page_title: Alfred Henry Maurer
section_title: Biography
hierarchical_section_title: Alfred Henry Maurer / Biography
context_page_description: Alfred Henry Maurer was an American modernist painter. He exhibited his work in avant-garde circles internationally and in New York City during the early twentieth century. Highly respected today, his work met with little critical or commercial success in his lifetime, and he died, a suicide, at the age of sixty-four.
context_section_description: Maurer was born in New York City. He was the son of German-born Louis Maurer, a lithographer with a pronounced disdain for modern art. At age sixteen, Maurer had to quit school to work at his father's lithographic firm. In 1897, after studying with the sculptor John Quincy Adams Ward and painter William Merritt Chase, Maurer left for Paris, where he stayed the next four years, joining a circle of American and French artists.  Finding the instruction at the Academie Julian too limited, he spent most of his time copying in the Louvre. His self-portrait from that time expresses the 'youthful optimism" of that period of his life. At the time, Maurer worked in a conventional but self-assured realist style.
  Maurer's An Arrangement, which was compared to the work of Whistler in its color sense and fluid handling of paint, made his reputation in the American art world. Comparisons were made to Chase and Sargent. The painting received first prize at the 1901 Carnegie International Exhibition, whose jurors included Thomas Eakins and Winslow Homer.  It was an honor that promised a bright future, and Maurer hoped it would convince his demanding and skeptical father that he could, in fact, paint. Other awards received by Maurer included the Inness Jr. Prize of the Salmagundi Club in 1900 and a bronze medal at the Pan-American Exposition at Buffalo, New York in 1901. In 1905, he won the third medal at the Liege (Belgium) Exposition and a gold medal at the International Exposition in Munich. A successful future beckoned.
  Yet, at age thirty-six, in Paris, deviating from what everyone (including himself, at times) called "acceptable" painting styles, Maurer changed his methods sharply and from that point on painted only in a cubist and fauvist manner.  His break from realism and new commitment to modernism, fostered by exposure to the art collected by his friends Gertrude and Leo Stein, subsequently cost him his international reputation and any hope of paternal regard. He had a two-man exhibition with John Marin in New York City at Alfred Stieglitz's 291 gallery, and four of his paintings were included in the legendary Armory Show of 1913. He acquired esteem in avant-garde circles.  He did not, however, find the popular following he needed to make a living.
  Leaving Paris on the eve of World War I, he returned to his father's house only to be denied support. It was the beginning, as art critic Robert Hughes wrote, of "a banishment to a hell of Oedipal conflict." For the next seventeen, increasingly depressed years, Maurer painted in a garret in his father's house on the West Side of Manhattan and gained only limited critical acclaim. He was friends with respected avant-garde American artists like Arthur Dove, Marsden Hartley, and John Marin, almost all of whom were better known than he was.  He participated in prestigious exhibitions, such as "The Forum Exhibition of Modern American Painters" in 1916, a New York show which featured seventeen of the most significant native modernists of the time. He also exhibited regularly at the New York-based Society of Independent Artists and was elected their director in 1919. In 1924, the New York dealer Erhard Weyhe bought the contents of Maurer's studio and represented the artist for the remainder of his career.  The death of his mother in 1917, however, intensified his gradual withdrawal from the world.
  The artist Jerome Myers wrote poignantly of him in his autobiography, Artist In Manhattan:
  Alfred Maurer, whom I knew casually, had a pleasant personality. After his early talent had brought him a prize at the Carnegie Institute, he went to Paris, where he stayed for years  ... There was no doubt that he was happy in his Parisian atmosphere. Like many other young Americans there, he was attracted by the life of the boulevards, the cares, the daily affinity with brother artists with whom he was then studying the problem of color ... His father, Louis Maurer, was an old-time artist, who had worked on the Currier & Ives lithographs. When I met him at an exhibition of the Independents at the Grand Cent
caption: Carousel, c. 1901-1902, Brooklyn Museum
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