Dealsrus is well known for offering quality artwork at reasonable prices. Our reputation is stellar and we stand behind everything we sell. We also accept payments through Authorize net. Our company name is EastCoastArt. 20th century Pennsylvania/California Modernist best known for genres, portraits, figure paintings, and murals. Hand signed limited edition lithograph on paper. Titled Hombre Que Sin Verguenza. Pencil signed and dated lower right–see photos. Pencil titled and numbered lower left–see photos. Image: 9.5″x 13.5″ Frame: 18.75″x 22.5″. Great looking lithograph by George Biddle depicting a Caribbean village scene with a line of horse-drawn carriages. This is a fine example of Biddle’s prints in excellent condition and with a fantastic subject. George Biddle’s autobiography of 1939. An American Artist’s Story. Is the main source for any study of the artist. Most of Biddle’s tale involves Depression-era, American Scene mural painting, for which Biddle was personally responsible, by suggesting a government-sponsored program to his old friend and classmate Franklin D. Born on January 24, 1885 in Philadelphia, Biddle received his B. From Harvard where he then completed his doctorate in law. He received art instruction at the Pennsylvania Academy of the Fine Arts, at the Académie Julian in Paris and then in Munich. During the first world war, Biddle lived in Giverny (1915-16) where he painted outdoor nudes such as. Back of a Nude with Parasol. (Eleanor and Irv Welling) and. In an impressionist manner. During this last wave of American expatriate painters at Giverny, Biddle was clearly influenced by Frederick Frieseke, as he explained Biddle, 1939, p. 149: Long summers I spent in Giverny near my friend Fred Frieseke, painting in the good plein air, impressionist tradition. Frieseke had a clear palette. I fell into it as a duck takes to water, after the mud of Munich, Julien’s [sic] and the Pennsylvania Academy. ” Biddle added that one could see Monet “over his garden wall; he knew Louis Ritman, and mentioned three other influential figures: Adolphe Borie (on whom he wrote a monograph in 1937), Degas, and Mary Cassatt. He even met Rodin. Captain George Biddle served in the G2 Section of the First Army Corps during the war, was discharged in April 1919, and traveled clear to Tahiti to erase the memories of war and to find peace (1920-22). There he explored various media: wood and stone sculpture, wood block prints and even marquetry. The Pennsylvania Academy has his painting. From that trip, which reflects Gauguin’s influence in the outlining of forms – here almost a cloisonnisme, while the human figures have a statuesque massiveness. There is no trace of the accidental lighting in the Frieseke-inspired taches of sunlight of the earlier period. That was during an exciting decade of American expatriatism – when even some bohemians were well off financially and there was plenty of intellectual and aesthetic stimulation, as Brancusi, Zadkine, Marie Laurencin, Léger, and Chagall met in the café crowd. Biddle visited Gertrude Stein’s salon, met James Joyce, Marsden Hartley, and other stars of modernism. He dropped in on Cassatt in January 1926, five months before her death. She still had praise for Degas, and wondered what the world was coming to when such art as Laurencin’s was widely accepted. In April, John Singer Sargent dies in his sleep – another great American expatriate who witnessed the flowering of impressionism. American art had passed beyond impressionism and Biddle would soon be a leader in the promotion of a dynamic national school of mural art. A Woman with a Letter. (1933), which recalls both Raphael Soyer and Charles Demuth, is in the Metropolitan Museum of Art. His own murals include. Society Freed through Justice. In the Justice Department (1936; now in the University of Maryland), American Revolutionary scenes in the New Brunswick, New Jersey Post Office (1939), two large panels in the Biblioteca Nacional, Rio de Janeiro (1942) and two murals for the Supreme Court Building in Mexico City (1944). The Whitney Museum of American Art has Biddle’s. Winter in Tortilla Flat. He died at Croton-on-Hudson, New York in 1973. 100% Guaranteed to be as described. Ask all questions beforehand. All Sales are Final. All sales are final. We ask for your patience and assure you we are acting as quickly as we can. All lots are accompanied by a name and/or description and lot number for reference. An approximation can be provided beforehand if requested. Thank you for your cooperation in the matter. EastCoastArt (AKA “dealsrus”) warrants the authenticity and authorship of our merchandise. All lots are guaranteed to be as described. Prospective buyers are responsible for asking any and all questions about the merchandise, and to view all photos carefully, before purchasing. Should a dispute arise over the authenticity, it is our policy to have the purchaser obtain at their expense, an opinion (or two, in some cases and at our discretion) of recognized experts in the field, mutually acceptable by both EastCoastArt and the purchaser. We try to depict the merchandise and artwork as accurately as possible with photographs. We do not overly enhance the photos. However, every computer and monitor is different, and how we see the merchandise might differ from what you see. Please bear this in mind when viewing. Contact before purchasing for any questions you have. Unless otherwise specified, frames are considered a throw-in and are not guaranteed in any fashion. Sizes listed in the descriptions are a very close approximation, ie. If the painting is 12.2″ x 14.2″ we would describe such as a 12″ x 14″. This item is in the category “Art\Art Prints”. The seller is “dealsrus” and is located in this country: US. This item can be shipped worldwide.

• Production Technique: Lithography
• Framing: Matted & Framed
• Country/Region of Manufacture: United States
• Style: Modernism
• Material: Paper
• Theme: People
• Time Period Produced: 1925-1949
• Type: Print
• Features: Limited Edition, Numbered
• Image Orientation: Landscape
• Subject: Figures
• Signed: Yes
• Original/Licensed Reprint: Original
• Year of Production: 1928
• Unit of Sale: Single-Piece Work
• Size Type/Largest Dimension: Image: 9.5\