FROM THE DIRECTOR
WeattheSchmidt’sAntiquesMichiganArtGalleryarepleasedtopresentacomprehensive retrospectiveofEuropeanandAmericanlandscapepaintingsalongwithportraitsbyAnnArbor artistLeonMakielski,1885-1974.
Thisremarkablebodyofwork,recentlyacquiredfromtheMakielskifamily,offersan opportunitytoexploretheartistryofanindividualwhosetalentbridgedcontinentsand traditions.Comprisingamajorityofpiecesthathaveneverbeforebeenofferedforpurchase, thiscollectionreflectsMakielski’senduringcommitmenttocapturingthequiet,inherent beautyofhiseverydaysurroundings,revealingapersonaldialoguebetweentheartistand landscapeorfiguralsubject.
Makielski’scareerreflectsadynamicblendofEuropeaninfluence,regionalidentity,andartistic range.HisformativetraininginChicago,Paris,andattheImpressionistcolonyinGiverny shapedadeepandlastingengagementwithbothportraitureandlandscape.Theseearly foundationscontinuedtoinformhislaterwork,particularlyinthevividsceneshepainted duringextendedtravelsthroughtheBlueRidgeMountainsandNewEngland.Aftersettlingin Michigan,hebecameakeyfigureinthestate’sartisticcommunity,balancinglocalimpactwith abroadertransatlanticperspective.
Wearehonoredtopresent Leon Makielski: Between Two Continents,anexhibitioncelebrating theartist’sremarkablevision,madepossiblethroughthegeneroussupportoftheMakielski familyandheirs.
Elizabeth O’Connell Art Director
The Michigan Art Gallery at Schmidt’s Antiques Inc.
Leon Makielski: Between Two Continents
1.A1912oilonartistboardParisiancityscapewithaviewoftheAlexandreIIIBridge,titled"Pont Alexander".Signed"LeonA.Makielski"lowerright,titledanddatedwithartistinventorynumber "585"verso.Image131/4x91/2"high,framed151/2x113/4"highoverall.
EUROPE
“You won’t like Leon Makielski’s paintings unless you feel trees should look like trees, fields like fields, bridges like bridges, and streets like streets. He is a painter whose pictures speak of earth and sky, whose canvases reflect harmony and color rather than conflict and discord.”
-PolishDailyNews,November17,1966
Leon Makielski: Between Two Continents
In1908,LeonMakielskiwasappointedassistantinstructorattheArtInstituteofChicagoandawarded theprestigiousJohnQuincyAdamsTravelingScholarship.Thehonorenabledhimtostudyabroad, andinApril1909,hesailedforParis,whereheestablishedhisbaseforthenextfouryears.Immersedin thevibrantartsceneoflateBelleÉpoqueeraFrance,MakielskicontinuedhisstudiesattheAcadémie JulianandtheGrandeChaumièreunderLucienSimonandReneMenard,whilealsotrainingprivately withnotedpainterHenriMartin.
3.A1912oilonwoodpanelParisian summercityscapefeaturingaviewof theLuxorObeliskthroughthepublic squaretraffic,titled"Placedela Concorde".Signed"LeonA. Makielski"lowerright,titledanddated withartistinventorynumber"550" verso.Image13x9"high,framed 17x13"highoverall.
2.A1911oilonwoodpanelParisian latespringlandscapewithaviewofthe Fontainedel'Observatoire,with sculpturebyJean-BaptisteCarpeauxin thegardensattheLuxembourgPalace, titled"FountainCarpeau".Signed "LeonA.Makielski"lowerright,titled anddatedwithartistinventory"554" numberverso.Image131/2x10"high, framed153/4x121/4"highoverall.
02 Inhisfreetime,hepaintedtheurbansceneryofParisaswellasthesurroundingFrenchcountryside, withaparticularfocusontheareasaroundVersaillesandGiverny.
TheGivernyartistcolonydevelopedinthelate19thcenturyfollowingClaudeMonet’s(1840-1926) relocationtothevillagein1883.DrawnbytheidylliclandscapeandtheartisticinnovationsofMonet— widelyregardedasacentralfigureinthedevelopmentofImpressionism—numerousAmericanand EuropeanartistsweredrawntoGivernyfromthe1880suntiltheFirstWorldWar.WhileMonetdidnot takeonpupils,hisinfluencepermeatedthecolony,shapingthevisuallanguageofvisitingpainterswho embracedpleinairtechniques,vibrantcolorpalettes,andanemphasisonatmosphericlight.
Inthesummerof1911,MakielskipaintedinGivernyalongsidefellowAmericanartistRichardE.Miller andwascloselyassociatedwithacommunityofMidwesternpainters—includingKarlAnderson,Karl AlbertBuehr,FrederickFrieseke,andLawtonParker—whowereactiveintheregionduringtheearly20th century.Hisworkfromthisperiodreflectsthecolony’sprevailingaestheticconcernsandunderscores Giverny’scontinuingimportanceasatransatlanticnexusofImpressionistexchange.
