{{Short description|American painter (1901–1955)}} {{Infobox artist | honorific_prefix = | name = Charles Goeller | honorific_suffix = | native_name = | native_name_lang = | image = Charles Goeller, self portrait.jpg | image_size = | alt = Charles Goeller, self portrait | caption = Charles Goeller, self portrait, "How Does It Feel to be a Piece of Paper?" (crayon on paper, {{cvt|15|x|12|in|disp=comma}}) | birth_name = Charles Louis Goeller | birth_date = {{Birth date|1901|11|10}} | birth_place = Irvington, New Jersey, U.S. | death_date = {{Death date and age|1955|03|06|1901|11|10}} | death_place = Elizabeth, New Jersey, U.S. | resting_place = | resting_place_coordinates = <!-- {{Coord|LAT|LON|type:landmark|display=inline,title}} --> | spouse = | known_for = Artist, art teacher | field = | training = | alma_mater = | movement = | works = | patrons = | awards = | memorials = | elected = | website = | module = }}
'''Charles Goeller''' (1901–1955) was an American artist best known for precise and detailed paintings and drawings in which, he once said, he aimed to achieve "emotion expressed by precision."<ref name="Stavitsky 2003"/>{{refn|group=note|Goeller made the statement to an interviewer in 1953. The quote appeared in an article in the ''Newark Sunday News'' of June 28, 1953. The article is cited in a critical essay within an art exhibition catalog, ''Emotion Expressed Through Precision: The Art of Charles Goeller'' (New York, N.Y.: Gallery, 2003). The essay was by Gail Stavitsky. The exhibition was held at three New York galleries: Gallery, Franklin Riehlman Fine Art, and Megan Moynihan Fine Art. Gallery is the name of a gallery, now called Gallery Schlesinger, on 24 East 73rd Street, Manhattan. }} Employing, as one critic wrote, an "exquisitely meticulous realism,"<ref name="New York Evening Post Mar 1929"/> he might take a full year to complete work on a single picture.<ref name="Stavitsky 2003"/> Early in his career he achieved critical recognition for his still lifes, in which one critic saw an "acumen of genius" working to produce "truly superb achievement of team work between eyes that see and hands that do."<ref name="New York Times Apr 13 1930 Cary"/> Later, he also became known for cityscapes in which he employed precisionist flat planes and geometric forms to show the physical structures of his subjects.<ref name="Stavitsky 2003"/><ref name="Goeller Smithsonian American Art Museum"/>
==Art training==
Goeller's father and grandfather were structural engineers who ran a successful iron and steel fabricating plant in Newark, New Jersey.<ref name="New York Times Aug 1961"/> Upon graduating from high school Goeller studied mathematics, civil engineering, and architecture first at Rensselaer Polytechnic Institute and later at Cornell University.<ref name="Stavitsky 2003"/><ref name="Cornell Register 1919"/> Afterwards his grandfather agreed to support five years of art and architecture study in France. Beginning in 1923 he received art instruction from Jean Despujols and other members of the faculty at the École Américaine de Fontainebleau.<ref name="Stavitsky 2003"/><ref name="Goeller Smithsonian American Art Museum"/> During this period Goeller also studied at Académie de la Grande Chaumière, a small left-bank atelier in Paris.<ref name="Stavitsky 2003"/><ref name="Académie de la Grande Chaumière"/>
==Art career, 1930s== thumb|Charles Goeller, "Checked Tablecloth," oil on canvas, {{cvt|40|x|25|in}} After his return to the United States Goeller joined the young American artists associated with the Daniel Gallery located on Madison Avenue in New York. In March 1929 the gallery included his work in an exhibition that also included paintings by Peter Blume, Preston Dickinson, Elsie Driggs, Karl Knaths, and Yasuo Kuniyoshi.<ref name="Brooklyn Daily Eagle Mar 1929"/>{{refn|group=note|The Daniel Gallery had opened in 1913. Run by Charles Daniel, with help from Alanson Hartpence, it showed the work of young American artists such as Marsden Hartley, John Marin, Rockwell Kent, Maurice Prendergast, and Man Ray.<ref name="Oral History 1969"/><ref name="New York Press"/><ref name="Austin 1992"/> One of the relatively few galleries that showed art by women, it had a stable of artists that included many of Katherine Schmidt's friends from the Art Students League and Whitney Studio Club.<ref name="Oral History 1969"/><ref name="New York Press"/><ref name="Austin 1992"/><ref name="New York Times Jan 1994"/>}} Reviewing the show, critics called attention to a still life of his called "Checkered Tablecloth." One remarked on the high quality of the work and pointed out that the cloth "drapes itself cunningly,"<ref name="New York Times Mar 1929"/> another noted his "meticulous technique" and "vibrating color,"<ref name="Brooklyn Daily Eagle Nov 1929"/> and a third saw in it a tendency toward ''Neues Sachlichkeit''.<ref name="New York Evening Post Mar 1929"/>{{refn|group=note|The still life was first shown in 1928 at the Société du Salon d'Automne, Paris. Subsequent to the Daniel Gallery show it appeared in 1930 at the Museum of Modern Art ("46 Painters and Sculptors Under 35 Years of Age") and in Goeller's one-man show at the Argent Gallery.<ref name="Stavitsky 2003"/> }}{{refn|group=note|The term ''Neues Sachlichkeit'' is said to be difficult to define. It seems generally agreed that the style evolved as an extension to Expressionism, that aimed to achieve a "magic naturalism" through a precise matter-of-factness.<ref name="Crockett 1999"/> Magic naturalism, also called magic realism, has been defined as post-expressionist style that, in opposition to abstraction and emotionally charged imagery, was characterized by ultrasharp focus in depicting "the autonomy of the objective world" and "the wonder of matter" in such a way that objects would be "seen anew." The quoted text appears in Lois Parkinson Zamora and Wendy B. Faris, eds., ''Magical Realism: Theory, History, Community'' (Durham and London: Duke University Press, 1995)}}
