1 15 7 https://omeka.wilkes.edu/omeka/files/original/b190b6e2a384d6e3d193f732435b2303.pdf acf15648a22ce3a0059b5ede7a379dd6 PDF Text Text ROSE O'NEILL The 50th Anniversary Celebration Exhibition �The ONE 0 S ~--1111111111.. Celebrating the Life And Legacy of ROSE O'NEILL The 50th Anniversary Celebration Exhibition Curated by Heather Sincavage, M.F.A. Major sponsorship made by Andrew J. Sordoni, Ill and the Sordoni Foundation 5 GOLDEN ANNIVERSARY SORDONI ART GALLERY �t Published by Sordoni Art Gallery Wilkes University, Wilkes-Barre, PA www.wilkes.edu/ sordoniartgallery IBSN # 979-8-9881985-0-5 Designer: Jess Morandi Copy Editor: Vicki Mayk Photography: Melissa Carestia Photo Editing: Sam Meehan Research Intern: Brynn Stahl ©2023 Sordoni Art Gallery All rights reserved . No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical without permission in writing from the publisher. Cover Image: detail from The Kewps now vie in antics various to make the Fairy Queen hilarious., Illustration for The Kewpies and their Fairy Cousin by Rose O'Neill, Good Housekeeping, July 1916, p. 89 . University Nolliliscriminotion Statement Wilkes University does not discriminate on the basis of race, color, notional or ethnic origin, age, religion, disability, pregnancy, gender, gender identity and/or expression, sexual orientation, marital or family status, military or veteran status, genetic information or other protected status in its programs and activities. The following person hos been designated to handle inquiries regarding the Universitys; non-discrimination policies: Elizabeth Leo, Esq., Titte IX coordinator, who con be reached at 570-408-7788 or elizobeth. leo@wilkes.edu. Or contact the secretory of education, Office of Civil Rights, at l-800-421-3481 or OCR@ed.gov �I, I, Table of CONTENTS Foreword - Greg Cant, Ph.D, President, Wilkes University Acknowledgments - Heather Sincavage, M.F.A., Sordoni Art Gallery Director About Rose O'Neill Essays "Whether We Are Rich or Poor, We Can Love Each Other the Same:" The O'Neills in Wilkes-Barre by Diane Wenger, Ph.D. , ' !'. /, ftrt 1 3 5 7 Reenvisioning Rose O'Neill's Comic Feminist Debut Novel, The Loves of Edwy by Jenny Shank 11 The Tangle: Rose O'Neill And The Missouri Ozarks by Sarah Buhr, Curator, Springfield Art Museum 17 Re-examining Embrace of the Tree: Rose O'Neill's Art as Advocacy for Women by Heather Sincavage, M.F.A. 25 The Artwork of Rose O'Neill Puck Magazine and Other Illustrations The Loves of Edwy 35 37 93 The Kewpies and Kewpiemania 105 Mythology and the Sweet Monsters 141 Exhibition Checklist Lenders to the Exhibition Contributor Bios About the Sordoni Art Gallery 161 169 170 171 �Foreword GREG CANT, PH.D PRESIDENT, WILKES UNIVERSITY �Wilkes University has been the proud home of the Sordoni Art Gallery since it first opened its doors 50 years ago. Since then, thousands of guests have admired outstanding exhibitions that showcase art in its many forms. From its opening show in 1973, which featured the paintings of Wilkes-Barre, born George Catlin, to more recent collections including works by Andy Warhol, Pete Souza, and orman Rockwell, the Sordoni Art Gallery always inspires. The Sordoni has always been more than just an art gallery to Wilkes University. A non-traditional classroom, the Sordoni Art Gallery encourages students to ask questions, test boundaries and think critically about the world around them. For some Wilkes students - many of whom are the first in their families to attend a four-year college - the Sordoni Art Gallery offers the completely new experience of being immersed in the visual arts. This is a life-changing moment for these students, and we take great pride in having such a valuable resource on our campus. The Sordoni Art Gallery sits at the cross section of campus and community and adds to the vibrancy of our downtown Wilkes-Barre community. This connection has always been an important part of the Sordoni's mission and we are proud to continue - and expand - our presence in the region. For all of these reasons, we remain grateful to