Word: speichers
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Ranging from $300 to $6,000 in price, the paintings had an even greater range in quality. Among the best were solid, highly polished oils by such veteran academicians as Eugene Speicher and Gerald Brockhurst. Among the worst were heavy-handed official portraits of grim bigwigs, cover-girl pictures of their daughters and wives and innumerable sugary pastels of cute kids. As might have been expected, the works of such artists as Peter Kurd and Andrew Wyeth, who paint portraits only on occasion, seemed fresher and more imaginative than those by the full-time portraitists...
...human figure. The oldster's name, as unfamiliar to the general public as it is familiar to practically every artist in the U.S., was George Brant Bridgman. Teacher Bridgman has good reason to take his teaching duties seriously. Some 70,000 artists (including Alexander Brook, John LaGatta, Eugene Speicher, McClelland Barclay, Norman Rockwell) learned their bones and muscles in his quiet, methodical classes...
...poetry readings and discussions of landscape gardening that went on at the American Academy of Arts, the National Academy grew more sedate as it grew older. Artistic radicals rebel against its standards, meekly join if they are asked. Today in the select roster of its membership Luigi Lucioni, Eugene Speicher, Guy Pene du Bois, John Steuart Curry, Reginald Marsh rank with Gilbert Stuart, George Inness, Winslow Homer, Albert P. Ryder, Thomas Eakins, John Singer Sargent. (Grant Wood and Thomas Benton have never been invited; neither was James McNeill Whistler...
...opening night, Bogotá's exhibition attracted 600 distinguished Colombians, including President Eduardo Santos. The audience quickly found a favorite in Eugene Speicher's elegant portrait of Katharine Cornell, delighted in a realism U.S. films had not taught them to expect. Said Bogotá's El Tiempo next morning: "The exhibition opens a new phase in U.S. relations with Latin America which till yesterday had been a vain exercise of rhetoric...
...Argentines were impressed. Led by U.S. Chargé d'Affaires Somerville Pinkney ("Kippy") Tuck, porteños traipsed from room to room, occasionally spotting a familiar picture ("Look, a Benton!"), noticing that U.S. art owed as much as theirs to French influence. The Argentines too liked Eugene Speicher's polished portraits. Art and amity were equally served by Bellows' painting of Luis Angel Firpo knocking Dempsey out of the ring. The critics, suave and gracious in the Argentine tradition, contented themselves with polite praise in sonorous Castilian...