The following year the same still life appeared in a group exhibit at the Museum of Modern Art. Called "Forty-six Painters and Sculptors Under Thirty-One Years of Age," it contained an international mix of art by younger artists, including many whose careers would later flourish.{{refn|group=note|In addition to Goeller, the American artists in this show included Peggy Bacon, Peter Blume, Alexander Brook, Elsie Driggs, Arshile Gorky, Stefan Hirsch, Luigi Lucioni, Reginald Marsh, Marjorie Phillips, and Ben Shahn.<ref name="New York Times Apr 13 1930"/> }} One critic for the ''New York Times'', Elisabeth Luther Cary, praised the painting as "a truly superb achievement of team work between eyes that see and hands that do"<ref name="New York Times Apr 13 1930 Cary"/> and another ''Times'' critic, Edward Alden Jewell, said his still life, with its "fabric wizardry," was attracting much attention.<ref name="New York Times Apr 20 1930"/> The same year Jewell commented on "Blue Brocade," a still life of Goeller's included in a group show at the Daniel Gallery. Calling it "sumptuous" and "ravishing," he said its virtuosity made it comparable to the work of early-Renaissance goldsmiths and concluded: "Here, once more, in this expert solution of a painter's problem, the centuries become but as a day."<ref name="New York Times Apr 20 1930"/>
In a paper read at the College Art Association meeting in 1931 Alfred H. Barr cited Goeller as one of a group of young Americans whom he called "New Objectivists."<ref name="Parnassus May 1931"/>{{refn|group=note|The others mentioned by Barr were Reginald Marsh, Charles Burchfield, Peter Blume, Stefan Hirsch, Luigi Lucioni and Katherine Schmidt.<ref name="Parnassus May 1931"/> }}{{refn|group=note|Founded in 1911, the College Art Association aimed to establish art and art history as subjects for academic study. It has accomplished this objective through conferences, standards-setting, sponsored exhibitions, and the publication of influential journals, including ''Art Bulletin'', ''Parnassus'', and ''Art Journal''.<ref name="College Art Association History"/> }}{{refn|group=note|The term New Objectivity was a common translation of Neues Sachlichkeit.}} A year later Goeller exhibited work in a show called "American Scenes and Subjects" put on by the College Art Association at the Rehn Gallery.<ref name="New York Times Sep 1931"/>{{refn|group=note|Frank Knox Morton Rehn (1886-1956), son of the artist Frank Knox Morton Rehn (1848-1914), founded the gallery in 1918. Although its official name was the Frank K. M. Rehn Galleries, it was often called the Rehn Gallery or simply Rehn's. Goeller was not represented by the gallery and apparently only showed there on this one occasion.<ref name="Rehn Galleries Records AAA"/><ref name="Rehn Gallery History"/> }} Reviewing a group exhibition at the Daniel Gallery in 1931, a critic referred to Goeller and the show's other artists as practitioners of "pure painting." By this he meant the group focused the experience of the observer. He said the artists aimed to draw the viewer's attention to "what lies beyond or beneath or above."<ref name="New York Times Nov 1931"/> Another reviewer of that show said one of Goeller's paintings in the exhibition was "a good illustration of the modern use of color as an integral part of the expression form."<ref name="New York Evening Post Nov 1931"/> In 1933 Goeller showed still lifes, figure studies, and landscapes in a solo exhibition at Argent Gallery. In reviewing the show, Howard Devree of the ''New York Times'' said Goeller had made a "very commendable achievement." He praised the still lifes for his outstanding use of color and the remarkable fabric textures he was able to achieve, but felt the figure studies were not maturely realized and the landscapes overly flat.<ref name="New York Times Nov 1933"/>{{refn|group=note|The Argent Galleries were located in the headquarters building of the National Association of Women Painters and Sculptors on West 57th Street. Founded in 1930, they were mainly used to show work by the group's members, but, in between these shows, they were made available for outsiders' use, particularly one-man exhibitions such as Goeller's.<ref name="New York Sun May 1930"/><ref name="New York Evening Post May 1930"/><ref name="Parnassus Mar 1934"/> }} thumb|Charles Goeller, "Third Avenue," oil on canvas, {{cvt|36|x|30+1/8|in}} Having achieved critical recognition for his still lifes in the early 1930s, Goeller painted a larger number of landscapes during the middle and late years of the decade.<ref name="Goeller Smithsonian American Art Museum"/><ref name="New York Times Nov 1933"/> After joining the Public Works of Art Project, he painted the highly regarded "Third Avenue" in 1934.<ref name="Third Avenue Smithsonian American Art"/> In a style that was identified as precisionist, this painting used geometric forms and flat planes to emphasize "the scale and power of modern technology," according to a biographer,<ref name="Goeller Smithsonian American Art Museum"/> Following his employment in the Public Works of Art Project, Goeller joined the Federal Art Project.<ref name="Federal Art Project Archives of American Art"/> Subsequently, a mural of his won a cash prize in a 1935 competition and was exhibited at the Architectural League.<ref name="American Magazine of Art Feb 1935"/>
