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F - ARTISTS
Fabien Fabiano 1883-1962
Fabiano worked as a painter, illustrator, and designer. He is best known for his portraits of politicians and movie stars, but many of his pastels and watercolors were also used for advertising, postcards, and magazine covers for publications such as Life and Le Vie Parisienne. While the figures on his glamour postcards were traditionally modeled, he also produced risque cards in a more graphic style. Fabiano also worked under the pseudonym Jules Coup de Frojac.
Ludwig Fahrenkrog 1867-1952
Fahrenkrog studied art at the Royal Academy in Berlin. He was very much influenced by the Symbolist movement and the way they incorporation religious sensibilities into their work. He had been part of various religious communities that revolved around pre-christian beliefs, and started his own German Faith Community (Germanische Glaubens Gemeinschaft) in 1907. Unlike most groups, his was not disbanded when the Nazis came to power, but Fahrenkrog was banned from exhibiting after 1934. He did much graphic work that combined Symbolism and Jungindstil that often made its way onto monochrome postcards. His paintings were reproduced on postcards as well. Fahrenkrog is also known for his work as a writer and playwright.
Carl Fahringer 1874-1952
Fahringer began his studies at the Vienna Academy in 1892 and went on to study at the Academy in Munich in 1898. He traveled extensively to far off lands such as Africa and Indonesia from which he drew much inspiration. While he captured many local scenes, he became best known as a painter and illustrator of exotic animals. His style was somewhat impressionistic but he tended to work with a low key palette. Between 1903 to 1905 he was a member of the Hagenbund, and in 1907 he became a member of the Vienna Kunstlerhaus. At the outbreak of the Balkan War in 1912, Fahringer turned his attention to becoming a war artist. He continued this work throughout World War One capturing scenes on the Eastern and Italian Fronts. Many of his images were plached on charity postcards for the Austrian Red Cross.
Lyonel Feininger 1871-1956
In 1887 Feininger moved to Germany to study art; first in briefly Hamburg, then between 1888 and 1892 at the Berlin Academy. In 1894 he began working as a caricaturist for a number of magazines, which got him into the Berlin Secession in 1901. His talent was noticed by the Chicago Tribune who hired him to draw two comic strips, Kin-der-Kids and Wee Willie Winkie’s World. By 1907 Feininger dedicate himself to the fine arts. He would exhibit again in the Berlin Secession of 1909; and after traveling to Paris to hone his skills, he showed at the Salon des Independants in 1911. While there he became highly influenced by Cubism, but he incorporated it into his work by fragmenting his unique expressive style. Back in Germany he associated himself with many groups promoting Expressionism including Die Bruke, Novembergruppe, Gruppo 1919, the Blaue Reiter, and in 1924 he became a founding member of Die Blaue Vier. After the Bauhaus opened in 1919 he became their first faculty appointment running their printmaking workshop. While there he designed postcardsfor the Weimar Exposition in 1923. These were printed in small numbers (perhaps only 25) as they were considered miniature art works rather than advertising. After the Nazis came to power most of his work was confiscated and some wound up in the Degenerate Art Exposition of 1936. He then returned to the United States but received little recognition until 1944.
Max Feldbauer 1869-1948
As this painter style moved toward Expressionism, a number of his drawings were used to illustrate postcards.
Fernand Fernel 1872-1934
Fernel was a popular illustrator who produced images for cartoons, posters, prints, and postcards. His use of broad flat shapes in his drawings are reminiscent of Japanese woodblock prints. Fernel also worked under the pseudonyms of Ferdinand Fernandez and F. Cerckel.
Otto Fikentscher 1862-1945
Fikentscher was primarily a painter of animals. He also produced some fanciful graphic work and silhouettes that found there way onto postcards. He was part of the Grotzingen art colony in the 1890’s.
Harrison Fisher 1877-1934
Fisher moved to Almeda, California as a child because of health concerns. He came from a long line of artists so it was only natural for him to study at the San Francisco Art Association and the Mark Hopkins Institute of Art. Fisher was already supplying illustrations for nrespapers at the age of 16. His rendition of an independent yet feminine American woman in the Fisher Girl would make his career. He became a staff illustrator for the San Francisco Examiner but moved back to New York in 1898 where he first became an important illustrator for Puck, then Scribner’s, Cosmopolitan Life, McClures, and the Saturday Evening Post. Over 200 of his images would be reproduced on postcards. It has often been said that his picture The Kiss was the best selling postcard ever made. Despite its many reprintings this claim is doubtful. Most of his cards were either published by Reinthal & Newand or the Detroit Publishing Company. During the First World War, Fisher also designed patriotic posters. He would die during an operation from a long standing heart problem.
Leo Fontan 1884-1965
After studying art at the Academy at Tours, Fontan moved to Paris. There he did a variety of graphic work that included the design of postcards. These cards most often captured glamour subjects but they often extended themselves into the risqué and the erotic. Between 1914 and 1936 he largely worked as a magazine illustrator contributing to Paris Life, Le Sourice, and Fantasio. Afterwards he concentrated on landscapes and portraits in gouache, pastel and oil painting. He was a member of the League of French Artists.
Jules Fonteyne 1878-1964
Fonteyne’s father and uncle were both well known sculptors. He would attend the Academy in Bruges as well as the Royal Academy in Brussels. He finished his studies at the Institute of Fine Arts in Antwerp where he learned etching. While he began a career as a painter he also designed furniture and was illustrating children’s books by 1910. Many of these images created in a playful highly graphic style were also published as postcards. At the outbreak of World War One he moved to London and then to Bridgewater and did not return to Belgium until 1919. While in England he became familiar with the work of the pre-Raphaelites, which seemed to darken the mood of his own work. After retiring from teaching in 1947 he concentrated on creating etchings.
Max Frey 1874-1944
After leaving the Karlsruhe Academy in 1903, Frey moved to Frankfurt. By 1906 he had moved again to Dresden where he found a teaching position the following year. He was active in the arts as both painter and illustrator designing bookplates, posters and postcards. He was a member of the Association of German Artists, the Dresden Art Cooperative, and a founding member of Grun Weiss and the Dresden Artist Group. While his early graphic work shows clear evidence of Art Nouveu and Symbolism, he turned toward painting influenced by Neue Sachlichkeit (New Objectivity Movement) in the 1920Ős as a reaction against the growing influence of Expressionism. Most of Frey’s postcards seem to reproduce posters, and end with his propaganda work created during World War One.
Arno Eugen Fritsche 1858-1939
After attending the Technical School in Berlin, Fritsche entered the Berlin Academy in 1887. Two years later he began his long career as an architect. Most of his designs were for churches, a choice no doubt influenced by his father who was a clergyman. His art training also led him to produce some graphic work, which included designs for postcards.