Richard and Charlotte Allen Cosby Ancestry » Karl Frederick "Fred" Machetanz Jr. (1908-2002)

Persönliche Daten Karl Frederick "Fred" Machetanz Jr. 

• Alternative Name: Frederick Gustave Machetanz Jr
• Er wurde geboren am 20. Februar 1908 in Kenton, Hardin Co., Oh.Quelle 1
• Alternative: Er wurde geboren am 20. Februar 1908 in Kenton, Hardin Co., Ohio.
• Wohnhaft:
• im Jahr 1920: Kenton Ward 3, Hardin, Ohio.Quelle 1
• im Jahr 1951: Settked in Palmer, Alaska, where he lived the rest of his life.
• Er ist verstorben am 6. Oktober 2002 in Palmer, Alaska, er war 94 Jahre alt.
• Alternative: Er ist verstorben am 6. Oktober 2002 in Palmer, Alaska, er war 94 Jahre alt.
• Alternative: Er ist verstorben am 6. Oktober 2002 in Palmer, Alaska. Cause of death, pneumonia, er war 94 Jahre alt.
• Ein Kind von Karl Frederick "Fred" Machetanz und Ellen F. "Ella" Traeger

Familie von Karl Frederick "Fred" Machetanz Jr.

Er ist verheiratet mit Sara Dunn.

Sie haben geheiratet am 20. Januar 1947 in Unalaleet, Alaska, er war 38 Jahre alt.

Kind(er):

1. (Nicht öffentlich)

Notizen bei Karl Frederick "Fred" Machetanz Jr.