4.A1909-1911oiloncanvasovercastGiverny,France,landscapewithaviewofstrawstacks,painted whileMakielskiwasactiveintheGivernyImpressionistcolonythatformedaroundClaudeMonet.Signed "LMA.Makielski"lowerright,artistinventorynumber“1015"verso.Image211/2x151/2"high,framed 23x17"highoverall.Note:AnotherofLeonMakielski's"StrawStack"paintingsfromtheGivernycolony isshownonpage160ofWilliamH.Gerdts's1993 Monet's Giverny: An Impressionist Colony.
“The landscapes painted by Leon Makielski in 1909–1911 are the most traditional of any of the colonists, many of them grain-stack pictures that emulate Monet’s series from 20 years earlier. Judging by the impressive number of Giverny pictures, Makielski must have been incredibly prolific, concentrating in agrarian subjects, as had Theodore Robinson and others of the first generation.”
-WilliamH.Gerdts, Monet’s Giverny: An Impressionist Colony
Leon Makielski: Between Two Continents
EnabledbytheflexibilityofhisEuropean scholarship—whichwassupplementedbythe supportofindustrialistJohnM.Studebaker, presidentoftheStudebakerBrothers ManufacturingCompanyinSouthBend,Indiana —LeonMakielskitraveledwidelyacrossEurope, immersinghimselfinitsartisticheritage.He visitedmajormuseumsandpaintedinmanyofthe continent’smostcelebratedscenicandhistoric locations.Thesetravelsprovidedhimwith firsthandexposuretoOldMasterworksand contemporarytrendsalike,deepeninghistechnical skillsandexpandinghisartisticperspective.
AmongthesedestinationswasVenice,longa magnetforAmericanartists,includingJohn SingerSargent,EdwardDarleyBoit,Emile CarlsenandMauricePrendergast,allofwhom wereworkingthereduringMakielski’s1912stay. Thecity’sluminousatmosphereandlayered historyleftalastingimpressiononhiswork, influencingbothhiscolorpaletteand compositionalchoicesinsubsequentlandscapes andcityscenes.
Makielski’stimeinItalywasparticularlyimportant toJohnM.Studebaker,whowrotetotheartist:
“I hope that the time you will spend in Italy will prove of great benefit to you and your whole aim in staying in Europe was to be getting all the valuable information you can and experience from the old masters’ work. I felt that you should not miss the golden opportunity of getting out of Italy what you could in that direction.”
- J.M.Studebaker,August13,1912
5.A1912oilonartistboardVenetiancityscape withaviewofthePiazzaSanMarcowiththe BasilicaofSantaMariadellaSaluteinthe distance,titled"St.Mark'sColumn".Signed "LeonA.Makielski"lowerright,titledanddated withartistinventorynumber"629"verso.Image 8x10"high,framed10x12"highoverall.
6.A20thcenturyaquatintetchingwithaviewof theVeniceHarbor,titled"Venice".Signed"Leon A.Makielski"inpencillowerright,numbered "18/50"andtitledlowerleft.Image93/4x73/4" high,framed153/4x133/4"highoverall.
Leon Makielski: Between Two Continents
8.A1912oilonwoodpanelEnglish twilightlandscapewithaviewofthe waterfront,titled"Oxford,England".
Signed"LeonA.Makielski"lowerleft, titledwithartistinventorynumber"677" verso.Image51/2x31/2"high,framed 71/2x51/2"highoverall.
7.A1911-1912oiloncanvasVenetiancityscape withaviewofSt.Mark’sSquare.Signed"LeonA. Makielski"lowerright,artistinventorynumber "1005"verso.Image131/2x171/2"high,framed 183/4x223/4"highoverall.
9.A1911-1912oilonwoodpanel Englishsummerlandscapewithaview ofacountryestate,titled"England".
Signed"LeoA.Makielski"andtitled withartistinventorynumber"168" verso.Image51/2x4"high,framed 81/2x7"highoverall.
Leon Makielski: Between Two Continents
11.A1912oilonartistboardParisiancityscape withaviewoftheAlexandreIIIBridge,titled "PontAlexander".Signed"LeonA.Makielski" lowerleft,titledanddatedwithartistinventory number"654"verso.Image123/4x93/4" high,framed143/4x113/4"highoverall.
10.A1911-1912oilonwoodpanelEnglish summerlandscapewithaviewofacountryestate amidstrollinghills,titled"Oxford,England". Signed"LeonA.Makielski"andtitledwithartist inventorynumber"677"verso.Image51/2x4" high,framed71/2x6"highoverall.
12.A1912oilonartistboardParisian landscapewithaviewofafigurestrolling underalargewillowtree,titled"Weeping Willow".Signed"LeonA.Makielski"lower right,titledanddatedwithartistinventory number“652”verso.Image131/2x91/2" high,framed20x16"highoverall.