==Art career, 1940s–1950s==
During the 1940s Goeller was represented by the Bonestell Gallery.{{refn|group=note|Goeller was given solo exhibitions at the Bonestell Gallery in 1945 and 1947.<ref name="New York Times Oct 1945"/><ref name="New York Times May 1947"/> The Bonestell Gallery, operated by Blanche Bonestell at 18 East 57th Street, showed modern painting and sculpture by a wide variety of artists, including especially American women, Hispanics, and, in general, avant-garde artists of the 1940s and 1950s.<ref name="Partisan Review 1948"/><ref name="New York Times Nov 1946"/> In 1939 the gallery held an exhibition of a group of experimental artists known as "The Ten" whose members were Ben-Zion, Ilya Bolotowsky, Adolph Gottlieb, Louis Harris, Jack Kufeld, Mark Rothko (then known as Marcus Rothkowitz ), Louis Schanker, and Joseph Solman.<ref name="The Ten"/>}} In reviewing the first of his shows with that gallery Howard Devree noted a wide range in style, "from almost stereoscopic realism to a misty impression of New Jersey meadows and veritable silver point drawings of great delicacy and technical perfection."<ref name="New York Times Oct 1945"/> In reviewing the second he added that Goeller found "reluctant beauty" in the landscapes and was able to obtain a "strange mood."<ref name="New York Times May 1947"/>
Sometime before 1943 Goeller drew a ''trompe l'oeil'' self-portrait entitled "How Does It Feel to be a Piece of Paper?" The drawing makes it seem as if the viewer's eye is the paper on which the artist's pencil is descending.<ref name="Stavitsky 2003"/> He showed it in the Society of Independent Artists annual exhibition of 1943, at the Bonestell Gallery in 1945, and in museum exhibitions in 1943, 1949, and 1953.<ref name="Stavitsky 2003"/>{{refn|group=note|In 1943 Goeller showed the self portrait at the M.H. de Young Memorial Museum, San Francisco; in 1949 at the Irvington Art and Museum Association, New Jersey; and in 1953 at the New Jersey State Museum, Trenton.<ref name="Stavitsky 2003"/> }} In 1941 and 1942 he showed with a group called Modern Artists of New Jersey.<ref name="New York Times Nov 1941"/><ref name="New York Times Apr 1942"/>{{refn|group=note|The Modern Artists of New Jersey group was headed by Raymond O'Neill, an artist who taught art at Columbia University during the 1930s, and who was chairman of the New Jersey State Art Committee in 1939. The group staged exhibitions of work by New Jersey artists, particularly young, unknown artists, and sponsored lectures, demonstrations, and public forums to further the advancement of modern art.<ref name="New York Times Mar 1936"/><ref name="New Jersey State Guide"/> }} In 1943 Goeller joined the Associated Artists of New Jersey and showed with them at the Riverside Museum in 1943, 1944, 1947, and 1950.<ref name="New York Times May 1943"/><ref name="New York Times Nov 1944"/><ref name="New York Times Mar 1947"/><ref name="New York Times Feb 1950"/>{{refn|group=note|The Associated Artists of New Jersey was founded in 1941 in the studio of artist Anne Steele Marsh, sister-in-law of artist Reginald Marsh. Limited to a membership of fifty, the group staged exhibitions in galleries and museums and sponsored public forums.<ref name="New York Times Jul 1941"/><ref name="The Forum"/><ref name="New York Times May 1990"/> }}
In 1952, not long before his untimely death, a landscape of Goeller's appeared in the Whitney Museum annual exhibition of contemporary painting. In reviewing the show Howard Devree listed it along with others that he deemed to be outstanding, describing it as a "moody monochromatic interpretation of the Jersey meadows."<ref name="New York Times Nov 1952"/>
At the outset of his artistic career Goeller said he aimed to achieve coherence in his work and a freedom from exaggeration. He said he wished to avoid "sacrifices to obtain an effect."{{refn|group=note|Goeller's statement appears in an undated clipping (ca. 1827–28) quoted by Gail Stavitsky in the art exhibition catalog of 2003, already cited.<ref name="Stavitsky 2003"/> }} At the end of his career his work was noted as evoking a pervasive mood of "wistful loneliness" and possessing a "haunting, disquieting aspect" which bore out his belief in "emotion expressed by precision."<ref name="Stavitsky 2003"/>
==Art teacher==
Goeller, who has been called a "passionate advocate for art education,"<ref name="Goeller Smithsonian American Art Museum"/> was an art instructor in the College of Architecture at Cornell University between 1931 and 1933<ref name="College of Architecture 1931-32"/><ref name="College of Architecture 1932-33"/> and an instructor in the Newark School of Fine and Industrial Arts in the early 1950s.<ref name="TFAO 2005"/><ref name="Mathematics Teacher Dec 1951"/>
==Personal life==