~~1~~ Artist of note. Named "Alaskan of the Year" in 1977.~~1~~From an announcement of a retrospective exihibition of the paintings of Alaska by Fred Machetanz, Jr. found on the internet; http://www.tfaoi.com/aa/4aa/4aa479.htmination I have known in Alaska, then I have succeeded in what I set out to do."f one of Alaska's most beloved artists, opened at the Anchorage Museum of History and Art on June 16, 2004. The exhibition includes approximately 92 original paintings and preparatory studies, illustrations from the artist's publications, excerpts from the extensive film footage he and his wife Sara produced, artifacts they collected, and material from his studio. (right: Fred Machetanz (1908-2002), Sentinel of the Arctic, oil on board)es in Fred's life, taught him how to paint oil with translucent layers of colored glazes. This painting technique, and the use of ultramarine as a base color, gives Fred's paintings the luminosity and intensity that makes hem so recognizable today."th: The Art of Eustace Paul Ziegler; and numerous other publications on the art of Alaska and the Circumpolar North. The exhibition is accompanied by Woodward's fully illustrated, 100-page monograph chronicling Machetanz's life and work and placing him in the context of Alaskan and American painting.out 2004-2005. Future exhibition dates at other museums include:r sponsors of this exhibition include The William S. Morris III Family and Morris Communications Company LLC, H. Willard Nagley II, and the Anchorage Museum Foundation.tanz on October 6, 2002, marked the end of an era in Alaska art. At the age of 94, Machetanz was a larger-than-life figure in traditional Alaska painting, a link with an earlier, heroic generation of pioneer painters. Those earliest significant painters to make Alaska their home -- men like Sydney Laurence, Eustace Ziegler, Ted Lambert, and Jules Dahlager -- worked in various styles, but they shared a romantic vision of a grand, sparsely settled, pristine country where hardy souls make a home in the wilderness by living close to the land. Their work cemented in the minds of most Alaskans, and many others throughout the world, an image of Alaskans as pioneers, and Alaska as the last frontier.leet in 1935 to visit his uncle Traeger, who ran a trading post in the mostly Inupiaq community. Fresh from completing a master's degree in art at Ohio State University, the young Machetanz planned to stay six weeks. One of his most striking painting, Miowak, memorializes the moment of his disembarkation at the Unalakleet airstrip, when an Inupiaq woman greeting the plane stared at him in wonder, convinced that he was the son she had recently lost who was now being returned to her miraculously in different form. Miowak -- Marian Gonongan -- befriended him and continued to treat him as a son during the six-week visit that stretched to two years.e books on Alaska. Though publishers admired his work and hired him to produce illustration, they told him they had no Alaska books in the works, and that if he wanted to make Alaska illustrations he would have to write his own. In 1939, he wrote and illustrated his first volume, Panuck, Eskimo Sled Dog, and he followed it in 1940 with On Arctic Ice.s an illustrator in New York, Machetanz longed to return to Alaska, and he found a way when he volunteered for naval service in World War II and requested posting to the Aleutians. He served there from 1942-45, becoming a lieutenant commander in charge of intelligence for the North Pacific Command. After a brief period of training in lithography with Will Barnet at the Art Students League in New York immediately following his discharge at war's end, he headed back to Unalakleet in 1946.tions section of RCA Victor. From the time they were married in 1947 in Unalakleet until Sara's death in September 2001, they were a successful and inseparable team. Together they worked on and published eight books, and they also collaborated on a number of films for Walt Disney, the Territory of Alaska, and Encyclopedia Britannica. Together they journeyed to every corner of Alaska, and from 1948 to 1960 they traveled throughout the lower 48 in the winter months lecturing on Alaska and promoting their books and films.h they added onto through the years and lived in for the rest of their lives. After the birth of their only son Traeger in 1959, they curtailed their travel, and with the encouragement and support of a number of prominent Anchorage business leaders, Fred soon set aside a year to concentrate fully on his painting. His 1962 exhibition of 44 works at the Anchorage Westward Hotel was a huge success, and he was able to become a full-time painter.le. Almost always on hardboard -- sometimes on the smooth side and other times on the textured side of the board -- they are luminous images of Alaska and Alaskans. On the carefully primed hardboard surfaces, the artist began by laying in his scenes with a large bristle brush in ultramarine blue. Over a period of weeks, he then added thin layers of transparent, linseed oil-based glazes, building up surface colors and refining forms. The finished paintings glow as light penetrates and is reflected back through the many layers of glaze. The glazing technique is one employed by artists since the development of oil paints in the Renaissance, but Machetanz's use of ultramarine as a starting color to develop his forms contrasts with traditional underpainting in earth tones, and accounts for much of the chill, Northern intensity of his work.th the University of Alaska and Ohio State University, Fred Machetanz's life was a long tale of adventure and accomplishment. His work is avidly sought after by collectors not just in Alaska, but throughout the United states and abroad. The romantic image of frontier Alaska he inherited from Sydney Laurence and others, but developed in a personal way as he carried it into and through the second half of the twentieth century, remains an important inspiration for artists seeking to perpetuate that image in the new millennium.ting Alaska, his life serves as an inspiration. He was unfailingly gracious and supportive of other artists, and his work ethic in the studio -- painting steadily every day well into his eighties, when his health, rather than his will began to fail him--serves as a model for artists who hope to make lasting, significant contributions of their own. Fred Machetanz's life was one of both adventure and hard work. Those who knew him will miss him, and Alaskans and others can be grateful for the enduring legacy he left behind.912 when he was four years old and living in Ohio. His family received two large trunks filled with hundreds of Native artifacts from his uncle Charles Traeger, a Gold Rush trader living in St. Michael. The collection included finely made kayak and canoe models, baskets, ivory carvings, beadwork and tools. Fred eventually brought the collection back to Alaska, still in the same two trunks, and he and his wife Sara donated it to the Museum in 1985. He used pieces from the collection as models for his paintings; many of these objects are now on display in the Machetanz retrospective.he dramatic colors of Alaska were the colors of Machetanz's palette: the pinks and golds of northern sunlight, the blues and greens of snow and ice, the grays and creams of polar bear fur. Machetanz credited his classic transparent oil technique with capturing "Alaska's kaleidoscope of color."d rush and the oil boom. He chronicled the traditional Eskimo lifestyle ? now rapidly changing but not as yet vanished ? and the constantly changing resplendency of the Alaskan landscape.d Alaska's preeminent artist, Machetanz traveled a long trail from his first one-man show in 1961. His paintings and stone lithographs have been exhibited around the world, included in numerous permanent collections and published in three books. His awards ranged from 1977 Alaskan of the Year and a seat in the Alaska Press Club Hall of Fame to three honorary doctorates, including one in humane letters from The Ohio State University, his alma mater.d its people that lasted more than 50 years. As the patterns of light and dark and the luminous effect of his Renaissance glazing techniques were the trademarks of a Machetanz painting, the spirit of Machetanz was the trademark of Alaska. He once said, "If anyone viewing my work has felt the beauty, the thrills and the fascination I have known in Alaska, then I have succeeded in what I set out to do."y and went to visit his uncle, Charles Traeger, who ran the trading post at Unalakleet. Fred fell in love with Alaska and even served in the Aleutians in WWII.eir predominance of blue coloring and for Machetanz's glazing technique, which is often compared to that of his friend, Maxfield Parrish. Machetanz's oils are almost always clearly titled and dated on the back of the masonite panel.ive lives., Ohio, Library Archives

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