Leon Makielski: Between Two Continents
1911LeSalonCatalogfeaturing
AftertimespenttravelingaroundEurope, MakielskiexhibitedattheprestigiousSalon desArtistesFrançaisinParisin1911and 1912.Hisinclusioninthesejuried exhibitionsplacedhimamongtheleading academicandemergingmodernartistsofthe time,affirminghisskillandgrowing reputationontheinternationalstage.
Heoriginallybookedhisreturnpassageto theUnitedStatesontheTitanicbutwas unabletomakethevoyage.Unfortunately, twoofhispaintingswerelostinthesinking.
HistimeinFranceandItalyrepresentsa pivotalphaseinhiscareer,yieldingsomeof hismostaccomplishedearlyworksand forgingadistinctivestylethatfused AmericanImpressionismwiththeaesthetics andtechniquesoftheEuropeanmasters.
Leon Makielski: Between Two Continents
13.A1912oilonwoodpanelParisianlatespring landscapewithaviewoftheGardensatthe LuxembourgPalace,titled"LuxembourgGardens". Signed"LeonA.Makielski"lowerright,titledanddated withartistinventory"551"numberverso.Image131/2 x93/4"high,framed181/4x141/2"highoverall.
14.A1913oilonartistboardParisiancityscapewitha viewoftheAlexandreIIIBridge,titled"PontAlexander". Signed"LeonA.Makielski"lowerright,titledanddated "1913"withartistinventorynumber"654"verso.Image 83/4x113/4"high,framed10x13"highoverall.
LeonMakielski
15.A1930s-1940soiloncanvasportraitoftheLeonMakielskiandtwoofhisbrothers,Stanislawand BronislawMakielski,titled"TheThreeBrothers".Signed"LeonA.Makielski"lowerright,titledon DetroitInstituteofArtslabelwithartistinventorynumber"1675"verso.Image351/2x471/2"high, framed431/4x551/4"highoverall.
FAMILY TIES
“I worked very hard when the children were small, but I never lost myself, I didn’t have a good education, but the simple philosophy of life anyone can understand. I knew that it was impossible to give the children any assistance so I encouraged self reliance, and thrift. Mr. Makielski always encouraged them to study and read good books. Of course I wouldn’t be able to do so much had they not been the good children they were.”
-InterviewwithLeonMakielski’smother,Elizabeth
Leon Makielski: Between Two Continents
BEGINNINGS IN THE MIDWEST
“The story of Leon Makielski appears to have been almost the perfect fulfillment of the American dream as regards the life of an artist, at least as it was then understood. Its protagonist was the son of a Polish immigrant who eventually settled in South Bend, Indiana. The young Leon had shown such an aptitude for art in his school days that he was sent to the Art Institute of Chicago for complete professional training.”
-JeanPaulSlusser,August11,1978
17.A1900soiloncanvasstilllifewith fruitandwine,paintedwhileMakielski wasattheArtInstituteofChicago,19031909.Signed"LeoA.Makielski"lower right,artistinventorynumber"88"verso. Image171/2x131/2"high, framed221/4x181/4"highoverall.
16.A1913oilonwoodpanelSouthBend,Indiana, autumnlandscapewithaviewofafieldforharvestwith afarmhouseinthebackground,titled"GrayDay". Signed"LeonA.Makielski"lowerright,titledanddated withartistinventorynumber"669"verso.Image 153/4x123/4"high,framed17x14"highoverall.
18.A1910scoloredpencilonpaperSouthBend, Indiana,summerlandscapewithaviewoftheSt. JoeRiver.Signed"LeonA.Makielski"and numbered"680"lowerleft.Image101/4x71/4" high,framed171/2x141/2"highoverall.
AfterreturningtotheUnitedStatesfromEuropein1913,Makielskibeganestablishinghisartistic presenceintheMidwest.HedividedhistimebetweenhishomeinAnnArbor,Michigan,andvisits tohisartisticallyinclinedfamilyinSouthBendandVirginia.
Leon Makielski: Between Two Continents
LeonMakielski’ssisterMonicaMakielski(1883-1970)workedwiththeirbrotherJosephMakielski (1889-1969)intheMakielskiArtShopthatoriginallyopenedin1911at214WestJeffersoninSouth Bend.After100yearsinbusinessandtheopeningofmultiplelocations,theMakielskifamilyclosedall theirdowntownSouthBendartshopsin2011.Thevariouslabelsfromtheshopcanstillbeseenon
19.Apastelonpaperlaidtocanvasportraitoftheartist'ssister,MonicaMakielski.Signed"LA Makielski"lowerleft,titledwithartistinventorynumber"2283"verso.Image131/2x171/2"high, framed15x19"highoverall.
Leon Makielski: Between Two Continents
STARTING A FAMILY IN MICHIGAN
In1915,MakielskimovedtoAnnArbor,Michigan,tobeginanewchapterbothprofessionallyand personally,acceptingapositionasInstructorofFineArtsattheUniversityofMichigan.Inadditionto helpinglaythegroundworkforwhatwouldbecometheUniversityofMichiganSchoolofArt,hechose AnnArborastheplacetoestablishhishomeandstartafamily.
