Frederic Milton Grant ORIGINAL SIGNED OIL PAINTING

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Frederic M. Grant Framed Signed Original You are bidding on a single (1) painting.Oil on board by Frederic Milton Grant (American, 1886-1959).Mexican cathedral scene. Procession carries statue of The Virgin Mary.Framed shortly after it was painted, the painting is in its original frame and maintains brilliant original color and clarity. Dimensions 14-1/4" high 13-1/4" wideOpening bid is $3,999.00. No reserve. Free shipping within the Continental United States. Overseas buyer pays exact insured shipping, plus a $10.00 handling fee. Exact shipping costs will be determined at end of auction. Item Photographs: Click any image to supersize. Use your browser's "back" feature to return to this auction. About Frederic M. Grant Frederic Milton Grant spent his youth in Sibley near the Iowa-Minnesota border, w he attended local schools and demonstrated an extraordinary talent for art. Apparently his first significant art instruction came from *John H. Vanderpoel at the *Art Institute of Chicago some time during the first decade of the twentieth century. He may also have received additional training from Alphonse Mucha who taught t from 1907 to 1909. Later Grant moved to New York w he studied under Henry B. Snell and *Jonas Lie.It is reported that young Grant traveled to France and enrolled in the *Académie Colarossi in Paris. Grant was also a fine musician and frequently composed his own scores. In this discipline he was particularly influenced by the modern French composers. Soon after 1910 (possibly earlier) Grant also became a student of *William Merritt Chase, for in 1913 he received the Chase Prize in Venice. In Paris Grant studied informally with *Richard E. Miller, from whom he learned "much of the ornate and the exotic which he has put into his subsequent paintings" (Bulliet, 1936-A). Apparently Grant traveled a good deal in Europe during this time, but when World War I broke out in 1914, he returned to America. Settling in Chicago, he became active in the local art community.Although the influence of Chase was still evident in his work, for the most part Grant’s style had evolved to become an interesting blend of romantic subjects rendered with a quasi-impressionist technique. His color was usually applied in large strokes of brilliant contrast, all too often resulting in a decorative artificiality. In 1916 he won the first award from the Chicago Artists Guild and the Fine Arts Building Prize in Chicago. In the following year the Art Institute of Chicago presented Grant with the Cahn and Butler Prizes. When America became involved in World War I, the artist served with the United States Navy Reserve Fleet. Resuming his activities in the Midwest, Grant worked in a variety of media including etching, watercolor, and tempera. By this time Grant’s subjects ranged from allegorical to religious to historical. Although his landscapes were unusually large and impressive in color, they were used as backdrops for a storytelling theme – only seldom did he execute pure landscapes.As Grant continued to work through the early 1920s his eye-catching compositions received various prizes from the Art Institute. In addition to his easel pictures, Grant received numerous poster commissions in this period. In 1926, the year he won the Logan Prize, the local art critic, Maude I.G. Oliver compared his pictures and posters: "Even in an arrangement, win his favorite white peacock would play the leading part, evidence of poster practice in general and of ‘color surprise’ in particular is startling apparent." Judging from many of his canvases from the 1920s, one must assume that Grant abandoned his *plein-air practices to work up his large compositions in the studio. Perhaps one factor that contributed to his predilection for romantic subjects was his obsession with travel. Grant visited Europe, the Far East, and numerous spots in America, especially California. Commenting on a one-man exhibition of Grant’s work ... read more

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