Merton Clivette

Merton Clivette

Merton Clivette in the Carlinville Daily Oct 1897
Born Merton Clive Cook
Portage, Wisconsin
Died New York City, U.S.A
Nationality U.S. citizen
Known for Painting, writing, vaudeville performing, magician, silhouettist
Notable work Snake Killer
Outriding a Blizzard
Vamps
Movement Ashcan realism

Merton Clive Cook (1868–1931), also known as Merton Clivette, was an American painter, magician, writer, vaudevillian and entertainer who spent most of his early life traveling the world entertaining before settling in New York to paint permanently. As a very highly regarded American artist of the early 20th century by his peers (including Maurice Sterne, Waldo Pierce, Edward Bruce, Marcel Sauvage and Michel Georges-Michel of Paris, among others), his style can be identified with the American expressionist movement.[1] Clivette is also known to be one of several artists who most defined the Ashcan realism period in New York at that time. Clivette was remarkable in that he demonstrated artistic talent painting in a free flowing manner rarely painting over a line twice. During the 1920s his style evolved as he moved from realism toward expressionism eventually moving on to figurative and the abstract.

Early life

Clivette was born in 1868 in Portage, Wisconsin but grew up in the Wyoming Territory. In this teens he left to participate in a Wild West show which toured the Northwest US and during his time in it he was able to display his skills as an acrobat, juggler and amateur magician. He honed these skills into what would later be a Vaudeville touring show. Clivette moved to Seattle then San Francisco in the late 1880s. He drew quick sketches in San Francisco then toured the United States with the Orpheum Circuit from 1891-1900 . Clivette headed across the pond to Europe and while there soaked in the traditional European art styles. Clivette was a student of Auguste Rodin from 1889-1890 and even painted a portrait of Auguste Rodin said to be the greatest of all portraits of the sculptor.[2] He came back from the trips much wiser and secured a place in the New York City art community.

Clivette modeled himself with Ashcan School artists (including Robert Henri) utilizing realist subjects. Clivette used the Chiaroscuro style in both light and dark juxtapositions and loose but forceful brushwork.[2] These were similar to Robert Henri and other realist painters. Clivette was well known for his Vamp series which portray Show Business ladies in the garish Burlesque attire.[3] This technique links him and the Ashcan school.[3] Contrasting these Vamp paintings Clivette painted numerous American Indian portraits. Clivette inevitably moved away from this realistic look to a more distorted fashion in the vein of Chaim Soutine. Over time he drifted away from realism toward expressionism. His later work turned toward figurativism, and eventually becoming abstract.

Career

Clivette created his expressionist works painting with confidence with many strokes in succession; he utilized his skills he learned as an acrobat to move the brushes with precision. In his grander works, the marks looked like they were created using his whole body. This style was one of his greatest strengths.[4][5] Over time other New York artists such as Franz Kline, picked up on this new type of performance painting to make their mark. During the 1920s New York art locale, Clivette was respected and his art was well received.[6][7] George S. Hellman writes that Clivette was the greatest American Painter ever after seeing Clivette's "Outriding the Blizzard" painting.[2][8] Hellman was so convinced of Clivette's genius that he purchased a number of paintings from him and encouraged other accomplished New York painters — Maurice Sterne, Paul Manship, Edward Bruce — to purchase paintings from Clivette as well.[2] Sterne himself was amazed at this unknown artist who he thought painted self-portraits similarly to Paul Cezanne but with less control[9]

Clivette's work was frequently exhibited during the 1920s from Los Angeles[10] to Paris,[11][12] and New York in-between [13][14]

To this point is a reference from Henry Rankin Poore's book "Modern Art, Why, What and How" which talks about Clivette's impact including this Paris show. He begins, "Although France may claim the credit of introducing modern art to the world it is not generally known that before Paul_Cézanne had sponsored cubism and Henri_Matisse freedom, an American citizen was working out kindred theories. Merton Clivette, although of distant French extraction, has been Americanized through generations since 1630." [15]

