All Rights Reserved. His impressions and photos of the bombed-out city formed the basis of his montage, Berlin 1945, painted in Denver in 1947. Among the book titles he illustrated were:  Marian Hurd McNeeley, The Jumping Off Place; P.N. Upon being discharged, he began a 26 year teaching career at the University of Denver and continued to paint until 1986. Biography William Sanderson. Condition Report: Craquelure along upper edge; vertical stain in center; Under UV, stroke of retouch in fire hydrant; otherwise appears in basic good condiiton. Following his studies, Sanderson found work as an illustrator for publications including The New Yorker magazine.

In the 1930s and early 1940s he also produced illustrations and covers for leading American magazines such as The New Yorker, Esquire, Cue, and Harper’s. The positive notice accorded his work in the early fifties earned him a commission from the Ford Motor Company to illustrate an article, Fort Garland, by Marshall Sprague in the June 1954 issue of Ford Times. Sanderson’s life in Europe and illustration work for the New Masses in New York made him very aware of ethnic and racial prejudice. However, Sanderson quit the League when he could no longer afford the tuition. School of Art Faculty-1968,” Denver Art Museum (1968); Museum Collections: Smithsonian Museum of American Art, Washington, DC; Hood Museum of Art, Dartmouth College, New Hampshire; Ford Motor Times Collection of American Art, Dearborn, Michigan; Northeastern Junior College, Sterling, Colorado; Arvada Center for the Arts and Humanities, Colorado; University of Denver; Denver Art Museum; American Museum of Western Art-The Anschutz Collection, Denver; Denver Public Library Western Art Collection; Kirkland Museum of Fine & Decorative Art, Denver. William Sanderson 1905 - 1990. Emphasizing pure color, balance and design, he derived the non-representational subject matter from a variety of sources: the port of Rostov-on-the-Don, Hebrew letters, and the ornamental patterns used by the Northwest Indian tribes to decorate their ceremonial objects and distinctive wooden houses. William Sanderson (1905-1990) William Sanderson, born in Dubbeln, Latvia, immigrated to the United States at the age of eighteen. In 1937 he was given a solo show at the A.C.A. His work often depicts architecture, ships, nature, and the common man. (American Contemporary Art) Gallery in New York.

(American Contemporary Art Gallery), New York (1937); Denver Art Museum (1947); Saks Galleries, Denver, (1956); Brass Cheque Gallery, Denver (1976); Stuhr Museum, Grand Island, Nebraska (1978); Arvada Center for the Arts and Humanities, Arvada, Colorado (1983); Savageau Gallery, Denver (1981, 1985, retrospective); University of Denver (1989, retrospective); “The Centennial of William Sanderson,” Kirkland Museum of Fine & Decorative Art, Denver (2005-06). Sanderson exhibited in numerous solo and group exhibitions throughout Colorado and the West between 1945 and 1985, and he was voted one of Colorado's influential artists of the 20th Century. He had a keen wit, tremendous knowledge and outstanding wisdom.” Sanderson and his wife spent the balance of their years in Fort Morgan on the eastern Colorado plains.

A decade later the search for group identity by young, politically active Chicanos in Colorado and elsewhere was reflected in Tierra y Libertad (Land and Liberty) and La Pulqueria (Pulque Drinking). As a student at the National Academy of Design in 1927, Sanderson exemplifies an individual dedicated to creativity and the life-long passion for art. On the occasion of a DU faculty show in 1964, Sanderson explained the social commitment in his art, “Unfortunately most artists today are concerned only with textures, brushstrokes and technique. Sanderson exhibited in numerous solo and group exhibitions throughout Colorado and the West between 1945 and 1985, and he was voted one of Colorado's influential artists of the 20th Century. After basic training at Kessler Field near Biloxi, Mississippi (where the Tuskegee Airmen also trained) he shipped out at his own request to Lowry Air Force Base in Denver, becoming part of the Army Air Corps and taking an instant liking to Colorado. The financial security and stability of his teaching position at the University of Denver (DU) gave him the freedom to develop his easel painting. In American Afternoon a lone female figure sunbathes with her radio and picnic basket, dwarfed by a huge revolving radar dish and a large billboard advertisement along an empty road hurtling across a treeless plain. Similarly, Mountain Rhythm employs a bright palette and undulating lines, conveying his fascination with the overall composition of irregular mountain and cloud shapes. He remained with the University from 1946 until 1972. To his mother’s annoyance, he scribbled on anything within easy reach, deciding by age ten that he would make art his lifetime goal. © 2020 David Cook Galleries. The Tsiegelnitsky surname was changed to the more pronounceable Siegel. Blocks of white snow throughout the composition form a pattern that contributes to the stark feeling of the setting. Following his studies, Sanderson found work as an illustrator for … Because preference in awarding construction contracts at that time was being given to members of the Russian Orthodox Church, his father had the whole family baptized in that church which he kept a secret from Sanderson’s grandparents. He settled first in New York City where he studied at the National Academy of Design and at the Art Students League. Most mining town scenes are painted in the colorful summer; William Sanderson chose the winter cold and snow to emphasize the angular brown buildings, the steep mountain peaks, and the loneliness of an isolated town. One of his first canvases, Steamship Ruth, titled in honor of his wife and incorporating elements remembered from the port of Rostov in Russia has large, precisely-arranged areas of flat color with crisp edges seen in many of his Colorado paintings in the 1950s and 1960s. 1. The elder son of a construction engineer, he was born Wilhelm Tsiegelnitsky in a seaside resort near Riga, Latvia, then part of the Russian Empire. Hirschfeld Press in Denver, Sanderson swapped commercial art for academia in 1946 when Vance Kirkland hired him as Assistant Professor of Advertising Design at the University of Denver, which subject he taught until retiring in 1972. His output assumed a more regionalist style as his new environment challenged him to paint the broad panorama of Colorado’s high plains dominated by the sky, clouds, seasonal changes, windmills and ranches. Most of it is just an imitation of what Russell and Remington did…What I’ve painted about the West is not reality; I’ve painted the West as it never was and I know it. In 1937, Sanderson was honored with a solo exhibition held at the Contemporary American Artists Gallery in New York City.

