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Philip Leslie Hale (1865-1931)


Philip Leslie Hale was an American🎨 Impressionist artist, writer and teacher.
Hale was born in Boston, the son of prominent minister Edward Everett Hale, the brother of artist Ellen Day Hale, and was related to Nathan Hale and Harriet Beecher Stowe.
He studied at the School of the Museum of Fine Arts in Boston under Edmund Tarbell🎨, and with Kenyon Cox and J. Alden Weir at the Art Students League of New York.

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William Glackens (1870-1938)



William Glackens was painter, illustrator and member of The Eight.
At the beginning of his career, Glackens painted scenes of middle-class life and used a rich, dark palette; in later years, he favored still lifes and studio scenes, his colors reflecting the influence of Pierre Auguste Renoir🎨.

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William Glackens | Ashcan School painter



William James Glackens (1870-1938) was an Illustrator and an American🎨 Impressionist painter, one of the founders of the Ashcan School of American art, who is considered to be one of the most influential artists in the history of American Art.
Glackens reacted against the academic restrictions of his period, combining a vivid impressionism with a firm sense of structure in his work.
William Glackens was born in Philadelphia on March 13, 1870. After he completed high school (where John Sloan and Albert C. Barnes were his classmates), he became an artist-reporter for Philadelphia newspapers. He attended night classes at the Pennsylvania Academy of Fine Arts, studying with Thomas Anshutz. Glackens shared a studio with Robert Henri; in 1895 they worked their way to Europe on a cattle boat.

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Leon Roulette, 1959


Leon Roulette was born in Southern California.
Early in his youth, he found himself especially interested nature and read all he could about naturalist like John Muir who captured young Leon’s imagination.
He received private art instruction at an early age, and eventually graduated California State University of Long Beach with a Bachelor of Arts degree in Fine Arts.

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Vermeer | A Young Woman standing at a Virginal, 1670-1672


The richly dressed lady playing a virginal stands in a prosperous Dutch home with paintings on the wall, a marble-tiled floor, and a skirting of locally produced Delft blue and white tiles. The two paintings on the wall behind her cannot be identified with certainty.
The small landscape on the left and the painting decorating the lid of the virginal resemble works by Vermeer🎨’s Delft colleague Pieter Groenewegen.
The second painting, attributed to Cesar van Everdingen, shows the motif of Cupid holding a card. This figure derives from a contemporary emblem. It may either refer to the idea of faithfulness to one lover or, in conjunction with the virginal, to the traditional association of music and love.