Andrew J. Sordoni, III and the Sordoni family for their unwavering support of the gallery and Wilkes University. We believe that this show The One Rose: Celebrating the Life and Legacy of Rose O'Neill (another Wilkes-Barre native) is a wonderful way to celebrate the Gallery's first 50 years and we look forward to celebrating many more decades of exceptional and inspiring exhibitions at the Sordoni Art Gallery with you. �Acknowledgments Heather Sincavage, M.F.A EXHIBITION CURATOR Celebrating the Sordoni Art Gallery's golden anniversary warranted an exhibition worthy of such a landmark. In the spirit of our first exhibition centered on Wilkes-Barre native, George Catlin, we opted to honor another Wilkes-Barre native, Rose O'Neill, born here in 1874. Known as the "mother of Kewpies," Rose O'Neill was so much more - artist and illustrator, writer and poet, philanthropist, entrepreneur, and suffragist. Although born here in the Diamond City, O' eill spent much of her life in the central United States. She owned property in Connecticut, New York City, Capri, and her beloved homestead, Bonniebrook, in the Missouri Ozarks. She made her mark on the world and arguably, history. Before Mickey Mouse, there were the Kewpies. To the many I worked with to realize the exhibition, she is their "one Rose." Remembering Rose would not be possible without the tireless efforts of so many people dedicated to her legacy. For me, it has been a joy and pleasure to get to know these people throughout the project and I owe them a tremendous debt of gratitude for assisting with the exhibition. Thank you to the several institutions and collectors who loaned artwork for The One Rose: Celebrating the Life and Legacy ofRose O'Neill. They are Sarah Buhr and Kyle Climore at the Springfield Art Museum, Susan Scott and Gayle Green at Bonniebrook Historical Society, Museum and Homestead, Susan Wilson, Susan Strauss at the International Rose O' eill Club Foundation, Emily Zeman at the Andrew County Museum, Noreen Tillotson at the LeRoy Historical Society / Jell-O Museum, Annette Sain at the Ralph Foster Museum at the College of the Ozarks, Amanda Burdan and Sara Beuhler at the Brandywine Museum, Stephanie Plunkett and Laurie Norton Moffatt at the Norman Rockwell Museum, Meg Thomas at the Delaware Art Museum, Wendy Pflug at the Billy Ireland Cartoon Library at Ohio State University, Skye Lacerte at the Washington University at St. Louis Library and Collections, and Elizabeth Marecki Alberding at the Kelly Collection of American Illustration. The Sordoni Art Gallery is dedicated to academic excellence and this exhibition provided us the opportunity to further the scholarship and study of Rose O'Neill. I was privileged to spend time at the State Historical Society of Missouri and the Missouri State University Archives to read O'Neill's papers. Thank you to Hayley Frizzle-Green at SHSMO and Tracey Gieselman-France at MSUA. In addition, the Luzerne County Historical Society was a wonderful resource for both me and my colleagues who contributed essays to the catalog. Thank you Amanda Fontenova for your assistance. �I also want to thank my colleagues who also contributed essays to the catalog. Rose O'Neill made vast contributions to our culture and I was honored to have such meaningful scholarship as part of our publication. Thank you Dr. Diane Wenger, professor emeritus of history at Wilkes University, and Jenny Shank, award-winning author. This is also another opportunity to thank Sarah Buhr, curator of art at the Springfield Art Museum. Celebrations such as this are not possible without the support and guidance of many. Thank you to the Sordoni Art Gallery Advisory Commission for their dedication and in particular, Ken Marquis for his continued support and advice. I also want to thank my colleagues on campus: Melissa Carestia, assistant director of the Sordoni Art Gallery, Dr. Paul Riggs, dean of the College of Arts & Sciences, Kevin Boyle, vice president of Advancement, and of course, Dr. Greg Cant, president of Wilkes University. One thing I always say