Oil on canvas. John Plumer Ludlum
The first President of Greenwich Village ArtistsJohn Plumer Ludlum, American, 1906-1993
"Back Home" Oil on Canvas. 16 x 20 inches
Specially priced - $795.00, plus shipping
Phone: Antiques on Broadway (701) 451-9111
# 6 Broadway North, Fargo, ND 58102
(With certificate of authenticity from Ludlum Gallery.)
From studio material:
John Plumer Ludlum’s art career spanned over 70 years as recognized American talent. Beginning with his first exhibit in
He was born in
At twenty Mr. Ludlum returned to the east coast where he actively pursued these interests. He studied at the Art Students League, NYC where he was offered a teaching position, and The National Academy of Design, NYC. He also studied stage design as a hobby, and did the designs for two productions, one of which was the Provincetown Follies, Red Sails in the Sunset.
In
them, the dean of Modern Dance, Ruth St. Dennis, many ballerinas and well known “Trio National,” from
Later, moving his studio to
Ludlum has always been a pioneer. His were the first serigraphs in fine art in
Ludlum decided to follow the sun and early in 1945 moved to
In 1945 Ludlum also pioneered the use of fluorescent color in fine art, using this entirely new method of application which enabled him to extend the palette, from the lightest artists colors, on into light itself. He called his method “Living Light” (copyright J P Ludlum).
In 1954 Ludlum met and married Shirley Grote, herself a painter and sculptor, and bought her an English Manorhouse in the
Ludlum liked to paint beauty. A true positive thinker, he brought out the best in those around him, as well as the scenes and portraits he painted.
Preferring a “low profile” whenever possible, this tall, gentle man shunned the limelight in favor of the quiet enjoyment of his work, still, he was drawn into the public eye because of his artistic skills and innovative techniques.
Ludlum was always testing, changing, trying new ways to do things. Known as “The MASTER OF LIGHT” since 1945, he was equally at home in the use of pastel, oil, watercolor, acrylic and florescent colors, his versatility included portraits, landscapes, floral, figure studies, abstracts and religious works.
Because of the worsening smog in
Believing
that religion is the strongest organizing force for good, many of
Ludlum’s greatest works are based on themes of great religions of the
world. He won four first awards in the subject in International
Competition in
The Ludlum “Nativity” stands six foot high and nine foot wide, including its hand carved, free standing frame. Ludlum used a Byzantine style, oil and fluorescent colors, with gold and silver metallic powders to create this masterpiece, giving the breath-taking effect of jewel tones in light. The panel took three and one half years to complete.
As special guests of the U.S. Army, the Ludlums flew to
The Augusta Symphony Orchestra was also featured on the program and their string section played, behind the curtain as the great painting was shown.
The
United States Air Force honored the Ludlums and their party at a formal
one artist, one painting exhibition and reception of the “Nativity” at
their facility at
“Gevaert,” the famous European film manufacturers, chose the “John Plumer Ludlum Treasures in Fine Art for Collectors” series for use in their international advertising.
Ludlum was commissioned by the United States Space Program to create a series of eight foot florescent panels of the early space rockets and facilities. These were exhibited in the Armory, NYC (circa 1955).
His work was exhibited with the Dead Sea scrolls at the dedication of the “
As a leading American artist, and “positive thinker,” Ludlum appeared on National television (Hour of Power, 1977), and he and his artist wife, Shirley, were the subjects of a one half hour TV interview on “Riverpark” “Its Great to be Alive,’ series. (1977)
The
national Woman’s magazine, “Virtue” devoted a ten page article to John
and Shirley and their art including a three page center-foldout of the
Ludlum “Nativity.” (1979)
Among Satisfied Clients and Exhibitors are:
Merrill Lynch, Pierce Fenner & Smith,
Rutan & Tucker, Attorneys,
Stokely Foods Products family,
R.C.A. Victor
Max Factor,
Ford Motor Company
Walter Foster Art Books
Pabst, Schlitz, Blatz
Museum of Science and Industry, NYC
Mrs. Bonita Granville Wrather
Douglas Aircraft
Paramount Studios
Carnation
Camel
Cryson Greeting Cards
Sunkist
Roy Rogers and
Black light paintings purchased and exhibited by United States Government Space Program and exhibited at the Armory, NYC
Other exhibitions:
Westchester Galleries,
Artists Guild of America, Inc.