Goeller was born in Irvington, New Jersey, on November 10, 1901.<ref name="1915 New Jersey Census Goeller"/><ref name="1925 Immigration Goeller"/> His father, Charles Goeller was born 1876 in Germany and brought to the United States by his parents in 1879.<ref name="1876 birth Karl"/><ref name="1900 US Census Goeller"/><ref name="1925 Hulda Passport"/> Apart from the few years in Irvington between 1900 and 1910, he lived most of his life in Newark. He was living in nearby Elizabeth when he died in 1961, having outlived his son Charles by six years. In 1884 Goeller's paternal grandfather, Frederick Goeller, founded the Goeller Iron Works in Newark, specializing in ornamental structures.<ref name="New York Times Aug 1961"/><ref name="1900 US Census Goeller"/> By 1917 Goeller's father had assumed control of the business and renamed it the Charles Goeller Steel Co.<ref name="1917 Draft Goeller"/> In 1942, he again reorganized it, this time as Charles Goeller, Inc., contractors in structural iron and steel.<ref name="CHARLES GOELLER INC D and B"/> Goeller's mother was Hulda Weiss Goeller, born in 1878, who emigrated to the United States with her parents and seven siblings in 1883.<ref name="1883 Immigration Hulda"/> He had an older brother, Leopold, born in Newark in 1899, and a younger sister, Hulda, born in Newark in 1907.<ref name="1900 US Census Goeller"/><ref name="1899 birth Leopold"/><ref name="1925 Hulda Goeller"/>
Goeller lived at his parents' Newark home through the 1920s,<ref name="1925 Immigration Goeller"/><ref name="US Census 1930 Goeller"/> he shared an apartment in New York in the 1930s,<ref name="Stavitsky 2003"/> and returned to his parents' home in the early 1940s.<ref name="US Census 1940 Goeller"/> He lived in and around northern New Jersey during the remainder of his life.<ref name="New York Times Mar 1955"/>
He moved from New York to New Jersey in 1939 to work in his father's iron and steel factory.<ref name="Stavitsky 2003"/><ref name="US Census 1940 Goeller"/> During World War II he was employed in the graphic art department of Fleetwings, a firm that made airplanes and aircraft components, located in Bristol, Pennsylvania.<ref name="Stavitsky 2003"/> In addition to preparing technical drawings Goeller wrote a cartoon for the firm's bi-weekly tabloid newspaper, ''Fleetwing News''. The cartoon featured a female character, Evangeline, who represented the contributions that young women were making to homefront production work.<ref name="Stavitsky 2003"/>{{refn|group=note|Fleetwings did not win government contracts to build complete warplanes but did become a successful supplier of wings, control surfaces, and other components, such as solenoid-operated flap valves.<ref name="Wolf 1996"/> It also made specialized tools, including a "light-weight long-reach jaw for rivet squeezers, enabling women to take over what had been strictly a man's job."<ref name="Flying Aug 1942"/><ref name="Flying Jul 1943"/> In 1943 the firm ran two ten-hour shifts with a total of close to 5,000 employees.<ref name="Stavitsky 2003"/><ref name="Fleetwings papers, 1942-1958"/> }} Goeller's wartime contribution also included evening classes he taught at Drexel Institute to help prepare for young people for factory work.<ref name="Stavitsky 2003"/> He died at his home in Elizabeth, New Jersey, on March 6, 1955.<ref name="New York Times Mar 1955"/>
'''Other names'''
Goeller's full name was Charles Louis Goeller.<ref name="New York Art Resources Consortium Frick"/> He signed his works either Goeller or Charles L. Goeller.<ref name="Goeller Smithsonian American Art Museum"/>
==Notes== {{Reflist|group=note}}
==References== {{Reflist |colwidth=30em |refs=
<ref name="College of Architecture 1931-32">{{cite journal |journal=Announcement of the College of Architecture for 1931-32; Architecture, Landscape Architecture, Painting, Sculpture |title=Faculty |volume=22 |issue=9 |date=1930-12-15 |page=3 |url=https://ecommons.cornell.edu/bitstream/handle/1813/42105/opcu_V22_1930_31_09.pdf |publisher=Cornell University |place=Ithaca, New York |type=PDF |access-date=2016-05-15 }}</ref>
<ref name="Parnassus May 1931">{{cite journal |journal=Parnassus |author=Alfred H. Barr |title=Postwar Painting in Europe; Paper read at the Twentieth Annual Meeting of the College Art Association |volume=3 |issue=5 |date=May 1931 |pages=20–22 |jstor=770532 |publisher=Stanley Lewis |place=New York |type=PDF |quote=In America, if one may diverge geographically for a moment, the New Objectivity has spread with amazing speed, in large part because the formal, abstract qualities of much fashionable French painting are essentially foreign to American art, which is naturally more naive and more realistic. Winslow Homer, Thomas Eakins, Charles Sheeler, Preston Dickinson, who once experimented with Cezannesque or cubistic formulae, have become of recent years only slightly stylized realists, while Edward Hopper definitely continues the tradition of Homer. Reginald Marsh, Charles Burchfield, Charles Goeller, Peter Blume, Stefan Hirsch, Luigi Lucioni and Katherine Schmidt are some of the younger Americans who might be classed as New Objectivists. }}</ref>
<ref name="College of Architecture 1932-33">{{cite journal |journal=Announcement of the College of Architecture for 1932-33; Architecture, Landscape Architecture, Painting, Sculpture |title=Faculty |volume=23 |issue=9 |date=1931-12-12 |page=3 |url=https://ecommons.cornell.edu/bitstream/handle/1813/42133/opcu_V23_1931_32_09.pdf |publisher=Cornell University |place=Ithaca, New York |type=PDF |access-date=2016-05-15 }}</ref>