“I thoroughly enjoyed life in Ann Arbor. It is a beautiful spot... My studio home in Ann Arbor I built myself. That barn will always be home to me. Right now my wife and five children live there. They love it as I do. ”
-LeonMakielski,DetroitMetroTimes,May11,1930
20.A1923oilonartistboardMichigan summerlandscapewithaviewofawheatfield forharvest.Signed"LeonAMakielski"lower right,datedwithartistinventorynumber "1125"verso.Image131/2x91/4"high, framed171/2x131/4"highoverall.
21.A1916oilonwoodpanelDelhiTownship, Michigan,eveninglandscapewithaviewofthe HuronRiver,titled"Twilight".Signed"LeonA. Makielski"withartistinventorynumber"504" lowerright,titledanddatedverso.Image153/4x 123/4"high,framed17x14"highoverall.
22.A1924oilonartistboardMichiganspring landscapewithaviewofanoutbuildingina field,titled"CloudyDay".Signed"LeonA. Makielski"lowerright,titledanddatedwith artistinventorynumber"2194"verso.Image11 1/4x81/4"high,framed14x11"highoverall.
Leon Makielski: Between Two Continents
LeonMakielski’sStudioin
AnnArbor,Michigan
“One can scarcely gain an idea of the scope of this artist’s activities without taking into account the monumental studio-residence he created for himself and his growing family on a generous piece of hillside land on Geddes Avenue.
Reconstructing a fine old barn which he had moved for the purpose, this sturdy wielder of the hammer and shovel as well as of the brush ended with a variable private citadel, which served him for the personal and professional activities of a very long lifetime.”
-JeanPaulSlusser,August11,1978
23.A1930soiloncanvasMichiganturnofthe seasonlandscapewithaviewofafieldforharvest andaredbarninthebackground.Signed"LeonA. Makielski"lowerright,artistinventorynumber "2148"verso.Image211/2x171/2"high,framed 243/4x203/4"highoverall.
24.A1930s-1940spastelonpaperMichigan summerlandscapewithaviewofasmallinland lake.Signed"LeonA.Makielski"andnumbered "2405"lowerright.Image14x11"high,framed 191/4x161/2"highoverall.
VISITING BROTHERS IN APPALACHIA
Alwaysinterestedintravel,LeonMakielskioftenvisitedhisbrothersStanislaw(1893–1969)and Bronislaw(1901–1986),bothofwhomhadmadetheirhomesinVirginia.Thesevisitsweremorethan familialreunions—theyalsoofferedMakielskiopportunitiestoexperiencethevariedlandscapeandrich historicalatmosphereoftheregion.Foranartistdeeplyattunedtosettingandmood,Appalachia’s rollinghills,colonialarchitectureandpastorallightprovidednewvisualinspiration.Theslowerpaceof lifeandconnectiontofamilyofferedawelcomecontrasttohisprofessionalobligationsintheMidwest, allowingtimeforreflectionandartisticexploration.
“Makielski’s landscapes remind the viewer of the pleasant places about which the Psalmists of old rhapsodized. His fields are heavy with ripened grain or stacked with harvested corn. His lakes reflect a peaceful countryside in which some of the bank flowers are actually recognizable. His country lanes are definitely rural, his fishing villages appropriately simple, while his autumn scenes catch and hold the eye with a subdued palette of golden glories.”
-PolishDailyNews,November17,1966
26.A1922oiloncanvasVirginiasummer landscapewithavistaviewoftheBlueRidge Mountains,titled"Sunset".Signed"LeonA. Makielski"lowerright,titledonlabelwithartist inventorynumber"829"verso.Image311/2x25 1/2"high,framed361/2x301/2"highoverall.
25.A1920soiloncanvasAppalachiansummer forestlandscape.Signed"LeonA.Makielski"lower right,artistinventorynumber"678"verso.Image 171/2x131/2"high,framed19x15"highoverall.
Leon Makielski: Between
28.A1930soiloncanvasAppalachianautumn landscapewithaviewofhaystacksinfrontofa towninthebackground,titled"Autumn".Signed "LeonA.Makielski"lowerleft,titledwithartist inventorynumber"1744"andpartiallabelsverso.
Image271/2x191/2"high,framed 36x28"highoverall.
27. A1940soiloncanvasAppalachianspring landscapewithaviewofaCherryBlossom treeinfrontofafarmhousealongacountry road.Signed"LeonA.Makielski"lower right,artistinventorynumber"1808"verso. Image271/2x191/2"high,framed351/2x 271/2"highoverall.
29.A1920soiloncanvasVirginiasummerlandscapewithavistaviewoftheBlueRidgeMountains. Signed"LeonA.Makielski"lowerleft,artistinventorynumber"1716"verso.Image351/2x231/2" high,framed461/4x341/4"highoverall.
BronislawMakielski,whoalsostudiedattheArtInstituteofChicago,collaboratedwithhisbrother LeononthemuralatLincolnSchoolinYpsilanti,Michigan—asignificantexampleoftheirshared commitmenttopublicart.DuringvisitstoVirginia,whereBronislawlivedandworked,Leonfound bothfamilialconnectionandartisticexchange,oftendrawinginspirationfromtheregion’slandscape andculturalhistory.
