This oil painting suffered from old varnish that hard turned a drastic yellow, and it also appeared that shellac was used as well. These had to be removed. The panel it was on had warped, and was put on aluminum honeycomb to provide support. A custom frame will be prepared for it, but the style is yet to be decided on. Stay tuned for more. . .
Born in Gusenburg, Germany, Mathias Alten (1871 – 1938) is hailed as the foremost painter of Grand Rapids, Michigan and a second-generation Impressionist whose primary theme was agrarian labor. He was apprenticed to Joseph Klein, a decorative painter in Saint Wendel, Germany and worked on ceiling and wall decorations for churches and theaters.
At 17, he emigrated to Grand Rapids, Michigan, which was a major manufacturing center and vital art community. He studied with Edwin A. Turner and first exhibited his work at the Michigan State Fair in 1896. Some of his earliest works are floral stilllife, a theme to which he continued to return; he also did figure and portrait painting, but his landscapes defined the direction of his work.
In 1898, he went to France and settled in Paris after spending time painting fishing scenes in Etaples, an artists’ colony on the French coast. He studied at the Academie Julian with Benjamin Constant and Jean-Paul Laurens and won a gold metal for the best figure drawing. Interested in animal drawing, he attended classes at the veterinary school and then traveled extensively throughout France and Italy and other parts of Europe.
Returning to Grand Rapids, he and Constant Fliermans opened a studio and art school together, and then on his own he pursued an active career as a a portrait and figure painter, and also did numerous murals. His figure paintings were unusual for that time because they were not elegant subjects but working class people straining their muscles.
From 1902, after spending time at the Old Lyme, Connecticut art colony, he became increasingly devoted to plein air rural landscape painting with sparkling sunlight and colors of Impressionism. In 1910, he traveled abroad for a year, doing many rural scenes of Holland, and in New York, he saw paintings by and was much influenced by the Spanish Impressionist Joaquin Sorolla whose work became a lasting influence in subject matter and a palette that was more colorful and sunlit than his previous work. In 1912, he traveled in Spain, and much of his work from that time reflected Spanish subjects.
To escape the harsh winters he made trips to southern California in 1929 and 1933-34. His good friend Norman Chamberlain had settled in Laguna Beach. While visiting there he was active with the local art colony and painted coastal scenes and a series of missions. He achieved success in Los Angeles due to his daughter’s promotion of his works.
He died in Michigan on March 8, 1938.