<ref name="Parnassus Mar 1934">{{cite journal |journal=Parnassus |title=A Descriptive Calendar of the New York Galleries |volume=6 |issue=5 |date=March 1934 |pages=26–33 |jstor=770969 |publisher=Stanley Lewis |doi=10.1080/15436314.1934.11466516 |s2cid=254667506 |place=New York |type=PDF |quote=Five shows are held yearly, including two new membership Jury Shows. The balance of the season is filled with one-man shows by both men and women. }}</ref>
<ref name="American Magazine of Art Feb 1935">{{cite journal |journal=American Magazine of Art |author=Philippa Whiting |title=Speaking About Art |volume=28 |issue=2 |date=February 1935 |page=108 |jstor=23932788 |type=PDF }}</ref>
<ref name="Flying Aug 1942">{{cite journal |journal=Flying |title=Flying |volume=31 |issue=2 |date=August 1942 |page=66 |url=https://books.google.com/books?id=dEEq-9Tr17YC&pg=PA66 |publisher=Ziff-Davis |place=Chicago, Ill. |access-date=2016-04-21 }}</ref>
<ref name="Flying Jul 1943">{{cite journal |journal=Flying |title=Flying |volume=33 |issue=1 |date=July 1943 |page=102 |url=https://books.google.com/books?id=a73U-LVtMckC&pg=PA118 |publisher=Ziff-Davis |place=Chicago, Ill. |access-date=2016-04-21 }}</ref>
<ref name="Partisan Review 1948">{{cite journal |journal=Partisan Review |title=Display Ad: Blanche Bonesteil Gallery |volume=15 |issue=1 |date=January 1948 |page=124 |url=http://www.bu.edu/partisanreview/books/PR1948V15N1/HTML/files/assets/basic-html/page126.html |place=New York |type=PDF |access-date=2016-04-21 }}</ref>
<ref name="Mathematics Teacher Dec 1951">{{cite journal |journal=Mathematics Teacher |author=John R. Mayor |title=What Is Going on in Your School? |volume=44 |issue=8 |date=December 1951 |page=583 |jstor=27953895 |type=PDF }}</ref>
<ref name="Cornell Register 1919">{{cite book |author=Cornell University |title=The Register, Cornell University |url=https://books.google.com/books?id=r37OAAAAMAAJ&pg=RA3-PA257 |year=1919 |page=257}}</ref>
<ref name="New Jersey State Guide">{{cite book |title=New Jersey: A Guide to Its Present and Past |url=https://archive.org/details/newjerseyaguide00fedemiss |year=1939 |publisher=Federal Writers' Project of the Works Progress Administration for the State of New Jersey |page=[https://archive.org/details/newjerseyaguide00fedemiss/page/186 186]}}</ref>
<ref name="Austin 1992">{{cite book |author=Robert M. Austin |title=American Salons : Encounters with European Modernism, 1885–1917 |url=https://books.google.com/books?id=qzC_Qehx_NAC&pg=PA414 |date=11 December 1992 |publisher=Oxford University Press, USA |isbn=978-0-19-536220-6 |page=414}}</ref>
<ref name="Wolf 1996">{{cite book |author=Donald E. Wolf |title=Big Dams and Other Dreams: The Six Companies Story |url=https://books.google.com/books?id=HKgHSrsqAosC&pg=PA174 |year=1996 |publisher=University of Oklahoma Press |isbn=978-0-8061-2853-5 |pages=174–175}}</ref>
<ref name="Crockett 1999">{{cite book |author=Dennis Crockett |title=German Post-Expressionism : The Art of the Great Disorder 1918Ð1924 |url=https://books.google.com/books?id=EQzdp1zN--oC&pg=PA1 |publisher=Penn State Press |date=1999 |isbn=0-271-04316-4 |page=156 }}</ref>
<ref name="Stavitsky 2003">{{cite book |author1=Gail Stavitsky |author2=Charles Goeller |title=[Art Exhibition Catalog] Emotion Expressed Through Precision |date=2003 |publisher=Gallery |place=New York | pages=32 [unpaginated] }}</ref>
<ref name="1876 birth Karl">{{cite web |url=https://familysearch.org/ark:/61903/1:1:N5BQ-4QX |title=Karl Friedrich Goeller |work="Deutschland Geburten und Taufen, 1558-1898," database, FamilySearch; citing Speyer, Bayern, Germany; FHL microfilm 192,373 |access-date=2016-03-26}}</ref>
<ref name="1883 Immigration Hulda">{{cite web |url=https://familysearch.org/ark:/61903/1:1:27T2-T62 |title=Johanna Weiss, 1883 |work="New York Passenger Lists, 1820-1891," database with images, FamilySearch; citing NARA microfilm publication M237 (Washington, D.C.: National Archives and Records Administration, n.d.); FHL microfilm |access-date=2016-03-26}}</ref>
<ref name="1899 birth Leopold">{{cite web |url=https://familysearch.org/ark:/61903/1:1:FCNG-F13 |title=Leopold F. Goeller, 24 Jul 1899 |work="New Jersey, Births, 1670-1980," database, FamilySearch; citing Newark, Essex, New Jersey, United States, Division of Archives and Record Management, New Jersey Department of State, Trenton.; FHL microfilm 494,243 |access-date=2016-03-26}}</ref>
<ref name="Oral History 1969">{{cite web |url=http://www.aaa.si.edu/collections/interviews/oral-history-interview-katherine-schmidt-12892 |title=Oral history interview with Katherine Schmidt, 1969 December 8–15 |work=Oral Histories; Archives of American Art, Smithsonian Institution |access-date=2016-01-02}}</ref>
<ref name="1915 New Jersey Census Goeller">{{cite web |url=https://familysearch.org/ark:/61903/1:1:QV9Q-384P |title=Charles L Goeller in entry for Charles Goeller, 1915 |work="New Jersey State Census, 1915", database, FamilySearch |access-date=2016-03-26}}</ref>
<ref name="1900 US Census Goeller">{{cite web |url=https://familysearch.org/ark:/61903/1:1:M9JD-9DM |title=Leopold F Goeller in household of Charles Goeller, District 2 Irvington town, Essex, New Jersey, United States |work="United States Census, 1900," database with images, FamilySearch; citing sheet 7B, family 149, NARA microfilm publication T623 (Washington, D.C.: National Archives and Records Administration, n.d.); FHL microfilm 1,240,969 |access-date=2016-03-26}}</ref>