is that we in higher education are in the business of ensuring our students' success. I couldn't be more proud to have a former Sordoni Gallery design fellowship alumnus contribute her talents to the project. Thank you,Jessica Morandi, for your ongoing enthusiasm for the gallery. She sets a fine example for what students can achieve. I also want to thank the current student gallery staff, in particular, this year's design fellow, Dylan Kofie. Finally, none of this would have been possible without the support, encouragement, and interest of Andrew Sordoni. Thank you for providing the opportunity to do such important work here at the gallery. In addition, I would also like to thank the Sordoni Foundation for its support of the curatorial project. Rose O' eill can be quoted as saying, "I have a thrilling hope that women are going to do something glorious in the arts. It is my passionate conviction." As women artists have struggled to be recognized throughout art history, I am honored that as part of our golden anniversary, we are able to celebrate what "glorious contributions" Rose O' eill has made for our culture. �About ROSE O'NEILL American illustrator of the early twentieth century, was a woman of many accomplishments. She was the :first woman illustrator for Puck magazine, the leading men's magazine of the late-19th century, entertaining its readers with considerable satire and political commentary; creator of the Kewpie Doll, the subject of a major merchandising campaign, which made her fortune; activist for women's suffrage; and accomplished artist and sculptor featured in exhibitions in Paris (1921) and New York (1922). Rose O'Neill, Rose O'Neill was born in the Diamond City, Wilkes-Barre, Pennsylvania, on June 25, 1874. She was the daughter of a Civil War veteran, bookseller, and businessman William Patrick O'Neill and schoolteacher Alice Asenath Cecilia Smith O'Neill, otherwise known as "Meemie." Inspired by Thoreau's newly published "Walden," they were an unconventional family who left Wilkes-Barre for a homestead in Nebraska. Her father determined that Rose would be educated in the arts and had aspirations for her to be an actress or opera singer. Instead, Rose entered and won a drawing contest in the Omaha Herald at the age of 13, marking a future in art. �I I r work a an artist established O'Neill a one of the wealthiest women of her era. In fact, by 1914, she was the highest paid woman illustrator in the United States and th fir t artist to ever build a merchandising mpire through her work, earning 1.6 million dollar at the height of her popularity; over 36 million dollars by today's standards. The Kewpies, a cartoon first printed in Ladies Home journal in 1909, featured the cherub-faced er ation and their antics. The Kewpies went on to promote commercial products such as olgate, Sears, Kellogg's Corn Flakes, and Jcll-0. Her commercial success provided her with the resources to own four properties: an apartment in Washington Square in New York City, an estate, Carabas Castle, in We tport, Connecticut, a villa in Capri, and her beloved Bonniebrook in the Ozark Mountains of Missouri. The Kewpies challenged the conventions of g nder while encouraging people to "do good cl d in a funny way;" however, the characters did take on social cause . In support of women' suffrage, the Kewpies donned aprons to advocate for public support of women's right to vote on posters for the National American Women's Suffrage Association. O' eill was no stranger to activism. Her first job as an illustrator was for Puck magazine, a publication infamous for political satire. Her work challenged attitudes towards ethnic stereotypes, dass discrimination, and race during the height ofJim Crow. The Lady in the White Veil (1909), Carda (1929), and The Goblin Woman (1930). Her book of poetry, The Master-Mistress, was published in 1922. She also wrote her autobiography which was published posthumously in 1997 and reissued in 2022. In addition to writing, she would also illustrate her books and those of her second husband, Harry