WEIR, Julian Alden - b. 1852 West Point, d. 1919 New York - WGA

WEIR, Julian Alden

(b. 1852 West Point, d. 1919 New York)

American painter, printmaker and teacher, part of a family of artists, son of Robert Walter Weir (1803-1889). His art education began in the studio of his father. There he and his half-brother John Ferguson Weir (1841-1926) acquired an appreciation for the Old Masters, particularly of the Italian Renaissance and of the 17th-century Dutch schools. While Weir pursued in his art a course very different from that of his father and half-brother, his personality as well as his artistic attitudes were shaped by them. In the winters of 1870-71 and 1871-72, he continued his studies at the National Academy of Design in New York, where his instructor was Lemuel Wilmarth (1835-1918). He continued his studies in 1873 in Paris under Gérôme. He practiced open air painting in Pont-Aven (Brittany) and Cernay-la-Ville, southwest of Paris. He became friends with Bastien-Lepage and Sargent. In 1875 he exhibited at the Paris Salon and the New York National Academy of Design.

In 1877 he returned to New York and became member of the Society of American Artists, and in 1882 president of the Society. He engaged in the organization of exhibitions and exhibited there himself. He renewed travel in Europe in the 1870s and 1880s. From 1885 to 1889 he taught at the Cooper Institute.

Weir founded his career as an artist primarily on portraits and still-lifes, but he also painted successful history works and family scenes.

Midday Rest in New England
Midday Rest in New England by

Midday Rest in New England

The Red Bridge
The Red Bridge by

The Red Bridge

The enthusiasm of Julian Alden Weir for the work of Japanese artists such as Hokusai or Hiroshige may have been prompted by the tales of friends who visited Japan and by exhibitions of Japanese print graphics in America. In the 1880s and 1890s Japanese art offered many painters a new direction to follow. One of Weir’s most popular paintings, The Red Bridge, exemplifies his use of diagonal composition and zones of colour. The bridge, its colour contrasting strongly with natural setting, opens up decorative possibilities when seen together with its reflection - two diagonals running in at an angle to each other. The detailed brushwork, a product of Weir’s study of Impressionism, loosens the composition without fragmenting it.

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