America's Distinguished Artists: last names beginning with Kaa

America's Distinguished Artists

a national registry of historic artists

Deceased American artists and artisans of note who created representational art are indexed in this catalogue by last name in alphabetical order. There are references to Resource Library texts and those from other sites. Click on letters below to access the alphabetical index.

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

Kaa - Key

Kie - Koz

Kra - Kyl

Fred Kabotie from Resource Library article (not solely dedicated to this artist) also see Fred Kabotie from Wikipedia

Michael Kabotie from Resource Library article (dedicated solely to this artist)

Reuben Kadish from Resource Library article (not solely dedicated to this artist) also see Reuben Kadish from Wikipedia

Charles Salis Kaelin from Resource Library essay (not solely dedicated to this artist by a named author) also see Charles Salis Kaelin from Wikipedia

(above: Charles S. Kaelin, Wharf Scene in Winter, c. 1910, oil on canvas, Cincinnati Art Museum. Public domain via Wikimedia Commons*)

Jacob Kainen from Resource Library article (not solely dedicated to this artist) also see Jacob Kainen from Wikipedia

Edward B. Kaminski from Resource Library biography dedicated to this artist by a named author

Bob Kane from Resource Library article (not solely dedicated to this artist) also see Bob Kane from Wikipedia

John Kane from Resource Library essay (not solely dedicated to this artist by a named author) also see John Kane from Wikipedia

(above: John Kane, Leda, oil on canvas, 14.1 x 17.1 inches, Herbert F. Johnson Museum of Art. Public domain, via Wikimedia Commons)

Paul Kane from Resource Library article (dedicated solely to this artist)

Morris Kantor from Resource Library article (not solely dedicated to this artist) also see Morris Kantor from Wikipedia

Artwork by Morris Kantor

Karl Kappes from Resource Library article (not solely dedicated to this artist) also see Karl Kappes from WOUB - Ohio University and Karl Kappes from POBA

Allan Kaprow from Resource Library essay (not solely dedicated to this artist by a named author) also see Allan Kaprow from Wikipedia

Ilonka Karasz from Resource Library article (dedicated solely to this artist)

Bernard Karfiol from Resource Library article (not solely dedicated to this artist) also see Bernard Karfiol from LACMA

Arny Karl from Resource Library essay (not solely dedicated to this artist by a named author) also see Arny Karl from Wikipedia

Yousuf Karsh from Resource Library article (not solely dedicated to this artist) also see Yousuf Karsh from Wikipedia

Gertrude Käsebier from Resource Library article (not solely dedicated to this artist) also see Gertrude Käsebier from Wikipedia

Jacob Kass from Resource Library article (dedicated solely to this artist)

Leo Katz from Resource Library essay (not solely dedicated to this artist by a named author) also see Leo Katz from leokatz.com

(above: Leo Katz, Youth Arisen, 1935, Los Angeles Daily News, UCLA Library Digital Collections. Leo Katz points to a section of the central, "Youth Arisen," panel of his mural of three panelsIn this panel a central youth, with his eyes closed, is shown between creative uses of technology (like the movie camera seen in this photograph) and destructive uses as in war. The overall theme of the murals shown in the other two panels is the history of the uses of tools serving the creative and destructive passions of man within the context of the Toltec and Aztec cultures. The mural was controversial especially because of the depictions of nudity and references to war in the central panel. The central panel was removed from the Frank Wiggins Trade School lobby (now LA Trade Tech) and returned to the Public Works Administration in 1935 and the other two panels were returned in 1939. Katz was an American painter, printer, and teacher. Katz studied at the Fine Arts Academy in Vienna. He arrived in America in 1921 and later became an American citizen. Public domain, via Wikimedia Commons*)

E. McKnight Kauffer from Resource Library article (not solely dedicated to this artist) also see Edward McKnight Kauffer from Wikipedia

Ted Kautzky from Resource Library essay (not solely dedicated to this artist by a named author) also see Ted Kautzky from Wikipedia

Otis Kaye from Resource Library essay (dedicated solely to this artist by a named author) also see Otis Kaye from Wikipedia