30.A1930s-1940swatercoloronpaper Appalachianlatesummerlandscapewithaviewofa fieldforharvestandalargetreeinthebackground. Signed"LeonA.Makielski"withartistinventory number"2328"lowerright.Image11x81/2"high, framed183/4x161/4"highoverall.
31.A1930soilonwoodpanelVirginiasummer overcastlandscape,titled"StormyDay".Signed "LeonA.Makielski"lowerright,titledwithartist inventorynumber"2171"verso.Image 111/2x81/2"high,framed13x10"highoverall.
33.A1940swatercoloronpaperAppalachian autumnlandscapewithaviewofafieldforharvest. Signed"LeonA.Makielski"withartistinventory number"2288"lowerleft.Image191/2x141/2" high,framed241/2x191/2"highoverall.
32.A1920soilonwoodpanelAppalachian summerlandscapewithaviewofacovered bridgeandacountryroad.Signed"LeonA. Makielski"lowerleft,artistinventorynumber "929"verso.Image113/4x83/4"high,framed 13x10"highoverall.
Leon Makielski: Between Two Continents
StanislawMakielskistudiedarchitectureattheUniversityofVirginia,wherehelaterbecameaprofessor andaprominentfigureinshapingthecampus.Hewascommissionedtodesignseveralmajorbuildings inandaroundtheuniversity,includingsignificantadditionstohistoriclibraries,gymnasiums,fraternity housesandprivateresidences.
34.A1922oilonartistboardUniversityof Virginiacampuslandscapewithaviewof TheRotundadesignedbyThomasJefferson, titled"UniversityofVirginia".Signed"Leon A.Makielski"lowerright,titledwithartist inventorynumber"886"verso.Image111/2 x81/2"high,framed13x10"highoverall.
35.A1930soilonartistboardUniversityof Virginiacampuslandscapewithaviewofa pavilion,titled"UniversityofVirginia".Signed "LeonA.Makielski"lowerleft,titledwithartist inventorynumber"2126"verso.Image81/2x11 1/2"high,framed13x10"highoverall.
In1930,StanislawbecametheexclusivearchitectfortheAmericanChurchInstituteforNegroes (ACIN),designingmodernschoolsforAfricanAmericanstudentsintheruralSouth.Hiswork blendedColonialRevivalwithArtDecoandindustrialmaterials,reflectingtheACIN’sprogressive missionandhelpinglegitimizeitseffortsamongnorthernphilanthropies.LeonMakielski,inspiredby hisbrother’sprojects,expressedinterestinpaintingVirginia’sdistinctivearchitectureandtheevolving Southernlandscape.
Leon Makielski: Between Two Continents
37.A1920soilonartistboardUniversityof VirginiacampuslandscapewithaviewofThe RotundaLibrarydesignedbyThomasJefferson, titled"Library,UniversityofVirginia".Signed "LeonA.Makielski"lowerright,titledwithartist inventorynumber"2173"verso.Image111/2x8 1/2"high,framed131/4x101/4"highoverall.
36.A1930s-1940swatercoloronpaper UniversityofVirginiacampuslandscape. Signed"LeonA.Makielski"withartist inventorynumber"2327"lowerright. Image133/4x93/4"high,framed 183/4x143/4"highoverall.
38.A1930soilonartistboardWashington,D.C.landscapewithaviewofthetheSmithsonianCastleon theNationalMall,titled"SmithsonianInstitution".Signed"LeonA.Makielski"lowerright,titledwith artistinventorynumber"2204"verso.Image111/2x81/2"high,framed141/4x111/4"highoverall.
Leon Makielski: Between Two Continents
39.A1920soilonwoodpanelVermontsummerlandscape,titled"CoveredBridge".Signed"Leon A.Makielski"lowerright,titledwithartistinventorynumber"1096"verso.Image151/2x121/2" high,framed191/2x161/2"highoverall.
NEW ENGLAND & ROBERT FROST
“Now several of Mr. Makielski’s pictures hang on the walls of Mr. Frost’s Vermont home and Mr. Frost has become a regular visitor at the Makielski studio home on Geddes Road. He demands as a reward for his efforts to see all the Impressionist pictures which Makielski still keeps on file in his studio. Mr. Frost brought [poet] Louis Untermeyer, who had become interested in Impressionist work, to the Makielski home. Since then Mr. Frost has entertained many of his notable guests with visits there.”
-TheDetroitNews,March11,1923
EARLY EXCURSIONS TO VERMONT
“These landscapes are quiet, unpretentious, contemplative works. The viewer conditioned to the stridency and aggressiveness of much contemporary work would do well to spend an hour of close examination and appreciation of skills which deserve considerable respect.”