After teaching at the University of Denver for a quarter century, he retired as Associate Professor Emeritus in 1972. His fluency in Russian landed him an assignment as an interpreter with the American ground forces meeting up with the Soviet Army marching westward toward Berlin in the last months of World War II. He settled first in New York City where he studied at the National Academy of Design and at the Art Students League. Sanderson painted in a variety of styles, including Cubism, Social Realism, and Hard-Edge Abstraction. In Colorado, Sanderson became active in the artist community, co-founding the Denver based organization known as the "Fifteen Colorado Artists". His work appeared in several popular publications including "The New Yorker," "Esquire" and "The New Masses.". With his art studies behind him, he began a successful career in illustration in New York. No Way Out (1961) graphically expresses the utter feeling of helplessness experienced by a driver whose car is poised on the jagged edge of a serpentine mountain road. Some of the subject matter are clichés – and worn out clichés at that. As he stated in an interview in the University of Denver’s newspaper Pioneer, “Because I feel that art is fundamentally humanistic, that it has its roots in a concern with man – not with the machine, the computer nor the rocket – I believe that the artist can use his multiple abilities of communication to offer men spiritual release and infuse meaning into what is often a meaningless existence.”. Sanderson won the Suydam Medal for Life Drawing, First Prize in Composition, and Honorable Mention in Etching. Feeling that they would have no place in the new Communist political reality, in 1921 the family left Rostov for Kiev, emigrating to Italy and Greece on short-term visas before arriving in New York two years later, sponsored by Gregory’s relatives in New Jersey.
Their work was featured in exhibitions at the David Cook Galleries . Along with Kirkland and other faculty artists, he became a charter member of the 15 Colorado Artists. After World War II, Sanderson relocated to Denver where he was hired by Vance Kirkland to instruct in advertising design at the University of Denver. However, his steady income disqualified him from participation in the WPA-era art projects. Following his studies, Sanderson worked as a book and magazine illustrator. His work was also shown in group exhibitions outside Colorado at the Dallas Fine Art Museum, Museum of New Mexico (now, New Mexico Museum of Art) in Santa Fe, Joslyn Memorial Museum in Omaha, San Francisco Art Association, Salt Lake City Art Center and the Cedar City Art Museum Association in Utah.
Born in Latvia, William Sanderson immigrated to the United States at the age of eighteen. Born in Dubbeln, near Riga, Latvia in 1905, his personal journey from Czarist Russia, to New York City, and finally to Colorado, is one of remarkable courage and perseverance. Many of Redmore's works depict shipping in the Humber estuary, off the Yorkshire coast, Whitby and Scarborough. Following his military discharge and some brief design work for the Kistler Stationery Company and the A.B. But my feeling is that a painter has a responsibility to society.”. The year 2005 marked the Centennial of Sanderson's birth, and he is now recognized as a major contributor to the development of modern art in Colorado. In 1931 he became a naturalized U.S. citizen in Manhattan and by 1936 began informally using Sanderson as his surname, making the change official in 1941. You must be completely satisfied with your purchase or you will receive a full refund. In 1976, Sanderson donated a collection of forty paintings to Northeastern Junior College in Sterling, Colorado. Born and raised in a different culture half a world away from the American West, he successfully assimilated over the years to his adopted country. He received formal training at the Art Students League in New York as well as the National Academy of Design.

A barometer of his success was his inclusion in the Fifth Exhibition of American Book Illustration in 1935 sponsored by American Institute of Graphic Arts whose jurors included Edith Halpert of The Downtown Gallery in New York. Influenced by Hull artist William Anderson [1757-1837] and the Dutch Greats of the 17th century and probably studied for a time under John Ward [1798-1849]. It is graphically and boldly painted with carefully chosen colors to tell a story of this couple.

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