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 Charles Frederick Naegele  (1857 - 1944)

About: Charles Frederick Naegele
 

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Lived/Active: New York/Tennessee/Georgia      Known for: portrait, figure, landscape and animal painting

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Ad Code: 3
Charles Frederick Naegele
from Auction House Records.
PORTRAIT OF A LADY, SATURDAY EVENING POST COVER
Artwork images are copyright of the artist or assignee
This 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 York City:

"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 his sitter.

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.


Source:
http://query.nytimes.com/gst/abstract.html?res=F00C15F7395515738DDDA90994DB405B8685F0D3

This biography from the Archives of AskART:
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.

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


Source:
Peter Hastings Falk, Editor, Who Was Who in American Art

Biography from Charleston Renaissance Gallery:
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 Merritt Chase.

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.


Source:
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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