Maurice Brazil Prendergast

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Maurice Brazil Prendergast Biography

American Impressionist painter, illustrator, printmaker, designer and watercolorist
born 1859 - died 1924

Maurice Brazil Prendergast was born in Saint John's, Newfoundland, to a shopkeeper who moved the family to Boston in 1868.

In 1898 the artist went to Venice and returned a year later with a series of Maurice Brazil Prendergast watercolors of the city. In 1900 the Macbeth Galleries in New York mounted an exhibition of Maurice Brazil Prendergast works.

In 1907 he returned to France, where he was profoundly influenced by Cézanne and the fauves. Integrating these new influences into Maurice Brazil Prendergast painting, he painted more forceful paintings of art, with startling bright colors and staccato brushstrokes. As one of The Eight, Prendergast was sharply criticized for his more abstract and brightly colored style.

Following another trip to Venice, in 1911 - 1912, he returned to New York to select Maurice Brazil Prendergast paintings for and participate in the Armory Show of 1913. A year later, the artist and Charles moved to New York. In 1915, he was given an exhibition at the Carroll Galleries. Although the critical reception of his painting remained mixed, Maurice Brazil Prendergast artist was able to attract a number of important patrons, among them John Quinn, Lillie B. Bliss, and Dr. Albert Barnes.

During the final years of his career, Prendergast spent his summers sketching in New England and his winters painting in New York. In 1921, the Brummer Gallery in New York held a small retrospective exhibition of Maurice Brazil Prendergast works. By 1923, Prendergast was in frail health, and the painter died a year later at age sixty-five.

Prendergast was born in St. John's, Newfoundland, but grew up in Boston. Maurice Brazil Prendergast first visited Paris in 1886, and returned there in the winter of 1890-91, staying three years and studying at the Colarossi Academy and the Academie Julien.

By then, of course, Impressionism was a completely established and accepted style in Paris, and the new tendencies with which alert art students had to contend were Symbolism, Neo-Impressionism - Seurat, Signac, and their followers - and the painting of Gauguin, Bonnard, Vuillard, and the circle of the Nabis or "Prophets," such as Serusier and Maurice Denis. Prendergast enthusiastically absorbed their basic doctrine that a painting, before representing anything, should be perceived as a flat surface covered with ordered patches of color.

He wasn't much interested in Impressionist "atmosphere"; Maurice Brazil Prendergast artist evolved a brilliant, sparkling watercolor technique in which the surface became a mosaic of rotund, swirling forms, laid close side by side, with deep perspectives that nevertheless had an air of frontality.

The results, as in one of Venetian Maurice Brazil Prendergast watercolor, Ponte della Paglia, 1898-99, were effervescent. his color, clear, direct, and laid on very wet, coalesces in the bubble forms of open parasols red, Prussian blue, beige, white which echo the hues of the buildings, the Grand Canal, and the sky. The sense of luminosity that Venice confirmed in Maurice Brazil Prendergast works stayed with him in later years, as his compositions became more friezelike and abstract, with their rag doll people enacting scenes from modern pleasure spots which are at the same time rendered archetypal in all but the modern dress of the figures: beach, park, promenade. The color is opalescent and subtle, the paint surface like that of a thickly plied tapestry. On the Beach, No. 3, c. 1915, is typical. - Maurice Brazil Prendergast oil painting America and biography.

Prendergast, a man steeped in art history and thus in the repertoire of figure poses, was able to give the people on their summer outing a variety of posture and gesture that humanizes their otherwise faceless and schematic bodies: it sets up a gently flowing movement through the frieze, in which memories of Seurat's Grande Jatte mingle with others of Cezanne, Matisse, and, perhaps, of Piero della Francesca. Such a Maurice Brazil Prendergast painting, obviously, has nothing to do with Impressionism. It is an intelligent and sensitive response to the Post-Impressionism that Maurice Brazil Prendergast encountered in Paris on his later trips, but without the jar and dissonance of Fauve color.