Leon·Wilson. In contrast, her "Sweet Monsters," developed in private alongside the Kewpies, were contemplative and emotional figures exploring mythology and the subconscious. These drawings were a passion project rumored to be under her mainstream drawings on her drawing board. The monsters were the subject of her gallery and museum exhibitions, Galerie Devambez (1921), Paris and Wildenstein Gallery (1922), ew York, where she became equally respected by curators as she was with editors in the commercial world. Indeed, O' eill experienced tremendous financial success early in her career. She was known to spread her wealth and support the creativity of others. She surrounded herself with creatives such as Witter Brynner, Kahlil Gibran, Charlotte Perkins Gilman, Martha Graham, and many more. Her long-running support of family and friends in addition to the economic downturn of the 1930s led to financial strain. ear the end of her life, O' eill pursued several projects to regain her commercial success. O'Neill passed away in her nephew's home in Springfield, Missouri, in 1944 and is buried alongside members of her family at her Bonniebrook estate. O'Neill was not only an accomplished artist but also a published author and poet. Throughout her lifetime, she wrote four gothic novels: The Loves of Edwy (1904), Rose O'Neill in her Bonniebrook studio, n.d. Courtesy of Bonniebrook Historical Society, Museum, & Homestead �t "Whether We Are Rich Or Poor, We Can Love Each Other The Same:" THE O'NEILLS IN WILKES-BARRE BY DIANE WENGER, PH.D. July 9, 1872, Wilkes-Barre was crowded as some 40,000 residents and visitors celebrated the 96th anniversary of U.S. independence and the 100th birthday of the city's founding. A highlight of the day was an enormous parade featuring bands, fire departments, military units, and over one hundred horse-drawn wagons representing local business and industry. Rose O' eill's father, William Patrick O'Neill,was in that procession. His real estate buggy was "decorated with appropriate banners" and, according to an observer, "the only agency of its kind which had the good sense to show its colors." 1 The comment surely pleased O 'Neill, but he also had other reasons to feel happy. Just a few weeks earlier, on June 20, he and his wife had welcomed their first child, [John] Hugh. 0n �Indeed, O'Neill's prospects seemed bright. The previous April, after a five-year courtship, he had married Alice Cecelie Asenath "Sena" Smith of Fairmount, Luzerne County, Pennsylvania. 2 The couple traveled to Philadelphia for the wedding and stayed in a suite at the Continental Hotel before settling down in their new home on Meade Street in Wilkes-Barre, about 10 blocks south of Main Street. 3 "Emerald Cottage" was a country gothic bungalow with gingerbread trim, surrounded by fruit trees and a garden. Inspired by a recent trip to Europe, O'Neill hired an Italian artisan to decorate the ceiling of its octagonal parlor with a fresco of cupids and wreaths; the local paper described the property as "that romantic eyrie on Brewery Hill." 4 Rose's father was a native of Overton, Pennsylvania. After he was discharged from the military in 1864, he relocated to Wilkes-Barre, where his brother Daniel was a well-respected attorney. 5 By 1870 he was operating a real estate firm, and also an auction, emigration and exchange business on North Main Street. In 1873, he briefly went into partnership with auctioneer W. E. (William) Whyte. The auction house handled a variety of goods including art, books, household furnishings, and, once, a large collection of sea shells. 6 In April 1874, O'Neill adverti ed he had relocated (no mention of Whyte) to Public Square in the center of the city. 7 OnJune 25, 1874, the O'Neills' second child, Cecelia Rose, was born. If O'Neill's star seemed to be ascending, Wilkes-Barre's clearly was on the rise. It achieved city status in May 1871, and its first police force formed in 1872. 8 Population in 1870 was 10,174, making it the eleventh largest city in Pennsylvania. That figure had doubled since 1860; it would double again by 1880. 