<ref name="1917 Draft Goeller">{{cite web |url=https://familysearch.org/ark:/61903/1:1:KZJR-2DM |title=Charles Goeller, 1917-1918 |work="United States World War I Draft Registration Cards, 1917-1918," database with images, FamilySearch; citing Newark City no 9, New Jersey, United States, NARA microfilm publication M1509 (Washington D.C.: National Archives and Records Administration, n.d.); FHL microfilm 1,753,733 |access-date=2016-03-26}}</ref>
<ref name="1925 Immigration Goeller">{{cite web |url=https://familysearch.org/ark:/61903/1:1:KX9J-DSS |title=Charles Goeller, 1925 |work="New York, New York Passenger and Crew Lists, 1909, 1925-1957," database with images, FamilySearch; citing Immigration, New York, New York, United States, NARA microfilm publication T715 (Washington, D.C.: National Archives and Records Administration, n.d.) |access-date=2016-03-26}}</ref>
<ref name="1925 Hulda Passport">{{cite web |url=https://familysearch.org/ark:/61903/1:1:QV5Y-HJYB |title=Hulda Louise Goeller, 1925 |work=""United States Passport Applications, 1795-1925," database with images, FamilySearch; citing Passport Application, New Jersey, United States, source certificate #508962, Passport Applications, January 2, 1906 - March 31, 1925, 2700, NARA microfilm publications M1490 and M1372 (Washington D.C.: National Archives and Records Administration, n.d.); FHL microfilm 1,763,401 |access-date=2016-03-26}}</ref>
<ref name="1925 Hulda Goeller">{{cite web |url=https://familysearch.org/ark:/61903/1:1:KX97-CJT |title=Hulda Goeller, 1925 |work="New York, New York Passenger and Crew Lists, 1909, 1925-1957," database with images, FamilySearch; citing Immigration, New York, New York, United States, NARA microfilm publication T715 (Washington, D.C.: National Archives and Records Administration, n.d.). |access-date=2016-03-26}}</ref>
<ref name="US Census 1930 Goeller">{{cite web |url=https://familysearch.org/ark:/61903/1:1:X4D5-44P |title=Charles L Goeller in entry for Charles Goeller, 1930 |work="United States Census, 1930", database with images, FamilySearch |access-date=2016-03-26}}</ref>
<ref name="US Census 1940 Goeller">{{cite web |url=https://familysearch.org/ark:/61903/1:1:K4RM-LJN |title=Charles L Goeller in household of Charles Goeller, Maplewood Township, Essex, New Jersey, United States |work="United States Census, 1940," database with images, FamilySearch; citing enumeration district (ED) 7-221, sheet 14A, family 306, NARA digital publication T627 (Washington, D.C.: National Archives and Records Administration, 2012), roll 2336 |access-date=2016-03-26}}</ref>
<ref name="Third Avenue Smithsonian American Art">{{cite web |url=http://americanart.si.edu/collections/search/artwork/?id=9182 |title=Third Avenue by Charles L. Goeller |work=Smithsonian American Art Museum |access-date=2016-04-24}}</ref>
<ref name="Goeller Smithsonian American Art Museum">{{cite web |url=http://americanart.si.edu/collections/search/artist/?id=1837 |title=Charles L. Goeller|work=Smithsonian American Art Museum |access-date=2016-04-24}}</ref>
<ref name="Federal Art Project Archives of American Art">{{cite web |url=http://www.aaa.si.edu/collections/federal-art-project-photographic-division-collection-5467/more |title=Detailed description of the Federal Art Project, Photographic Division collection, circa 1920-1965, bulk 1935-1942 | Archives of American Art, Smithsonian Institution |access-date=2016-05-26}}</ref>
<ref name="Académie de la Grande Chaumière">{{cite web |url=http://www.grande-chaumiere.fr/en/ |title=Home - L'Académie de la Grande Chaumière |access-date=2016-05-18}}</ref>
<ref name="Rehn Gallery History">{{cite web |url=https://www.burchfieldpenney.org/artists/artist:frank-k-m-rehn-galleries/ |title=Frank K. M. Rehn Galleries |work=Burchfield Penney Art Center |access-date=2016-05-21}}</ref>
<ref name="Rehn Galleries Records AAA">{{cite web |url=http://www.aaa.si.edu/collections/frank-km-rehn-galleries-records-9193/more |title=Detailed description of the Frank K.M. Rehn Galleries records, 1858-1969, bulk 1919-1968 - Digitized Collection |work=Archives of American Art, Smithsonian Institution |access-date=2016-05-21}}</ref>
<ref name="TFAO 2005">{{cite web |url=http://www.tfaoi.com/aa/5aa/5aa282.htm |author=David B. Dearinger |title=Leo Dee (1931–2004) |work=Traditional Fine Arts Organization |access-date=2015-10-02 |quote=[This] essay was excerpted from the illustrated catalogue ({{ISBN|0-934552-72-X}}) for the exhibition Power Line: The Art of Leo Dee, held February 18 through April 30, 2005 at the Boston Athenæum. |url-status=dead |archive-url=https://web.archive.org/web/20151204011420/http://www.tfaoi.com/aa/5aa/5aa282.htm |archive-date=2015-12-04 }}</ref>
<ref name="The Ten">{{cite web |url=http://www.warholstars.org/abstractexpressionism/abstract/ten.html |title=The Ten |work=Warholstars, a site by Gary Comenas dedicated to the memory of the art writer and collector, William S. Wilson. |access-date=2016-05-30 |archive-url=https://web.archive.org/web/20160521032924/http://www.warholstars.org/abstractexpressionism/abstract/ten.html |archive-date=2016-05-21 |url-status=dead }}</ref>
