charles Frederic Naegele are shown at the
gallery of the Salmagundi Club, where they will remain on view until
the 21st of the month. . . .Mr. Naegele's name has for some time
been more or less identified with portrait work, though generally in
the medium of black and white, but he now shows his ability to attack
color schemes in the delicate tones of flesh and textures. . . .The
training of the years of labor in monochrome is evident, giving
strength in drawing, certainty of touch, and realization of form,
enabling the artist to concentreate himself on the more subtle
intracacies of pigment, of tone, and the search for the sentiment of
A somewhat novel effect is produced in many cases by using panels of
mahogany, walnut, gum, and oak, leaving for the background the natural
color of the wood. This necessitates a certainly in the original
design, and causes the painter to key up his flesth tones, keeping them
brilliant, in order to hold their own with the lustre of the wood, rich
as it is in reds, yellows and browns. Curiously enough, the
figure under these conditions seems to stand out with deceptive
strength and detach itself more than in the other studies where the
background is the result of painting. . . .Particularly happy is a
small portrait of Charles E. Proctor, frankly brushed in, easy and
natural in pose, and good in color. . . .A portrait of the artist's
child is dainty, girlish and agreeably renedered, while a study of his
wife has much distinction and grace.
And so one might go on through the list, finding much to commend. .
..Mr. Naegele does not seem to be in an experimental stage. He
has evidently found what he wants to do, and now he is directing his
energies and talents toward perfecting himself on those lines.
Charles Naegele was a painter, especially noted for his
portraits. He had studios in New York City and Marietta,
Georgia. Among his art teachers were William Merritt Chase,
William Sartain, and Charles Myles Collier.
Biography from Charleston Renaissance Gallery
In New York, Naegele was a highly active member of the Salmagundi Club
in New York City, and for that Club, he originated a new method of
encouraging public collection of pictures and of doing library indexing.
Memberships in addition to the Salmagundi Club included the Artist's Fund Society and Lotus Club.
Exhibition venues were the Pennsylvania Academy of the Fine Arts
annual, 1889-91; National Academy of Design, 1892-1900; Mechanics Fair,
Boston, 1900 (gold); Charleston Exposition, 1902 (medal); Art Institute
of Chicago, 1912
Peter Hastings Falk, Editor, Who Was Who in American Art
Born in Knoxville, Tennessee, as a child Naegele moved with his parents
to Memphis, where by 1873 he was apprenticed to a tombstone carver at
three dollars a week. He also earned money painting signs, and it was
through a sign commission that he met the marine painter, Charles Myles
Collier, who gave painting lessons to the younger artist and then, in
1880, sent him to study in New York with William Sartain and William
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After completing his studies in 1882, Naegele remained
in New York, quickly gaining favor as a portrait painter. He also
designed medals and painted idealized figures of women portraying
"Motherhood" and "American Beauty".
Later in his career, he turned increasingly to landscape paintings,
particularly after his retirement to his hilltop studio, "Artcrest,"
near Marietta, Georgia.
A winner of many exhibition prizes, he was a
member of the Artists' Fund Society, the National Arts, Salmagundi and
Lotos Clubs in New York, and the Atlanta Art Association.
He died in
Marietta in 1944.
Bruce W. Chambers, Art and Artists of the South: The Robert P. Coggins
Collection, University of South Carolina Press, 1984, p. 79.
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