Louisville-born Strater is probably best known for his portraits of his friend, Ernest Hemingway. He also illustrated first editions of works by Ezra Pound and Archibald MacLeish. He counted F. Scott Fitzgerald among his friends from his Princeton University days. He served as an ambulance driver in World War I, staying in France after the war to study at the Academie Julien. He studied at the Art Students League in New York upon his return from Europe and then at an art school in Ogunquit, Maine, where he garnered the nickname,"Rock-a-Day Strater." He maintained a studio in Ogunquit for 55 years and served as president of the local art association. He also had a studio in New York.
Henry Strater, whose nickname was `Mike' was a friend Ernest met in Paris during 1922. Mike, a graduate of Princeton, was a painter. On their first meeting, after a boxing session in which they sparred with each other, Mike did a portrait of Hemingway, naming it 'Boxer Portrait.' In 1935 Mike was a serious fisherman and president of the Maine Tuna Club. He did portraits of Hemingway that appear on the frontispiece of the 1924, 'in our time,' on the back cover of A MOVEABLE FEAST, with a brief reminiscence, and on the dust jacket of "Hemingway-A Life Story," by Baker.
Henry (whose nickname was Mike) attended Princeton University,where he counted F. Scott Fitzgerald among his friends, and was eventually the model for a secondary character in Fitzgerald's "This Side of Paradise." He served as an ambulance driver in World War I, staying in France after the war to study at the Academie Julien. Soon after settling in Paris, he met Ernest Hemingway, who shared his enthusiasm for boxing and tennis. Their friendship grew quickly, and soon Hemingway was posing for the portrait shown here, the first of two likenesses of him by Henry done in fairly quick succession. This portrait is dated 1922, but Henry always claimed it was done early the following year in Rapallo, Italy, where both were visiting with Ezra Pound. In any case, Hemingway apparently did not like this first effort of Henry's, which he claimed made him look "too literary." So Henry obligingly created a second likeness. He did portraits of Hemingway that appear on the frontispiece of the 1924, "In Our Time,…on the back cover of "A Moveable Feast,… with a brief reminiscence, and on the dust jacket of "Hemingway-A Life Story," by Baker. Henry also illustrated first editions of works by Ezra Pound and Archibald MacLeish. Henry studied at the Art Students League in New York, and the Pennsylvania Academy of Fine Arts upon his return from Europe. In 1928 he was a co-founder of the Ogunquit, Maine Art Association. Ogunquit had lured artists since 1888, and by the end of the century had become a well established art colony. Throughout the 20th century the reputation continued and the area prospered from the artists coming to see the beautiful Maine rocky coast. Many of America's famous artists visited or even summered in there. Henry maintained a studio in Ogunquit for 55 years and served as president of the local art association. He also had a studio in New York. In the 1930's, he and his wife spent six years in the Southwest to relieve her asthma,and he completed numerous Arizona desert landscapes, many along the Verde River. In 1935 he was a serious fisherman and president of the Maine Tuna Club. A landscape and figure painter, he created work that ranged from modernism to academic realism. Early in his career, he was much influenced by the French painter, Paul Cezanne, especially his pre-cubist style of geometric fracturing. His later work was academic figure painting.
Henry Strater, whose nickname was `Mike' was a friend Ernest met in Paris during 1922. Mike, a graduate of Princeton, was a painter. On their first meeting, after a boxing session in which they sparred with each other, Mike did a portrait of Hemingway, naming it 'Boxer Portrait.' In 1935 Mike was a serious fisherman and president of the Maine Tuna Club. He did portraits of Hemingway that appear on the frontispiece of the 1924, 'in our time,' on the back cover of A MOVEABLE FEAST, with a brief reminiscence, and on the dust jacket of "Hemingway-A Life Story," by Baker.
Henry (whose nickname was Mike) attended Princeton University,where he counted F. Scott Fitzgerald among his friends, and was eventually the model for a secondary character in Fitzgerald's "This Side of Paradise." He served as an ambulance driver in World War I, staying in France after the war to study at the Academie Julien. Soon after settling in Paris, he met Ernest Hemingway, who shared his enthusiasm for boxing and tennis. Their friendship grew quickly, and soon Hemingway was posing for the portrait shown here, the first of two likenesses of him by Henry done in fairly quick succession. This portrait is dated 1922, but Henry always claimed it was done early the following year in Rapallo, Italy, where both were visiting with Ezra Pound. In any case, Hemingway apparently did not like this first effort of Henry's, which he claimed made him look "too literary." So Henry obligingly created a second likeness. He did portraits of Hemingway that appear on the frontispiece of the 1924, "In Our Time,…on the back cover of "A Moveable Feast,… with a brief reminiscence, and on the dust jacket of "Hemingway-A Life Story," by Baker. Henry also illustrated first editions of works by Ezra Pound and Archibald MacLeish. Henry studied at the Art Students League in New York, and the Pennsylvania Academy of Fine Arts upon his return from Europe. In 1928 he was a co-founder of the Ogunquit, Maine Art Association. Ogunquit had lured artists since 1888, and by the end of the century had become a well established art colony. Throughout the 20th century the reputation continued and the area prospered from the artists coming to see the beautiful Maine rocky coast. Many of America's famous artists visited or even summered in there. Henry maintained a studio in Ogunquit for 55 years and served as president of the local art association. He also had a studio in New York. In the 1930's, he and his wife spent six years in the Southwest to relieve her asthma,and he completed numerous Arizona desert landscapes, many along the Verde River. In 1935 he was a serious fisherman and president of the Maine Tuna Club. A landscape and figure painter, he created work that ranged from modernism to academic realism. Early in his career, he was much influenced by the French painter, Paul Cezanne, especially his pre-cubist style of geometric fracturing. His later work was academic figure painting.