<ref name="Fleetwings papers, 1942-1958">{{cite web |url=http://dla.library.upenn.edu/dla/pacscl/ead.html?fq=top_repository_facet%3A%22Margaret%20R.%20Grundy%20Memorial%20Library%22&id=PACSCL_HSP_MRGML05 |title=[Finding Aid:] James M. Shimer Kaiser-Fleetwings papers, 1942-1958 |work=Philadelphia Area Consortium of Special Collections Libraries |access-date=2016-05-31}}</ref>
<ref name="New York Art Resources Consortium Frick">{{cite web |url=http://arcade.nyarc.org/search~S6?/agoeller%2C+charles/agoeller+charles/1%2C1%2C6%2CB/frameset&FF=agoeller+charles+1901+1955&2%2C%2C6 |title=Artist File: Charles Louis Goeller |work=New York Art Resources Consortium; Frick |access-date=2016-06-01}}</ref>
<ref name="CHARLES GOELLER INC D and B">{{cite web |url=https://www.dandb.com/businessdirectory/charlesgoellerinc-rosellepark-nj-98601.html |title=CHARLES GOELLER INC - ROSELLE PARK, NJ - Business Page |work=Dun & Bradstreet, Inc. |access-date=2016-05-14}}</ref>
<ref name="College Art Association History">{{cite web |url=http://www.collegeart.org/centennial/casestatement |title=Centennial | College Art Association | CAA | Advancing the history, interpretation, and practice of the visual arts for over a century |work=College Art Association |location=New York |access-date=2016-05-24 |archive-url=https://web.archive.org/web/20160819025551/http://www.collegeart.org/centennial/casestatement |archive-date=2016-08-19 |url-status=dead }}</ref>
<ref name="New York Press">{{cite news |title=Man With a New Method |work=New York Press |date=1914-01-25 |page=8 }}</ref>
<ref name="Brooklyn Daily Eagle Mar 1929">{{cite news |title=Display ad: Daniel Gallery; Special Exhibition |work=Brooklyn Daily Eagle |location=Brooklyn, N.Y. |date=1929-03-03 |page=E7 |quote=Blume, Dickinson, Driggs, Goeller, Knaths, Kuniyoshi; 600 Madison Ave. }}</ref>
<ref name="New York Evening Post Mar 1929">{{cite news |title=Many Group Exhibitions of Water Colors and Prints Feature the Week |author=Margaret Breuning |work=New York Evening Post |date=1929-03-09 |quote=Charles Goeller's "Checkered Table Cloth" makes a handsome painting in which shapes and colors and lines all get accounted for in plastic design. There is something of "Neues Sachlichkeit" in this exquisitely meticulous realism, a fact which shows how art currents are setting. }}</ref>
<ref name="New York Times Mar 1929">{{cite news |title=BEAUTIFUL FRENCH WORK: Water-Colors and Drawings Yield No Dull Moment--Coleman and Other Artists |author=Edward Alden Jewell |work=New York Times |date=1929-03-10 |page=136 |quote=Charles Goeller is another new man, whose name ought to become familiar enough if he continues to paint as well as he has painted in "The Checkered Tablecloth." The fabric, humble but brightly blue and white, drapes itself cunningly. }}</ref>
<ref name="Brooklyn Daily Eagle Nov 1929">{{cite news |title=Daniel Gallery Opens With American Group |work=Brooklyn Daily Eagle |location=Brooklyn, N.Y. |date=1929-11-03 |page=E7 }}</ref>
<ref name="New York Times Apr 13 1930">{{cite news |title=MODERN ART MUSEUM OPENS 'UNDER 35' SHOW: Exhibition of Painting and Sculpture Intended to Show Vitality of Younger Artists |work=New York Times |date=1930-04-13 |page=33 }}</ref>
<ref name="New York Times Apr 13 1930 Cary">{{cite news |title=THE LEXICON OF YOUTH: A Stimulating Mixed Exhibition Is Now Presented at the Museum of Modern Art |author=Elizabeth Luther Cary |work=New York Times |date=1930-04-13 |page=132 |quote=Charles Goeller in his still life gives due weight to a heavy table, textile quality to a white towel with red-lined border, and the acumen of genius to the discriminated planes and color regulations of a checked tablecloth. A truly superb achievement of team work between eyes that see and hands that do. }}</ref>
<ref name="New York Times Apr 20 1930">{{cite news |title=BEAUTY STILL ORACULAR: Birthday Armor at Metropolitan--Young Moderns--Edzard Wins His Battle--Cats |author=Edward Alden Jewell |work=New York Times |date=1929-04-20 |page=108 |quote=.. and here is another piece of fabric wizardry by Charles Goeller, whose table with its blue and white checked cloth at the Museum of Modern Art has been attracting so much attention. The present fabric is more sumptuous; it is a ravishing blue brocade, rumpled, of course, to accommodate virtuosity that would look far before finding a rival—the kind of virtuosity one associates with the goldsmiths of the early Renaissance. Here, once more, in this expert solution of a painter's problem, the centuries become but as a day. }}</ref>
<ref name="New York Sun May 1930">{{cite news |title=Women Artists in New Quarters; Hold Opening Exhibition in Recently Acquired Argent Galleries |work=New York Sun |date=1930-05-07 |page=20 }}</ref>
<ref name="New York Evening Post May 1930">{{cite news |title=Women and Artists May Be Traditionally Impractical, But Here's a Combination of the Two Things That Isn't; Argent Galleries Are Tangible Proof of Their Ability |author=Marion Clyde McCarroll |work=New York Evening Post |date=1930-05-12 |page=5 }}</ref>
<ref name="New York Times Sep 1931">{{cite news |title=ART: Three New Exhibitions. Art From the Andes. Americans' Work Shown. Burr's Etchings on View |author=Edward Alden Jewell |work=New York Times |date=1931-09-29 |page=23 }}</ref>
<ref name="New York Times Nov 1931">{{cite news |title=ART: Exhibition at Daniel Gallery |author=Edward Alden Jewell |work=New York Times |date=1931-11-04 |page=29 }}</ref>
