Sascha maurer biography of donald

with poster expert Nicholas Lowry from Swann Galleries in New York City. These great ski - travel and railroad/airline posters were frequently hand-pulled silkscreens, that presented large single image illustrations with simplified, limited backgrounds. Many designers still copy his simplified - straight forward style today.Using his graphic skills and his understanding of publishing, he was a major contributor to the . The featured articles that highlighted the back-roads in America and vacation spots. During his time at the magazine he featured the who's who of artistic illustration. The Ford Company collected watercolors by Paul Sample, Rex Brandt, and too many artists to name. Ford eventually gave their watercolor collection to the Smithsonian, and the Smithsonian sold a good portion of these works in the late 1990's at Du Mouchelles in Detroit. Maurer has crossover appeal between his graphic illustrations and his artistic watercolors. His watercolors were used as magazine illustrations for numerous magazines. He frequently illustrated popular motels in summer locations, used for postcards and advertisements, making you wish that you were there. These motel illustrations have the same character as his watercolor art. It was in the late 1930's he started using his illustration tools, brushes, gouaches, and watercolors to create his artistic version of rural and small town New England. The New York Times lists his first watercolor exhibit as 1939. By the 1940's and 50's, he is having a relationship with Argent Gallery and Grand Central Gallery, both in New York. Many of his artistic watercolors illustrate rural architecture, frequently with homesteads, barns, and community churches. The buildings have a soft illustration technique with the idea that you might like to visit this place, unlike the hard-line illustrations that would have been produced by architectural firms of that period. The people in his scenes are just a couple of brush strokes designed to provide human scale to the artwork. He kept his people simple, we know their body shape, and what they are wearing, but we don’t know details. In this regard, his people are frequently in the background, close enough to be seen, but no portraiture.

If a collection of his artworks could be gathered together for another exhibit, today's critics would describe it as "Nostalgic". In the first art work above, it looks a lot like the “The First Congregational Church” New Mildford, CT. The neighborhood could almost be described in the 1950's vernacular, a little bit “Leave It to Beaver” and a little bit “Father Knows Best”. It is spring, the trees are about to bud out with leaves, people are out for a walk, the stop sign is a cautious yellow, and the buildings are covered in standard New England white paint. Whereas the exact location is not known in this artwork, the characteristics of New England churches are similar and have a long history.

This second artwork, shows laundry being hung out to dry, the town below consists of homes, commercial facilities and two churches. The painting is on the exact opposite of the painting above. Maurer made the most of his watercolor paper, using both sides. Demonstrating frugality and speed of multi-illustrations needed for multi-deadlines and exhibits. Additionally, on the back of the mat, remains an old publication department document from the Ford Times (photo below) used to document the details before the screen shot was taken for printing.

Closing:

Maurer’s watercolor art has not fared as well as his poster graphics. His watercolors are just like real estate, it depends on location, location, location. For example, a watercolor of Martha’s Vineyard might sell for double/triple that of a generic location. So scenes that are desirable locations and easily identifiable, sell for more. Details on his life are provided below.

___________

Waller-Yoblonsky Fine Art is a research collaborative, working to track artists that got lost and overlooked due to time, changing styles, race, gender and/or sexual orientation. Our frequent blogs highlight artists and art movements that need renewed attention with improved information for the researcher and art collectors. #waller-yoblonskyblogspot
_________________________________________________________________________________

Sascha Maurer

References:

Who’s Who in American Art 1940
Who’s Who in American Art 1947
Who’s Who in American Art 1959
Who Was Who in American Art
New York Times Historical Database

Locations, Birth and Death:
1950 - Lived in Gaylordsville, CT
1940 - Office at 480 Lexington Ave., and Home at Sunnyside, Long Island City, NY
B. Munich, Germany, April 18, 1897
D. Gaylordsville, CT, March 16, 1961 - Age 63, After a long illness
Obituary - New York Times: March 18, 1961, Page 23

Signature Example:

Studied:
School of Applied Arts, Munich
Academy of Fine Art, Munich

Member:
Washington Art Association
Audubon Artists
American Artists Professional League
Salmagundi Club, New York City
American Watercolor Society
Kent Art Association (CT)
Hudson Valley Art Association
Berkshire Art Association
Alliance Artists for America
Connecticut Watercolor Society

Awards:
Great Barrington Art Association, 1950, 54, 56, 57 & 58, (MA)
Silvermine Guild Art, 1954
New Britain Art Museum, 1957 Purchase
Washington Art Association, 1956
Berkshire Art Association, 1956
Hudson Valley Art Association, 1957
Salmagundi Club, 1958

Maurer Gallery Documentation provided by
Zoe Inslerman

Exhibited:
Pedlar and Ryan - 1939 (NYT’s)
Argent Gallery - 1945 (Covered by the NYT’s)
Audubon Artists, Annually
American Watercolor Society, Annually
Connecticut Watercolor Society, Annually
National Arts Club, NYC, 1951
Silvermine Guild Art, 1951, 54 & 57
Grand Central Art Gallery, 1951 & 58, (both one-man shows - Listed in the NYT’s)
Springfield Academic Association, 1955 & 56
Berkshire Art Association, 1954, 55 & 57 (one-man)
Kent Art Association, 1954
Washington Art Association, 1954, 55, 56, 57 & 58
Tyringham Art Gallery, 1955 (one-man) MA
Great Barrington Art Association, 1954, 56, 57 & 58
New Jersey Society of Painters and Sculptures, 1958
New Britain Art Museum, 1957
Dartmouth College, 1957 (one-man)
Pennsylvania Academy of Fine Arts, 1957
Southern Vermont Association, 1957
Portland Museum of Art, 1958 (ME)
Salmagundi Club, 1958
Hudson Valley Art Association, 1957
Berkshire Art Museum, 1958

Maurer's Summer Art Class Brochure
Provided by Zoe Inslerman

Contributor to the Ford Times, 1953-58, (Magazine)

Post Exhibitions:
Gallery Ono, Hillsdale, NY, 1968 (Listed in the NYT’s)
Kent Art Association (CT) - The Sascha Maurer American Watercolor Society Memorial Award for Watercolor.

Recently we heard from Christian Evans, who provided this additional information. Below is a Maurer painting with a note on the reverse. It is a Rockport (MA) street-scene with The Blacksmith Shop at the end of the street, in late summer.

Rockport - Street Scene, 1944

To my Ernest: Christmas 1944, NY

___________________________________________________

Waller-Yoblonsky Fine Art is a research collaborative, working to track artists that got lost and overlooked due to time, changing styles, race, gender and/or sexual orientation. Our frequent blogs highlight artists and art movements that need renewed attention with improved information for the researcher and art collectors. The blog was created by Mr. Waller and all written materials were obtained by the Fair Use Section 107, of The Copyright Act. #waller-yoblonskyblogspot #walleryoblonskyblogspot #saschamaurer