Louisville-born Strater is probably best known for his portraits of his friend, Ernest Hemingway. He also illustrated first editions of works by Ezra Pound and Archibald MacLeish. He counted F. Scott Fitzgerald among his friends from his Princeton University days. He served as an ambulance driver in World War I, staying in France after the war to study at the Academie Julien. He studied at the Art Students League in New York upon his return from Europe and then at an art school in Ogunquit, Maine, where he garnered the nickname,"Rock-a-Day Strater." He maintained a studio in Ogunquit for 55 years and served as president of the local art association. He also had a studio in New York.
Henry Strater, whose nickname was `Mike' was a friend Ernest met in Paris during 1922. Mike, a graduate of Princeton, was a painter. On their first meeting, after a boxing session in which they sparred with each other, Mike did a portrait of Hemingway, naming it 'Boxer Portrait.' In 1935 Mike was a serious fisherman and president of the Maine Tuna Club. He did portraits of Hemingway that appear on the frontispiece of the 1924, 'in our time,' on the back cover of A MOVEABLE FEAST, with a brief reminiscence, and on the dust jacket of "Hemingway-A Life Story," by Baker.
Henry (whose nickname was Mike) attended Princeton University,where he counted F. Scott Fitzgerald among his friends, and was eventually the model for a secondary character in Fitzgerald's "This Side of Paradise." He served as an ambulance driver in World War I, staying in France after the war to study at the Academie Julien. Soon after settling in Paris, he met Ernest Hemingway, who shared his enthusiasm for boxing and tennis. Their friendship grew quickly, and soon Hemingway was posing for the portrait shown here, the first of two likenesses of him by Henry done in fairly quick succession. This portrait is dated 1922, but Henry always claimed it was done early the following year in Rapallo, Italy, where both were visiting with Ezra Pound. In any case, Hemingway apparently did not like this first effort of Henry's, which he claimed made him look "too literary." So Henry obligingly created a second likeness. He did portraits of Hemingway that appear on the frontispiece of the 1924, "In Our Time,…on the back cover of "A Moveable Feast,… with a brief reminiscence, and on the dust jacket of "Hemingway-A Life Story," by Baker. Henry also illustrated first editions of works by Ezra Pound and Archibald MacLeish. Henry studied at the Art Students League in New York, and the Pennsylvania Academy of Fine Arts upon his return from Europe. In 1928 he was a co-founder of the Ogunquit, Maine Art Association. Ogunquit had lured artists since 1888, and by the end of the century had become a well established art colony. Throughout the 20th century the reputation continued and the area prospered from the artists coming to see the beautiful Maine rocky coast. Many of America's famous artists visited or even summered in there. Henry maintained a studio in Ogunquit for 55 years and served as president of the local art association. He also had a studio in New York. In the 1930's, he and his wife spent six years in the Southwest to relieve her asthma,and he completed numerous Arizona desert landscapes, many along the Verde River. In 1935 he was a serious fisherman and president of the Maine Tuna Club. A landscape and figure painter, he created work that ranged from modernism to academic realism. Early in his career, he was much influenced by the French painter, Paul Cezanne, especially his pre-cubist style of geometric fracturing. His later work was academic figure painting.
Henry Strater, whose nickname was `Mike' was a friend Ernest met in Paris during 1922. Mike, a graduate of Princeton, was a painter. On their first meeting, after a boxing session in which they sparred with each other, Mike did a portrait of Hemingway, naming it 'Boxer Portrait.' In 1935 Mike was a serious fisherman and president of the Maine Tuna Club. He did portraits of Hemingway that appear on the frontispiece of the 1924, 'in our time,' on the back cover of A MOVEABLE FEAST, with a brief reminiscence, and on the dust jacket of "Hemingway-A Life Story," by Baker.
Henry (whose nickname was Mike) attended Princeton University,where he counted F. Scott Fitzgerald among his friends, and was eventually the model for a secondary character in Fitzgerald's "This Side of Paradise." He served as an ambulance driver in World War I, staying in France after the war to study at the Academie Julien. Soon after settling in Paris, he met Ernest Hemingway, who shared his enthusiasm for boxing and tennis. Their friendship grew quickly, and soon Hemingway was posing for the portrait shown here, the first of two likenesses of him by Henry done in fairly quick succession. This portrait is dated 1922, but Henry always claimed it was done early the following year in Rapallo, Italy, where both were visiting with Ezra Pound. In any case, Hemingway apparently did not like this first effort of Henry's, which he claimed made him look "too literary." So Henry obligingly created a second likeness. He did portraits of Hemingway that appear on the frontispiece of the 1924, "In Our Time,…on the back cover of "A Moveable Feast,… with a brief reminiscence, and on the dust jacket of "Hemingway-A Life Story," by Baker. Henry also illustrated first editions of works by Ezra Pound and Archibald MacLeish. Henry studied at the Art Students League in New York, and the Pennsylvania Academy of Fine Arts upon his return from Europe. In 1928 he was a co-founder of the Ogunquit, Maine Art Association. Ogunquit had lured artists since 1888, and by the end of the century had become a well established art colony. Throughout the 20th century the reputation continued and the area prospered from the artists coming to see the beautiful Maine rocky coast. Many of America's famous artists visited or even summered in there. Henry maintained a studio in Ogunquit for 55 years and served as president of the local art association. He also had a studio in New York. In the 1930's, he and his wife spent six years in the Southwest to relieve her asthma,and he completed numerous Arizona desert landscapes, many along the Verde River. In 1935 he was a serious fisherman and president of the Maine Tuna Club. A landscape and figure painter, he created work that ranged from modernism to academic realism. Early in his career, he was much influenced by the French painter, Paul Cezanne, especially his pre-cubist style of geometric fracturing. His later work was academic figure painting.
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