Smeraldi Gallery,
Marvin Newman Gallery,
John
Plumer Ludlum, American (1906-1993) oil on canvas "Back Home" 16 x 20
inches, with certificate of authenticity from the Ludlum Art Center,
signed by Shirley Ludlum and booklet and photograph of painting.
TO JOHN PLUMER LUDLUM
My Beloved Husband
John
had a great and wonderful heart, big in every sense. It was damaged by
an illness in his teens and he was not expected to live a long life.
Sunday, September 12, 1993, he would have been 87.
He never told
me of the good deeds he did before we met, but, over the years many of
his friends came up to me to say he had paid their rent, or fed them
and their family for months until they could get on their feet.
John
never took offense, never criticized, never acted discouraged, or
pessimistic. He was always gentle, undemanding and happy. He always
took things in stride which would have felled many people. I always
told him he was part angel and was always in awe of John and his
remarkable attitude.
John never complained about anything. I
feel sure that his positive attitude towards life, and his calm
acceptance of all circumstances, contributed greatly to his long and
produective life. John never took a pain pill. He told me that if there
was discomfort he put himself in a frame of mind so he didn't feel it.
John
was a great artist. I was so proud of his beautiful paintings, but,
even more proud of him as a man. He left me a great legacy of love and
beauty, an example and a direction. In our 39 years together, 24 hours
a day, we never had a word between us except love and gentleness. Our
taste and judgement were uncannily alike, and our greatest priority was
the happiness of one another.
John was a true gentleman, always,
and in every sense of the word, at home, when we were alone, perhaps
even more than around others. He was so loving. I always felt so humble
and blessed to have him for my very own, on this plane and we believe
forever.
John and I have strong faith and I wanted his service
to be as cheerful as we could manage. Only our closest relatives and
friends were called. We were not able to reach everyone as the time was
short to avoid the Labor Day week-end, but many came and the banks of
lovely flowers added such beauty. Our Reverend Coffin gave such a fine
and uplifting tribute it made a beautiful service.
The many
friends who came forward and told wonderful little insights on their
personal experiences with John surprised and touched us all. It was
like seeing different facets of color that come when the light hits a
beautiful diamond.
Sometimes I feel John's strong, happy presence. It gives me strength.
God
chooses our time, in his wisdom. He is sustaining me and I am doing
very well, mostly. John and I thank you for being our friends.
Shirley Ludlum
John Plumer Ludlum's (American 1906-1993) record sale price is $2,500,000.00 for "The Nativity". His "Back Home" pictured above is available for much less than 1% of that. $2,750.00. Approx. 16 x 20 inches. Call or visit. He had a studio in lower Manhattan before moving to California.
END OF SUMMER SALE PRICE: $795.00
This Paul Bois (French, 1927-2001) oil on board is available, $1,100.00, entitled "Evening on the Champs Elysée". Approx. 12 x 16 inches.
END OF SUMMER SALE PRICE: $695.00, plus shipping.
Bois is listed in the European Art Price service.
END OF SUMMER SALE PRICE: $675.00
Various Artist Quotes.
Jackson Pollock (American 1912-1956):
link to copyrighted image at MOMA: Pollock Full Fathom Five
Abstract painting is abstract. It confronts you.
There was a reviewer a while back who wrote that my pictures didn't have any beginning or any end. He didn't mean it as a compliment, but it was.
Bums are the well-to-do of this day. They didn't have as far to fall.
Every good painter paints what he is.
He drove his kind of realism at me so hard I bounced right into nonobjective painting.
I continue to get further away from the usual painter's tools such as easel, palette, brushes, etc.
I don't work from drawings. I don't make sketches and drawings and color sketches into a final painting.
I hardly ever stretch the canvas before painting.
I have no fear of making changes, destroying the image, etc., because the painting has a life of its own.
I'm very representational some of the time, and a little all of the time. But when you're painting out of your unconscious, figures are bound to emerge.
It doesn't make much difference how the paint is put on as long as something has been said. Technique is just a means of arriving at a statement.
It is only when I lose contact with the painting that the result is a mess. Otherwise there is pure harmony, an easy give and take, and the painting comes out well.
My painting does not come from the easel.
My paintings do not have a center, but depend on the same amount of interest throughout.
Link to copyrighted image at MOMA: Pollock Shimmering Substance
New needs need new techniques. And the modern artists have found new ways and new means of making their statements... the modern painter cannot express this age, the airplane, the atom bomb, the radio, in the old forms of the Renaissance or of any other past culture.
On the floor I am more at ease. I feel nearer, more part of the painting, since this way I can walk around it, work from the four sides and literally be in the painting.
