Oil Painting Still Life by Belle Hoffman
An original oil painting on canvas still life by listed Ohio artist Belle Hoffman (1889 – 1961). Signed by the artist to the lower right corner.
Belle Hoffman, was born in 1889 in Garretsville, Ohio schooled by painter and founding member of the Pennsylvania Impressionists Henry Snell (1858 – 1943) at Gloucester, Massachusetts and trained by notable portrait Impressionist painter Charles W. Hawthorne (1872 – 1930) at Provincetown Cape School Of Art , one of the largest art colonies in the world by the early 19th century. Hoffman began her career at a commercial illustrating firm as a dress designer. In 1912 she became one of the founders of the Women’s Art Club of Cleveland. With 29 years old after spending her summer in Gloucester and being deeply influenced by mentor Henry Snell, she presented her first exhibition of post-impressionist paintings at The Gage Gallery located in Cleveland, Ohio where she situated her studio and created outstanding plain air landscapes, coastal scenes, carnival genre and still lifes, constructed in a vibrant pallet. Hoffman spent significant time in France and Italy where she experimented with diversified subject matter and bright tonalities.
Here, an oil painting on canvas still life of a fulgent yellow kollum krater style vase with black foot, that contains various chrysanthemums gracefully rendered in vivid hues and precise brushstrokes.
During her life, she exhibited her work multiple times at the Cleveland Museum of Art and received the Certificate of Merit in 1923. Hoffman numerous exhibitions took place at, The National Association of Women Painters and Sculptors in 1927, The National Academy of Design in 1929 and The Composers and Authors Association of America in 1944, with 55 years old. In the late course of her life, she lived in Chautauqua County, New York, where she created superb still lifes and farmscapes.
References: Askart. com, Invaluable.com, michenerartmuseum.com, provincetownartistregistry.com
- craquelure present to painting; abrasion along the perimeter with corresponding inpainting; Under UV light, several areas of inpainting, including on still life; clean signature; strip lining under stretcher perimeter; three restoration patches present to the canvas verso.