-RobertIglehart,October1,1976
AroundthetimehejoinedtheUniversityofMichiganfacultyin1915,Makielskibeganmakingroad tripsuptheEastCoasttoNewEngland,drawnbyitsdramaticseasonallandscapesandquietrural character.InadditiontovisitingEasternartgalleries,thesevisitsofferedaretreatfromacademiclife andwerearichsourceofvisualinspirationthatalignedwithhisImpressionistinterestinlight, atmosphere,andtherhythmsofnature.
41.A1915oilonwoodpanelVermont pastoralsummerlandscapewithaviewof theGreenMountains,titled"Cloudsand Shadows".Signed"LeonMakielski"lower right,titledwithartistinventorynumber "1030"verso.Image111/2x81/2"high, framed13x10"highoverall.
40.A1915oilonwoodpanelWaterford, Vermont,summerlandscapewithaviewofthe town,titled"Clouds".Signed"LeonMakielski" lowerleft,titledwithartistinventorynumber "733"verso.Image111/2x8"high,framed 161/2x13"highoverall.
Leon Makielski: Between Two Continents
MEETING FROST
42.A1917oilonwoodpanelVermontsummer landscapewithaviewofaruralroad,titled "CountryRoad".Signed"LeonA.Makielski" lowerleft,titledwithartistinventorynumber "158"verso.Image113/4x83/4"high,framed 13x10"highoverall.
“Then came Robert Frost, Michigan’s visiting poet. Frost made no effort to conceal the fact that he was tired of studied landscapes and portraits. To rouse him one afternoon Mr. Makielski hung an impressionist picture for him. Immediately Robert Frost was interested. He demanded to see more of them, and so Mr. Makielski drew out from his files all those pictures which he had hidden away for fear they would bring adverse criticism from art lovers.”
-TheDetroitNews,March11,1923
RobertFrostfirstvisitedtheUniversityofMichiganin1921,servingaten-monthappointmentasthe university’sfirstofficiallyrecordedpoet-in-residence.Thatautumn,hemetLeonMakielski,whohad beenteachinginthenewlyestablishedCollegeofArchitectureforfiveyears.Thetwodevelopeda lastingfriendshipduringFrost’sintermittentthree-yearstayattheuniversity—onethatMakielskilater creditedtoasharedappreciationforart.
43.A1922oilonartistboardVermontovercast springlandscapewithaviewoftheGreen Mountains,titled"GrayDay".Signed"LeonA. Makielski"lowerright,titledanddatedwithartist inventorynumber"944"verso.Image111/2x 81/2"high,framed143/4x113/4"highoverall.
Leon Makielski: Between
44.A1922oilonartistboardVermont summerpastorallandscape,titled"Summer Day".Signed"LeonA.Makielski"lowerright, titledanddatedwithartistinventorynumber "973"verso.Image111/4x81/4"high, framed151/4x121/4"highoverall.
46.A1922oilonwoodpanelVermontspring landscapewithaviewofawindingroadand theGreenMountainsinthedistance,titled "Vermont".Signed"LeonA.Makielski"lower right,titledanddatedwithartistinventory number"923"verso.Image111/2x81/2" high,framed13x10"highoverall.
45.A1920soilonartistboardNewEngland twilightvillagelandscape,titled"SettingSun". Signed"LeonA.Makielski"lowerleft,titled withartistinventorynumber"1139"verso. Image83/4x51/2"high,framed 123/4x91/2"highoverall.
47.A1920soiloncanvasVermontsummer pastorallandscapewithaviewoftheGreen Mountains,titled"AftertheShower".Signed LeonA.Makielskilowerleft,titledonleft canvasedgewithartistinventorynumber "1018"verso.Image211/2x151/2"high, framed251/2x191/2"highoverall.
Leon Makielski: Between Two Continents
48.A1920soilonwoodpanelWaterford, Vermont,summerlandscapewithaviewofthe town,titled"LowerWaterford".Signed"Leon A.Makielski"lowerright,titledwithartist inventorynumber"935"verso.Image111/2x8 1/2"high,framed141/2x111/2"highoverall.
TheseasonalNorthEasternlandscapewascentraltoRobertFrost’spoetry,offeringapowerfullens throughwhichheexploredthemesofnature,work,changeandreflection.Fromtherenewalofspring andtherichnessofsummer,tothequiettransitionoffallandthestillnessofwinter,eachseasoninspired vividimageryinpoemslike Birches and After Apple-Picking.Theseshiftinglandscapeshelpedshape Frost’svoiceandrootedhisworkdeeplyintherhythmsofruralNewEnglandlife.
Similarly,forMakielski,seasonalityplayedavitalroleinshapinghisartisticvision.Asapainterattunedto naturaltransitions,Makielskifoundexpressivepowerinthechangingseasons,usingthemtoexplore mood,color,andthepassageoftimeacrossbothlandscapeandportrait.
49.A1930swatercoloronpaperVermont autumnmorninglandscapewithaviewof rollinghills,titled"Sunrise".Signed"LeonA. Makielski"andnumbered"2368"lowerright, titledverso.Image111/2x71/2"high, framed191/4x143/4"highoverall.