Ezra Jack Keats from Resource Library article (dedicated solely to this artist)

Charles F. Keck from Resource Library essay (dedicated solely to this artist by a named author)

(above: Charles Keck, Statue of Father Francis Patrick Duffy (1871-1932), 1935. Times Square, Daderot. New York City, New York. Public domain, via Wikimedia Commons*)

Anna Keener from Resource Library essay (dedicated solely to this artist by a named author)

George W. Kegg from Resource Library biography dedicated to this artist by a named author

Belie Emerson Keith from Resource Library article (dedicated solely to this artist); also see from Illinois Women Artists Project essay: Stewart, Sarah. "Belle Emerson Keith," 2009.

William Keith from Resource Library article (dedicated solely to this artist)

(above: William Keith, Hetch Hetchy Side Canyon, c. 1908, oil on canvas, 22 x 27.9 inches, De Young Museum. Public domain, via Wikimedia Commons*)

(above: William Keith, California Ranch, 1908, oil on canvas, 50.3 x 87.2 inches, Fine Arts Museums of San Francisco. Public domain, via Wikimedia Commons*)

William Keith, born in Scotland in 1838, was a pivotal figure in the development of American 19th Century landscape painting, particularly known for his depictions of the American West. After emigrating to the United States and spending time in New York, Keith eventually settled in San Francisco, where he became an influential artist and a close friend of the naturalist John Muir. Keith's work was deeply inspired by the unspoiled beauty of the Western landscape, and his paintings played a significant role in exposing these little-known areas to a broader audience, most of whom lived on the coasts.

Keith's artistic journey began with a focus on realistic and detailed representations of nature, influenced by his early training and the naturalist movement championed by Muir. However, as his career progressed, Keith's style evolved towards a more evocative and spiritual expression of the landscape. This shift was partly influenced by his exposure to various artistic movements and his interactions with notable figures like George Inness, whose mystical and tonal approach to 19th Century landscape painting resonated with Keith. Inness's influence encouraged Keith to adopt a more tonal and less detailed style, focusing on the atmospheric and emotional qualities of the landscape rather than strict realism.

Throughout his career, Keith's work remained deeply connected to nature, reflecting his belief in the spiritual and restorative power of the natural world. His paintings often depicted serene, pastoral scenes that conveyed a sense of harmony and tranquility. This approach was in line with the broader Tonalist movement, which emphasized mood and atmosphere over detailed representation. Keith's friendship with Muir also played a crucial role in shaping his artistic vision, as both men shared a profound appreciation for the natural environment and a commitment to its preservation.

One of the central themes in Keith's work was the interplay between light and shadow, which he used to create a sense of depth and mood in his paintings. His landscapes often featured subtle gradations of color and light, evoking a sense of reverie and contemplation. This technique was particularly effective in capturing the changing atmospheres of the Western landscapes he loved so much, from the misty meadows and cascading waterfalls to the towering mountains and expansive skies.

Keith's legacy as an artist is closely tied to his role in the conservation movement, inspired by his close association with Muir. His paintings not only showcased the beauty of the American West but also underscored the importance of preserving these landscapes for future generations. Through his art, Keith contributed to a growing awareness of the need to protect America's natural heritage, a cause that remains relevant to this day.

In conclusion, William Keith's work is a testament to his deep connection with nature and his ability to convey its beauty and spiritual essence through his art. His evolution from a detailed realist to a master of tonal and atmospheric landscapes reflects his ongoing quest to capture the soul of the American West, making him a key figure in the history of American landscape painting.

The preceding brief essay was generated by AI mainly from our texts published online and edited by us in July 2024.

Clyde Leon Keller from Resource Library article (not solely dedicated to this artist) also see Clyde Leon Keller from Portland Art Museum

Henry George Keller from Resource Library essay (not solely dedicated to this artist by a named author) also see Henry George Keller from Wikipedia

Medita H. Kellett from Resource Library biography dedicated to this artist by a named author

Sarah D. Kellogg from Resource Library article (not solely dedicated to this artist) also see Sarah D. Kellogg from American Folk Art Museum

Go to page 2 of Kaa - Key

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