Artist Biography
A master of fruit, vegetable, and flower still-life painting, George Henry Hall was born in Manchester, New Hampshire and raised in Boston. Hall took his first of many trips to Europe in 1849, during which time he studied under painter Eastman Johnson in Düsseldorf, Germany. Hall achieved international renown, exhibiting at the Pennsylvania Academy of Fine Arts, the Royal Academy and the British Institute in London, the Brooklyn Art Association, the National Academy of Design (he was elected a member in 1868), the Art Institute of Chicago and the Boston Art Club. The artist was influenced by
A master of fruit, vegetable, and flower still-life painting, George Henry Hall was born in Manchester, New Hampshire and raised in Boston. Hall took his first of many trips to Europe in 1849, during which time he studied under painter Eastman Johnson in Düsseldorf, Germany. Hall achieved international renown, exhibiting at the Pennsylvania Academy of Fine Arts, the Royal Academy and the British Institute in London, the Brooklyn Art Association, the National Academy of Design (he was elected a member in 1868), the Art Institute of Chicago and the Boston Art Club. The artist was influenced by the writings of John Rushkin, who praised the work of the Pre-Raphaelites. Likely a result of this influence, Hall preferred to stage his still-lifes in outdoor, natural settings. Hall’s oeuvre represents a cultural interchange between America and Europe, as he spent much of his life traveling throughout Europe and Northern Africa.
A master of fruit, vegetable, and flower still-life painting, George Henry Hall was born in Manchester, New Hampshire and raised in Boston. Hall took his first of many trips to Europe in 1849, during which time he studied under painter Eastman Johnson in Düsseldorf, Germany. Hall achieved international renown, exhibiting at the Pennsylvania Academy of Fine Arts, the Royal Academy and the British Institute in London, the Brooklyn Art Association, the National Academy of Design (he was elected a member in 1868), the Art Institute of Chicago and the Boston Art Club. The artist was influenced by the writings of John Rushkin, who praised the work of the Pre-Raphaelites. Likely a result of this influence, Hall preferred to stage his still-lifes in outdoor, natural settings. Hall’s oeuvre represents a cultural interchange between America and Europe, as he spent much of his life traveling throughout Europe and Northern Africa.