50.A1940soilonartistboardVermontautumn landscapewithaviewoftheGreenMountainsand afigureintheforeground,titled"October".Signed "LeonA.Makielski"lowerleft,titledwithartist inventorynumber"2282"verso.Image133/4x9 3/4"high,framed171/4x131/4"highoverall.
Leon Makielski: Between Two
Makielskiposeswithhis1923portraitofUofMpoet-in-residenceRobertFrost,publishedbythe AnnArborNews,February,1963.
In1923,MakielskiconvincedFrosttositforaportraittoaddtohis“RoguesGallery”.TheUniversityof Michigansuccessfullypurchasedtheportraitin1963afterestablishingtheRobertFrostPortraitFund.
“Frost laughed when I first asked him to pose...[He] sat for about 20 hours during the space of a year, talking about his experiences abroad. You can tell from the portrait that he is talking.”
-LeonMakielski,DetroitFreePress,1964
51.A1922oilonwoodpanelVermontsummer landscapewithaviewoftheGreenMountains, titled"ASummerDay".Signed"LeonA. Makielski"lowerright,titledanddatedwith artistinventorynumber"955"verso.Image11
3/4x83/4"high,framed13x10"highoverall.
52.A1940swatercoloronpaperWaterford, Vermont,springpastorallandscapewithaviewof thetowninthedistance.Signed"LeonA. Makielski"andnumbered"1957"lowerleft.Image 183/4x133/4"high,framed301/2x251/2" highoverall.
Leon Makielski: Between Two
LetterfromRobertFrosttoLeon Makielski
“Dear Makielski,
Enclosed is my check for half of what I promised you; the remaining fifty dollars I will try to send you in April or May, depending on how well I am and to how money-making this winter. This in back payment on the Red Tree will let you know we are thinking of you and wishing you all a Merry Christmas.
Ever Yours, Robert Frost Amherst Mass December 21, 1932”
53.A1951oilonartistboardVermont autumnlandscapewithafigureonhorse back,titled"Autumn".Signed"LeonA. Makielski"lowerright,titledanddated withartistinventorynumber"1882"verso. Image191/2x151/2"high,framed251/2 x211/2"highoverall.
54.A1930soilonwoodpanelVermont summerpastorallandscapewithaviewofa solitarytree,titled"TreeintheMeadow". Signed"LeonA.Makielski"lowerright, titledwithartistinventorynumber"2235" verso.Image83/4x113/4"high,framed 10x13"highoverall.
Leon Makielski: Between Two
55.A1932oiloncanvasportraitofMaryBuffington,titled“BlueBird”.Signed"LeonA.Makielski"
lowerright,titledanddatedonlabelwithartistinventorynumber"1079"verso.Image311/2x251/2" high,inaperiodNewcombMacklingiltwoodframe411/2x351/2"highoverall.
PORTRAITURE
“I always tell people to talk to me when they are sitting for a portrait. They are at their best then - alive, vital and energetic.”
-LeonMakielski,TheAnnArborNews,April29,1950
Leon Makielski: Between Two
EARLY PORTRAITS
WhileattheArtInstituteofChicagofrom1903-1909,LeonMakielskistudiedportraitureunderRalph EmmersonClarkson(1861-1942).HealsospenttimewiththeeminentportraitistatEagle’sNestartist colonyinOregon,Illinois—aformativeperiodthatdeepenedhistechnicalskillandintroducedhimto acircleofinfluentialartistsandpatrons.ItwasduringthistimethatMakielskiwasintroducedto industrialistJohnM.Studebaker,whoactedashispatronwhileMakielskistudiedinEurope.
56.A1900soiloncanvasmodelportraitstudyofa seatedwoman'sprofile,paintedwhileMakielski wasattheArtInstituteofChicago,1903-1909. Signed"LeonA.Makielski"lowerright.Image 251/2x311/2"high,framed32x38"highoverall.
57.A1913oiloncanvasportraitofLeon Makielski'sbrotherHenryandhispetdog,titled "HenryandHisHound".Signed"LeonA. Makielski"lowerright,datedwithartist inventorynumber"694"verso.Image311/2x 39"high,framed38x451/2"highoverall.
“My object in giving you the opportunity that I have was that I had the utmost faith in your ability to become an artist and the utmost confidence in your honor, honesty and integrity…I want to see during my life that my efforts on your behalf has helped make you one of the foremost portrait painters of the country. The encouragement that Mr. Clarkson has always given me, caused me to believe that you are going to make good.”
- J.M.Studebaker,August23,1912
Leon Makielski: Between Two Continents
58.A1930soilonartistboardportraitofFredMeinzinger (1883–1947).Signed"LAMakielski"lowerleft,titledwith artistinventorynumber"2198"verso.81/2x111/2"high, framed111/4x141/4"highoverall.