<ref name="New York Evening Post Nov 1931">{{cite news |title=Retrospective Exhibition of Works by Henri Matisse at Modern Museum |author=Margaret Breuning |work=New York Evening Post |date=1931-11-07 |page=D7 |quote=Charles Goeller's "Blue Box" is almost virtuosity, yet sheers well away from that dangerous reef. It is a good illustration of the modern use of color as an integral part of the expression form. }}</ref>
<ref name="New York Times Nov 1933">{{cite news |title=Argent Gallery |author=Howard Devree |work=New York Times |date=1933-11-26 |page=X12 |quote=The still-lifes are outstanding both in color and in the remarkable fabric textures obtained. Figure studies among the paintings seem not so maturely realized; and landscapes are more flatly mural in "feel" than his other work. But the carefully distinguished textures in the still-life subjects make Mr. Goeller's first one-man show a very commendable achievement. }}</ref>
<ref name="New York Times Mar 1936">{{cite news |title=CAFE VENUS RULING CITED IN ART ROW: Modern Artists Group in Jersey Hails Burnett as Better Critic Than Montclair Museum |work=New York Times |date=1936-03-24 |page=2 }}</ref>
<ref name="New York Times Jul 1941">{{cite news |title=Essex Fells, N.J. |work=New York Times |date=1941-07-20 |page=X7 }}</ref>
<ref name="New York Times Nov 1941">{{cite news |title=Brief Comment on Some Shows Recently Opened |author=Howard Devree |work=New York Times |date=1941-11-16 |page=X10 }}</ref>
<ref name="New York Times Apr 1942">{{cite news |title=Along the Trail |work=New York Times |date=1942-04-26 |page=X5 }}</ref>
<ref name="New York Times May 1943">{{cite news |title=A REVIEWER'S NOTEBOOK: Brief Comment on Some Recently Opened Group and One-Man Shows |author=Howard Devree |work=New York Times |date=1943-05-16 |page=X12 }}</ref>
<ref name="New York Times Nov 1944">{{cite news |title=A REVIEWER'S NOTES: Brief Comment on Some Recently Opened Group and One-Man Exhibitions |author=Howard Devree |work=New York Times |date=1944-11-12 |page=X8 }}</ref>
<ref name="New York Times Oct 1945">{{cite news |title=A DOZEN ONE-MAN SHOWS: Genre and Abstraction Surrealism to Dogs |author=Howard Devree |work=New York Times |date=1945-10-07 |page=X7 |quote=Charles Goeller, at the Bonestell, ranges from almost stereoscopic realism to a misty impression of the New Jersey meadows and veritable silver point drawings of great delicacy and technical perfection. This dozen small pictures, imaginative and well realized, constitutes some of the artist's most persuasive work. The large desktop still-life, "Dream of Fair Women," is an ambitious undertaking spiritedly carried out. }}</ref>
<ref name="New York Times Nov 1946">{{cite news |title=Display Ad: Shum From Spain; Paintings |work=New York Times |date=1946-11-10 |page=X11 }}</ref>
<ref name="New York Times Mar 1947">{{cite news |title=IRISH ART DISPLAY OPENS AT GALLERY: Exhibition of Work by Painters in Ireland Is Presented by Associated Artists Group |author=Edward Alden Jewell |work=New York Times |date=1947-03-04 |page=29 }}</ref>
<ref name="New York Times May 1947">{{cite news |title=Exhibitions by Four Sculptors -- Painting From Traditional to Ultra-Modern |author=Howard Devree |work=New York Times |date=1947-05-04 |page=X10 |quote=Charles L. Goeller, at the Bonestell Gallery, continues to find reluctant beauty in the Jersey meadows. Goeller's work is individual—most of all when with stereoscopic foreground and misty of flatly brushed background he obtains strange mood. Sparingly used intense color heightens his effects. }}</ref>
<ref name="New York Times Feb 1950">{{cite news |title=FOURTH SHOW HERE BY JERSEY ARTISTS: 85 Works Included in Display of Paintings, Drawings and Sculpture at Riverside |work=New York Times |date=1950-02-11 |page=8 }}</ref>
<ref name="New York Times Nov 1952">{{cite news |title=BALANCED ANNUAL: Contemporary Painting at the Whitney |author=Howard Devree |work=New York Times |date=1952-11-09 |page=X9 }}</ref>
<ref name="New York Times Mar 1955">{{cite news |title=Charles L. Goeller |work=New York Times |date=1955-03-08 |page=27 }}</ref>
<ref name="New York Times Aug 1961">{{cite news |title=Charles Goeller |work=New York Times |date=1961-08-01 |page=31 }}</ref>
<ref name="The Forum">{{cite news |title=N. J. Artists to Exhibit in Chatham |work=The Forum |location=Hackettstown, N.J. |date=1977-02-23 |page=25 }}</ref>
<ref name="New York Times May 1990">{{cite news |title=ART; Eclectic Works at an Old Mill |author=Vivien Raynor |work=New York Times |date=1990-05-27 |page=20 }}</ref>
<ref name="New York Times Jan 1994">{{cite news |title=Review/Art; An Early Champion of Modernists |author=Michael Kimmelman |work=New York Times |date=1994-01-07 |page=C27 |quote=The list of artists, diverse and impressive, includes Man Ray and Alexander Archipenko, Joseph Stella and Marsden Hartley, Charles Demuth and Charles Sheeler, Peter Blume and Yasuo Kuniyoshi, Marguerite Zorach and William Zorach, Raphael Soyer and Glenn O. Coleman. }}</ref>
}}
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{{DEFAULTSORT:Goeller, Charles}} Category:1901 births Category:1955 deaths Category:20th-century American painters Category:American male painters Category:American modern painters Category:Cornell University College of Architecture, Art, and Planning alumni Category:Cornell University faculty Category:Artists from Elizabeth, New Jersey Category:People from Irvington, New Jersey Category:20th-century American male artists