American, 1879 - 1956
Although Ballin began and ended his professional life as a painter, an accurate description of his long career would have to emphasize its diversity.
When in the late years of the century he sought to train himself for a profession, after working in the New York theatrical world from the age of fourteen, he entered the Art Students League. He continued his art studies in Italy from 1900 to 1903, dividing his time equally between Rome and Florence. It is reported that he also passed some of this time traveling and studying with Robert Blum. On his return to America he passed a year working with Howard Pyle.
Ballin's early works, which he labeled "Pre-Raphaelite," typically depicted classically attired women and children in pastoral settings, quickly brought him favorable notice. He was elected to the Society of American Artists in 1905, and became an Associate of the National Academy upon the SAA's merger with the NAD. He exhibited with both organizations, and received the Society's Shaw Fund Prize in 1905, the Academy's Clarke Prize in 1906, a Hallgarten prize and Isidor Gold Medal, in the annual and winter exhibitions of 1907, respectively, and Clarke prize in 1940. He aspiration to mural painting was rewarded with a commission to decorate the Executive Room in Wisconsin State Capitol building, designed by George B. Post, where other schemes were being carried out by established mural painters Kenyon Cox, John White Alexander, and Edwin Blashfield.
Despite this auspicious beginning, in about 1916 Ballin gave up painting to embark on a career in motion pictures. His 1909 marriage to the silent film star Mabel Croft, doubtless prompted this adventure into a new sphere of artistic production. Initially he worked on Samuel Goldwyn films as art director, but expanded to directing and producing; this work necessitated relocating in California, where he remained for the rest of his life. During the twelve years Ballin was involved in movie production he totally abandoned his painting. However in the 1920s he began a parallel career as a writer which he sustained throughout his life, publishing several novels over a twenty-five year period. In the late 1920s, Ballin returned to his painting just as suddenly as he had given up. From 1931 he was a consistent exhibitor in Academy annuals, and he obtained many mural commissions throughout California.
Ballin, who had a reputation as a jokester, sent two paintings to the Academy Annual of 1934, a conventional portrait in his own name, and a representation of an old woman done in a magic realist style which he signed "A. Gamio." When a New York reviewer criticized the former and praised the latter, Ballin--as "Antonio Gamio"--wrote him to protest, received a reply, and published letters, thus embarrassing both the reviewer and the Academy. After much discussion, the Council decided to drop the matter because "A character like Mr. Ballin might even capitalize his suspension for grand publicity." Apparently the Academicians did not hold a grudge for in 1940 they took the rare action of awarding Ballin the Clarke Prize a second time.
When in the late years of the century he sought to train himself for a profession, after working in the New York theatrical world from the age of fourteen, he entered the Art Students League. He continued his art studies in Italy from 1900 to 1903, dividing his time equally between Rome and Florence. It is reported that he also passed some of this time traveling and studying with Robert Blum. On his return to America he passed a year working with Howard Pyle.
Ballin's early works, which he labeled "Pre-Raphaelite," typically depicted classically attired women and children in pastoral settings, quickly brought him favorable notice. He was elected to the Society of American Artists in 1905, and became an Associate of the National Academy upon the SAA's merger with the NAD. He exhibited with both organizations, and received the Society's Shaw Fund Prize in 1905, the Academy's Clarke Prize in 1906, a Hallgarten prize and Isidor Gold Medal, in the annual and winter exhibitions of 1907, respectively, and Clarke prize in 1940. He aspiration to mural painting was rewarded with a commission to decorate the Executive Room in Wisconsin State Capitol building, designed by George B. Post, where other schemes were being carried out by established mural painters Kenyon Cox, John White Alexander, and Edwin Blashfield.
Despite this auspicious beginning, in about 1916 Ballin gave up painting to embark on a career in motion pictures. His 1909 marriage to the silent film star Mabel Croft, doubtless prompted this adventure into a new sphere of artistic production. Initially he worked on Samuel Goldwyn films as art director, but expanded to directing and producing; this work necessitated relocating in California, where he remained for the rest of his life. During the twelve years Ballin was involved in movie production he totally abandoned his painting. However in the 1920s he began a parallel career as a writer which he sustained throughout his life, publishing several novels over a twenty-five year period. In the late 1920s, Ballin returned to his painting just as suddenly as he had given up. From 1931 he was a consistent exhibitor in Academy annuals, and he obtained many mural commissions throughout California.
Ballin, who had a reputation as a jokester, sent two paintings to the Academy Annual of 1934, a conventional portrait in his own name, and a representation of an old woman done in a magic realist style which he signed "A. Gamio." When a New York reviewer criticized the former and praised the latter, Ballin--as "Antonio Gamio"--wrote him to protest, received a reply, and published letters, thus embarrassing both the reviewer and the Academy. After much discussion, the Council decided to drop the matter because "A character like Mr. Ballin might even capitalize his suspension for grand publicity." Apparently the Academicians did not hold a grudge for in 1940 they took the rare action of awarding Ballin the Clarke Prize a second time.