FredMeinzingerwasaCanadian-Americanartistandeducator whofoundedtheMeinzingerArtSchoolin1928.Theschool quicklybecameoneofthecity’sleadingindependentart institutions,offeringinstructionincommercialandfinearts. Knownforitspractical,skill-basedcurriculum,theMeinzinger ArtSchoolplayedavitalroleinnurturingDetroit’sartistic talentduringtheinterwarandpostwarperiods.
AfterreturningtotheUnitedStatesin1913,MakielskitaughtattheMeinzingerArtSchoolinDetroitbefore joiningtheUniversityofMichiganfacultyin1915.HeremainedattheUniversityuntil1927,whenhechose tofocusexclusivelyonportraiture.HissubjectsincludedUniversityofMichiganfacultyandadministrators, influentialprofessionalsandbusinessleaders,andprominentfiguresinstateandlocalpolitics.Manyofthese portraitswerepaintedinhisDetroitstudiosat3408WoodwardAvenueand2932GratiotAvenue.
59.A1920soiloncanvas portraitofDetroitsocialiteand CountessElizabeth"Ilsa"Metz. Signed"LeonA.Makielski" lowerleft,titledwithartist inventorynumber"1433"verso. Image191/2x231/2"high, framed25x29"highoverall.
60.A1940sgraphiteonpaper portraitofBritishprime ministerWinstonChurchill (1874-1965).Signed"LeonA. Makielski"andtitledlower right,artistinventorynumber "2460"verso.Sight71/4x11 1/4"high,framed123/4x16 3/4"highoverall.
61.A1930soilonartistboard portraitofindustrialistHenryFord (1863-1947).Signed"LeonA. Makielski"lowerleft,titledwith artistinventorynumber2063 verso.Image151/2x191/2"high, framed22x26"highoverall.
InadditiontotheportraitofRobertFrost,MakielskipaintedportraitsoftheKresgefamily,Ambassador BridgedesignerRalphModjeski,MichigangovernorFrankMurphy,architectanddesignerElielSaarinen, industrialistJ.M.Studebaker,thePolishAmbassadortotheUnitedStatesTitusFilipowicz,andmanymore. Today,overfiftyofMakielski’sportraitsoffacultymembershanginUniversityofMichiganbuildings.
“Mr. Makielski is described as a master portrait painter who has devoted his life to the perfection of a conservative, traditional style that is producing some of the most outstanding portraits of his time.”
-SouthBendTribune,April29,1950
In1925,LeonMakielskijoinedTheScarabClub,Detroit’sleadingartsinstitutionandahubforthecity’s creativeelite.Foundedin1907,theclubservedasavitalgatheringplaceforartists,architectsandpatrons, fosteringcollaborationandartisticexchange.Makielskitaughtportraituretohisfellowmembersintothe 1950s,contributingtotheclub’slegacyasacenterofseriousartisticpracticeinDetroit. MakielskiwithhisfellowScarabClubmembersat217FarnsworthStreet,Detroit,standinginfrontof oneofMakielski’snudesketches,circa1950.
62.A1940s-1950scharcoalonpaperthreequarterlengthnude sketchofawoman,drawnwhenMakielskiwasteachingatthe ScarabClub.Initialed"LAM"lowerright.Sight9x12"high, framed141/4x191/4"highoverall.
63. A1922oiloncanvasportraitofJoanElizabeth CampDeBakerofAnnArbor,Michigan,aschildattired inabluedress,sittinginclubchair.Signed"LeonA. Makielski"lowerright,titled,datedandannotatedon DetroitInstituteofArts/ScarabClublabelwithartist inventorynumber"821"verso.Image251/2x311/2" high,inaperiodNewcombMacklingiltwoodframe34 1/4x401/4"highoverall.
JoanwasthedaughterofDr.CarlD.Camp,an internationallyknownneurologistandchairmanofthe UniversityofMichiganMedicalSchool'sDepartmentof Neurology,andeventuallywasthedivorcedwifeof CharlesE.DeBaker,Michiganfootballstarandtrack teamcaptainintheearly1930s.Hermarriage(1935)and death(1944)weredocumentedbytheAnnArborNews.
LeonMakielski’scareerrepresentsaremarkablesynthesisof transatlanticinfluence,regionalidentityandartistic versatility.HisformativeyearsintheMidwestandinEurope profoundlyshapedhisstylisticdevelopmentandenrichedhis lifelongengagementwithbothportraitureandlandscape. Theseearlyexperiencescontinuedtoinformhislaterwork,as seenintheluminoussceneshepaintedduringextended travelsthroughtheBlueRidgeMountainsandNewEngland.
UponsettlinginMichigan,Makielskinotonlycontributed significantlytothestate’sartisticculturethroughhisteaching andportraitcommissions,butalsomaintainedanenduring connectiontothebroaderartisticcurrentsthatshapedhis vision.Hislegacyenduresinabodyofworkthatbridges EuropeanrefinementandAmericanImpressionism,offeringa compellingportraitofanartistwhosepracticewasrootedin placeyetinformedbyacosmopolitansensibility.
LeonMakielskisketchingDetroit MayorFrankMurphy,1931
Leon Makielski: Between Two
