Charles Logasa
| Charles Logasa | |
|---|---|
| Born |
July 14, 1883 Davenport, Iowa, U.S. |
| Died | February 23, 1936 (aged 52) |
| Nationality | American |
| Known for | Painting |
Charles Logasa (July 14, 1883 – February 2, 1936) was an artist.
Charles Logasa was born in Davenport, Iowa, United States, on July 14, 1883 to Sephardic Jewish parents and Ukrainian immigrants. His father was Seth Moses Logasa. He had two sisters, Jeanie Deana Bogen née Logasa, and Hannah Logasa He came with his parents to Omaha, Nebraska between the ages of three and five years old. As a boy he became a pupil of J. Laurie Wallace who was a pupil of Thomas Eakins. As a young man he studied drafting and engineering and around 1905 was employed as a draftsman for the City of Omaha in the Engineer's Office drawing maps. At the age of 22 he turned to oil painting. About 1910 or 1911 he left Omaha. He entered the service of the United States Geological Survey as a topographic draftsman in Washington D. C. Logasa continued his art education with Messer and Brooke as a part-time student at the Corcoran College of Art and Design. In 1913 he took a year's leave of absence from his duties as topographic draftsman for the United States Geological Survey and went to Paris where he entered the Académie Julian studying under Paul Laurens.
He attended art school in Washington, D.C., staying until 1917. While he was a student he rented a studio at 1421 F street where, in 1916, he exhibited a selection of works from the Armory Show (1913) that introduced Americans to the new abstraction being made in Europe. The show contained 34 or 35 pictures on loan from Alfred Stieglitz in New York City. It had an immediate impact in Washington: it was very controversial, and Logasa was called a "hopeless degenerate" and expelled from art school. The show featured 34 or 35 works from New York, among them two watercolors by Paul Cézanne, two drawings and two oils by Pablo Picasso, a drawing and a watercolor by Henri Matisse and two Georges Braque.Corcoran College of Art and Design, as with most other American art schools before the 1930s, was controlled by academics hostile to the new European Modernism.
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