Additionally it notes, "Only recently an invitation came for a large exhibition of his works in Paris, and had those pictures been seen there when first produced, Henri_Matisse would have had to acknowledge that his idea had already been preempted. The French Government, through its Director of Fine Arts, selected an example from this exhibition which is destined for Luxembourg. The critical press of Paris extolled the new-comer from across the sea. It is quite proper then that the makers of Modern Art should move up and accord Clivette a place beside them."[16]

Clivette joins six other painters as the only American given a special article in the book, "Selections from the Collection of George S. Hellman", along with Picasso, Cezanne, Matisse, Derain, Gauguin, and Van Gogh. Selected paintings include Rushing Waters, Flowers in a Pot, Still Life, Walt Whitman, Indian in a Canoe, Toucan, Seascape, Small Seascape, and Sunset among others.[17]

References

  1. ↑ Hellman, George S., "To The Editor of Art Digest”, Art Digest, Oct. 1930
  2. 1 2 3 4 Hellman, George S.; Sterne, Maurice; New Gallery (New York, N.Y.), "Clivette : exhibition of paintings January 11 to 29, 1927", the New Gallery 600 Madison Ave., New York, 1927.
  3. 1 2 "Merton Clivette with his "Village Vamps" in 1924" (March 13, 1924). Mid-Week Pictorial.
  4. ↑ "Exhibition of works by the American painter - July 2 - July 16, 1927". Messrs. -Young Bernheim , Publishers of Art, 83 rue Saint-Honore Fanbourg. Paris -VII. July 2, 1927.
  5. ↑ "Painting and Sculpture by Living Americans, Ninth Loan Exhibition". Museum of Modern Art New York Catalog- December 2, 1930 to January 20, 1931. December 2, 1930.
  6. ↑ "MERTON CLIVETTE EULOGIZED BY SULZER; Ex-Governor Pays Tribute to Artist and Writer at Funeral Services" (May 1931 Part 6). New York Times.
  7. ↑ "MERTON CLIVETTE, ARTIST, DIES AT 62; Famed Greenwich Villager Took Credit for Being "a Superb Baron Munchausen." WAS ONCE CIRCUS ACROBAT Also an Adventurer, Author and Psychic--Won Widest Renown as Engaging Raconteur" (May 1931 Part 6). New York Times.
  8. ↑ Vassar Miscellany News, "Clivette Exhibition Visits Vassar: Works of Latest Find in Art World are Shown in Taylor Hall", Volume XI, Number 27, 12 February 1927
  9. ↑ Hellman, George S.; Sterne, Maurice; New Gallery (New York, N.Y.), "Clivette : exhibition of paintings January 11 to 29, 1927", the New Gallery 600 Madison Ave., New York, 1927
  10. ↑ “Clivette the Eternalist”, Los Angeles Times, Aug. 30, 1931
  11. ↑ Harris, Ruth Green, “Now on Exhibition in Paris”, New York Times, July 24, 1927
  12. ↑ “Clivette in Paris”, Art Digest, Aug. 1927
  13. ↑ “Two New Canvases by Clivette at Palace”, San Francisco Examiner, Feb. 19, 1928
  14. ↑ “Clivette Paintings Now on Exhibition”, New York Enquirer, April 23, 1933
  15. ↑ Poore, Henry Rankin, “Modern Art, Why, What and How”, G.P. Putnam's Sons The Knickerbocker Press, 1931
  16. ↑ Poore, Henry Rankin, “Modern Art, Why, What and How”, G.P. Putnam's Sons The Knickerbocker Press, 1931
  17. ↑ Hellman, George S., "Selections from the Collection of George S. Hellman, A fine group by Whistler and the Only Portrait ever Painted of Henry D. Thoreau.", American Art Association, Anderson Galleries, 30 East Fifty-Seventh Street, New York, December 14, 1932
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