Painting is self-discovery. Every good artist paints what he is.
The modern artist is working with space and time, and expressing his feelings rather than illustrating.
The modern artist... is working and expressing an inner world - in other words - expressing the energy, the motion, and other inner forces.
The painting has a life of its own. I try to let it come through.
The strangeness will wear off and I think we will discover the deeper meanings in modern art.
Today painters do not have to go to a subject matter outside of themselves. Most modern painters work from a different source. They work from within.
When I say artist I mean the man who is building things - creating molding the earth - whether it be the plains of the west - or the iron ore of Penn. It's all a big game of construction - some with a brush - some with a shovel - some choose a pen.
When I'm painting, I'm not aware of what I'm doing. It's only after a get acquainted period that I see what I've been about. I've no fears about making changes for the painting has a life of its own.
Modernist Abraham Palansky is listed in 16 art reference books. This 1937 oil on board of a Farmstead (had a small ding and has been expertly touched up) is available at $1,400.00. Approx. 14 x 16 inches.
END OF SUMMER SALE PRICE: $550.00
Various Artists Quotes.
Edvard Munch (Norweigan 1863-1944):
Edvard Munch, Self Portrait with burning cigarette, 1895, oil on canvas, 110.5 x 85.5 cm. National Gallery, Oslo
A person himself believes that all the other portraits are good likenesses except the one of himself.
By painting colors and lines and forms seen in quickened mood I was seeking to make this mood vibrate as a phonograph does. This was the origin of the paintings in The Frieze of Life.
Death is pitch-dark, but colors are light. To be a painter, one must work with rays of light.
Disease, insanity, and death were the angels that attended my cradle, and since then have followed me throughout my life.
For as long as I can remember I have suffered from a deep feeling of anxiety which I have tried to express in my art.
From my rotting body, flowers shall grow and I am in them and that is eternity.
I build a kind of wall between myself and t he model so that I can paint in peace behind it. Otherwise, she might say something that confuses and distracts me.
I find it difficult to imagine an afterlife, such as Christians, or at any rate many religious people, conceive it, believing that the conversations with relatives and friends interrupted here on earth will be continued in the hereafter.
I have no fear of photography as long as it cannot be used in heaven and in hell.
I learned early about the misery and dangers of life, and about the afterlife, about the external punishment which awaited the children of sin in Hell.
I painted the picture, and in the colors the rhythm of the music quivers. I painted the colors I saw.
I should have considered it wrong to have finished the Frieze before the room for its accommodation and the funds for its completion were available.
In common with Michelangelo and Rembrandt I am more interested in the line, its rise and fall, than in color.
In my childhood I always felt that I was treated unjustly, without a mother, sick, and with the threat of punishment in Hell hanging over my head.
It was always my intention that The Frieze should be housed in a room which would provide a suitable architectural frame for it.
Nature is not only all that is visible to the eye... it also includes the inner pictures of the soul.
No longer shall I paint interiors with men reading and women knitting. I will paint living people who breathe and feel and suffer and love.
Oil-painting is a developed technique. Why go backwards?
One can easily tell that the creator of the paintings in the Sistine Chapel was above all a sculptor.
Painting picture by picture, I followed the impressions my eye took in at heightened moments. I painted only memories, adding nothing, no details that I did not see. Hence the simplicity of the paintings, their emptiness.
Sickness, insanity and death were the angels that surrounded my cradle and they have followed me throughout my life.
Some colors reconcile themselves to one another, others just clash.
The colors live a remarkable life of their own after they have been applied to the canvas.
The notes I have made are not a diary in the ordinary sense, but partly lengthy records of my spiritual experiences, and partly poems in prose.
The rich man who gives, steals twice over. First he steals the money and then the hearts of men.
This kind of painting with its large frames is a bourgeois drawing-room art. It is an art dealer's art-and that came in after the civil wars following the French Revolution.
Edvard Munch, The Dead Mother, 1899-1900, oil on canvas, 39 3/8 x 35 3/8 inches. Kunsthalle, Bremen
To die is as if one's eyes had been put out and one cannot see anything any more. Perhaps it is like being shut in a cellar. One is abandoned by all. They have slammed the door and are gone. One does not see anything and notices only the damp smell of putrefaction.
When I paint a person, his enemies always find the portrait a good likeness.
Without anxiety and illness I should have been like a ship without a rudder.
Youth must go ahead and prosper. These young painters are all very talented people, but they all paint frescoes.
