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$1,500 Portrait of Polly signed acrylic on canvas 29" x 36"
$325 Abstract Landscape signed 1937 gouache 9" x 12"
$1,500 Launch Landing signed 1964 oil on board 24" x 30"
$1,900 Lake Vermilion signed 1974 acrylic on canvas 36" x 24"
$1,900 Forrest Interior I signed 1962 oil on board 36" x 24"
$250 Pont de l'Archeveque, near Notre Dame (artist proof) 1933 etching 8" x 10.5"
$400 Family Home signed gouache 11" x 15.5"
$900 River Road signed 1962 acrylic on board 18" x 24"
$650 Farm Scene signed 1945 gouache 17" x 23"
$1,500 Blue Green Mountains signed acrylic on board 24" x 30"
$250 Boats to Garda signed 1929 wood cut 10.5" x 13"
$2,500 Portrait of Alice (sister of artist) signed c. 1930 oil on canvas 28" x 36"
$300 Farm Implement signed ink wash 16.5" x 10"
$650 Church Steeples (Stillwater) signed 1942 gouache 16" x 23"
$250 Lindos signed 1934 Ink 9" x 12"
$1,450 Orange Path signed Oil on Board 23.5" x 35.5"
$625 Harlequinade acrylic on paper laid on board 18" x 30"
$375 Lowry Hill signed gouache 9" x 12.5"
SOLD Green Shoreline (Lake Vermilion) signed 1973 gouache 11.5" x 8.5"
SOLD Still Life signed 1929 oil on board 13" x 18"
SOLD Self Portrait ink drawing 9" x 6"
SOLD Tall Pink Mountains signed acrylic on Board 47" x 14"
SOLD Notre Dame & Petit Pont, Evening signed 6/9 (artist proof) etching 8" x 10.5"
SOLD I Saw Three Ships signed 1950 gouache 18.5" x 24"
SOLD Escala signed 1956 acrylic on board 21" x 26"
SOLD Newport Rocks signed 1963 acrylic on canvas 30" x 36"
Everett McNear (1904 - 1984)
Everett McNear was born in Minneapolis, Minnesota in 1904. At the age of 16 he did his first work as a professional designer. However, at that time, it was theatre and stage design which held the strongest fascination for him and from 1922 to 1927 he designed nearly three dozen sets for various theatres in Minnesota. After a year of study at the University of Minnesota, McNear found that the drawing and painting classes at the Minneapolis School of Art were more immediate to his needs than liberal arts courses.
In 1924, he made his first contact with Cameron Booth. Prior to his arrival at the Minneapolis School of Art in 1921, Booth had been thoroughly exposed to the key exponents of French painting. His style was firmly rooted in the Cubist and Impressionist traditions. Booth’s influence on McNear was significant. “Cameron Booth taught me to love the smell of turpentine and the feel of a bristle brush in oil paint. He opened the doors for me. Beyond them I found the rich linear organization of Veronese, the color harmonies of Titian, and the poetic, freely moving space-forms of El Greco and Tintoretto. I began to see that these abstract qualities and relationships were the things that gave a painting a life of its own.” Under the influence of Booth, Edmund Kinzinger, and his fellow students at the Minneapolis School of Art, McNear abandoned the curvilinear forms of his early drawings in favor of a more disciplined aesthetic.
In 1932, McNear made his first of many trips to Europe. Hungry for personal and artistic growth, he scheduled an exhaustive program that would guide him through much of Western Europe, including time spent at the Academie Moderne studying etching with Marcoussis. His travels are particularly important to an understanding of the artist and his work. In his book Young Eye Seeing, his collected letters document this first trip, express his motivations, and chart his goals.
His return to the US in 1933 saw the artist turning to work as an illustrator, and in Chicago, he worked for many years as a graphic designer. McNear also became heavily involved in the art scene in Chicago. He became a member of the Arts Club and won numerous prizes for artworks he exhibited at the Art Institute of Chicago, the Art Directors Club, the Illinois State Museum and the Art Guild. He was a prominent artist, designer, and collector in Chicago and also put together exhibitions at the Art Institute, the Arts Club, and later at the Sears Tower.
McNear and his wife, Ann, were benefactors of what was the Notre Dame Art Gallery (now the Snite Art Museum); they served on the advisory panel and Everett did the initial gallery installation design. McNear donated hundreds of his own works to the Snite, plus pieces from his collection including works by Alexander Archipenko, Cameron Booth and Edmund Kinzinger, in addition to African sculptures; Flemish, Spanish, and Italian manuscript pages; Persian paintings and Peruvian textiles.
Everett McNear was a happy painter … “There is a genuine pleasure in the transferring of ideas from nature to the canvas, and in the handling of paint.” A dozen one-man shows in galleries and museums from San Francisco to New York rewarded McNear for his dedication to the smell of turpentine and the drag of the loaded brush.