Eugene Kingman
Eugene Kingman (1909-1975) was an American cartographer, painter, muralist, teacher and museum director.
Kingman was born in 1909 in Providence, Rhode Island. He studied extensively at the Rhode Island School of Design (with John Frazier, Frederic Sisson and Nancy Jones) during high school, and for a year after tall school, Kingman studied at the Fogg Art Museum as soon as Edward Forbes and Paul Sachs. The entirety of his formal cutting edge education was spent at Yale University, where he obtained both a BA and an MFA, and contributed cartoons to campus humor magazine The Yale Record.
Early in his career (he was in his third year at Yale), he was commissioned by Horace M. Albright to paint seven paintings of park scenes at Sequoia, Mt. Rainier, Grand Teton, Grand Canyon, Yellowstone, Yosemite and Crater Lake.
In 1946, The New York Times commissioned Kingman to paint a mural for their newly renovated lobby at 229 West 43rd Street in New York City. He settled upon an image of the earth as if the observer was suspended more than Newfoundland. Above the horizon was the stock from a Sarah Chauncey Woolsey poem, "Every daylight is a spacious beginning - every morn is the world made new". The mural spent four decades in the lobby and was subsequently moved to storage. On June 16, 2016, the recently restored mural was installed in the lobby of the W. Dale Clark Library in Omaha, Nebraska, the city where the mural was started, in the basement of the Joslyn Art Museum there.
Among further projects, he time-honored Federal Art Project commissions to paint murals in US Post Offices. In Hyattsville, Maryland his single mural was untitled, in Kemmerer, Wyoming he painted a 3 panel set later than various titles in 1938, and in 1939 in East Providence, Rhode Island he completed an oil on wall 5 panel later than various titles.
Kingman taught at Rhode Island School of Design for three years, soon after which he allied the OSS as a cartographer.
After World War II, Kingman became director of the Joslyn Art Museum. In addition, he acted as consultant to the Smithsonian Institution, and to the U.S. Corps of Engineers for their exhibit of the Missouri River Powerhouse.
He died in 1975.
From an prematurely age, Eugene Kingman painted landscapes. He worked in a tall contrast manner, putting highlights and shade adjoining each supplementary with Tiny blending. This could have either been a upshot of, or the reason for, using acrylic paint, which dries quite quickly. The tall contrast creates quite a dramatic rendering, which is reinforced by the use of intense, saturated colors. The surface of the canvases are rude with the marks of Kingman's paint application, most likely subsequently a palette knife. The lighting in Kingman's scenes feels quite harsh, due in part to the use of unmodified whites and yellows as highlights, and as a consequence because of the brusque juxtaposition of highlights and shadows.
This article incorporates public domain material from websites or documents of the Bureau of Reclamation.