9 The primary reason for such dramatic growth was an influx of immigrants attracted by the burgeoning mining industry. By 1875, Wyoming Valley coal made up half of Pennsylvania's anthracite production, and the resultant prosperity gave Wilkes-Barre the nickname "Diamond City. "10 The importance of mining was evident in the centennial parade, which included wagonloads of miners and breaker boys (both groups were given the day off) and a "giant lump of coal" weighing several tons. As the coal industry expanded, so did transportation. Canal and rail lines, carrying both coal and passengers, passed directly through Wilkes-Barre, but trains soon made the mule-drawn canal boats obsolete. For local travel, there were horse-drawn street cars. Had the O'Neills wanted to take the children on a river excursion, they could have bought tickets for the steamboat Hendrick B. Wright, which, starting in late 1874, plied the Susquehanna between Wilkes-Barre, Plymouth and Nanticoke. 11 Emerald Cottage, Courtesy of David O'Neill 1 Luzerne Union.July 10, 1872. Sena' birthplace, Fairmount, is listed on her death certificate. The O'Neill children called their mother "Meemie," but she signed her correspondence with William as "Sena." ~William lo ena, Apr.13, 1871. O'Neill papers, State Historical Society of Missouri, Folder 1. https: / / digital.shsmo.org/ digitaJ/collection/ pl7228co1140/ id/ 39~/ rec/ l 1 Miriam Forman-Brunell, The Story of Rose O'Neill: an Autobiography (Columbia: University of Missouri, 1997) 33, 34. Wilkes-Barre Daily,June 24, 1872. Rowena Godding Ruggles states the cottage was dedicated July 4, 1871 to "Friendship, Truth and Liberty," but does ~ot cite her source f?r this information. Ruggl~s, One _Rose (Albany: CA,_ 1964, ~972) 7. 'i (]emenl F. Ileverly, History of Overton, 1810-1910 (Towanda, PA: Bradford Star Prmt, 1910) https: / / s1tes.rootsweb.com/ -pasulhv / Sull1vanCountyH1stoncalSoc1ety/ OVERTON.htm .. Ii Boyd's 1871 Wilkes-Barre City Directory lists O'Neill's office at 108 N. Main St.; Boyd's 1873 Directory shows Whyte & O'Neill at 105 N. Main St. Some sources claim O'Neill also had a book store, but there is no mention of that in newspaper ads or city directories. On the auctions, see Times Leader Nov. 13, 1873, May 14, 1874 and Jan. 4, 1875. 7 Times Leade1~April 2, 1874. 8 Elena Castrignano, Ima1;es of America: Wilkes-Barre (Charleston: Arcadia, 2012) 121, 122. " "Population of Principal Cities and Boroughs from Earliest Census to 1930," https:/ / www2.census.gov/ prod2/ decenniaJ/documents/ 03815512vlch09.pdf 10 "I Ii tory of Wilkes-Barre," https:/ / www. wilkes-barre.city / about-wilkes-barre-pa/ pages/ history-wilkes-barre 11 Times Leader, Nov. 28, 1874. ~ �Another city attraction was the four-story Music Hall, WilkesBarre's "first genuine theater," erected in 1871 at West Market and North River streets. 12 The Hall hosted serious entertainment such as the Holman English Opera Company and lectures by luminaries including Henry Ward Beecher and Mark Twain; on the lighter side were burlesque and minstrel shows and novelties such as Madame Zoe, "champion of the broad-sword" and Kate Smith and her horse "Wonder." 13 As a bachelor, William attended performances at the hall and it is quite likely he took Sena there after their marriage. 14 7! ~~- ~~ ~# ~~&---J ~&:;.,,I- ~~ ~ -~ - r:/ - , / .:--- a...-......~ t:,._/ / ~ ' ;-,.,_.. ~ . ,if__, r',e__.,___-eA..,_) /Z,,,~ ~ - - ) ~ ~ £.uc-r§z ~L:.L Ji.-£/ ~-e{_,, In 1875 the O' eills encountered financial problems. In March that year, Pat Sheahan, a New York emigration and foreign exchange agent, ran a series of ads advising the public against purchasing any of his drafts or tickets from William O'Neill. O'Neill responded that he had to cover Sheahan's drafts because British banks deemed them worthless. 15 As their situation worsened, Sena told William it made no difference whether they were rich or poor: "We can love each other the same. "16 A bitter blow came in September when Emerald Cottage, along with O' eill's land in Plains Township, was "seized and taken in execution at the suit of William Hoover,Jr." 17 In November, W. E. Whyte (W. H. 's son) sued to have the business partnership officially dissolved. 18 ., -7~ /r X_!'!'--,.;._, ~~ -,_,,._~.:✓.- <_(_ a::-.,.~-•h ~.r:--J /< ✓ /4.,-~-, o--.~ ~~.ru- d~ /....,6=~c(._ / ~ • J//->-~ ,,~~ A.1fa~--- t : . ~ - - ~ ,/ ~ / ~--""- A/- > .......... . .. . . . 0-../ £.-. ~ ~di-<>/-&: ~ ~ ,_·-r a-..r~ / ~ ,,.t_R-p----L ~ ~ ;;:::::, ~ ... ~ ~<r- / ~, cL-:;.7- r ~ -fer--~ ~-1---- ~ <tr--.J.l~l:,J~ 4.r-, '}-,,~ ~ ~ ;r,::;---- ~~ca, 6~ . , ~ .£ ~ -£--~,u___ - ~~ ~~ ~ ~ ;;R~ t i: ~----~~ I ' ~ ~f~ - ~ ~ _.,.~ . . .¢:-J~F--r~·-<,AL ~~c-.• ~ -~ ~ .....,_...__.,_ - [Letter from William P. O'Neill to Sena O'Neill, 187 6] Rose O'Neill Papers (SPOO26); The State Historical Society of Missouri Research Center-Springfield By May 1876, William was no longer in business in WilkesBarre. Rather, he was working in Philadelphia as a Centennial Exposition guard; periodically he sent money home and promised to "support [his] little family." 19 In spite of the property lien, Sena stayed on in Emerald Cottage. Between caring for Hugh and Rose, whom both parents clearly adored, she sewed and worked in her garden. She and William wrote frequently; their letters provide insight into their precarious finances. The letters also afford a rare glimpse of Rose, whom they called "Little Sister," at the tender age of 2: singing "Papa's Coming Home"; recovering from measles with a lingering cough; marching up the sidewalk on her own to visit a neighbor; climbing on her mother's lap and saying "rock it," referring to herself. 20 At the same time, Sena economized. She sold off books, pictures, the organ and sewing machine. She gave music lessons and studied for the exam that would qualify her to teach school (and thus add to the family income); she considered discharging the hired girl to save expenses. 21 Edward F. Ilanlon and Paul J. Zbiek, The Wyoming Valley: An American Portrait (Sun Valley, CA: American Historical Press, 2003) 73. Luzerne Union, Sept. 27, 1871 Times l eader, Apr. 8, 1875, Dec. 29, 1875, May 17, 1876, Dec. 1, 1876 14 Sena to William Feb. 23, 1871. 15 Times Leader~ Mar. 20, 1875. 16 ena to William, Aug.18, 1875. 17 Luzerne Union, Sept. 8, 1875. 18 Titnes Leader, Nov. 30, 1875. 19 William to Sena.July 1876. 20 Sena to William, May 18,June 5,Jun c 18, 1876; Rose recalled that a younger brother also called himself "it." Forman-Brunell, 31. 21 William to Sena,July 1876; Sena to William.July 13, 1876. 12 13 �The precise reason for William's failure is unclear, but, by 1877, a Ro e put it, "Papa had spent all his money. "22 The Panic of 1873 ruined many businesses and caused widespread unemployment, and he had spent lavishly on Emerald Cottage. \ for his business dealings, he pleaded, "I have been indiscreet but never dishonest. I have often been the victim of deceit or bad judgement but never willfully wronged any man .. .l do not fear the future even in poverty." 23 , In June 1877, Sena and the children, then 5 and 3, moved into a rented room; she paid her landlady, Mrs. Higgins, with her velvet carp t. ext, they moved to Fairmont, while William headed west for what he called his "new venture. "24 That summer, the n xt chapter of Rose's life began as they followed William-first to ebraska and then Missouri-to make a new start. On the way, daughter Mary Ilena (Lee), was born, August 28, 1877, in Iowa. 25 De pite O'Neill's financial embarrassment, local newspapers treated him uncritically. In September 1877, the Luzerne Union report d that he was in O'Neill City, Nebraska, to exhibit "his c ntennial show." 26 On July 16, 1882, the Sunday News advertised the ale of Emerald Cottage. The notice alluded to O'Neill's altered situation: "In the good times (emphasis added) Wm. P. O'Neill bought a large lot on Meade Street, some one hundred and eighty-five feet wide, and built an elegant cottage, which he named 'Emerald Cottage.' He made of it a fair bowerie [sic]." adly, nothing is left of the O'Neill home. On March 12, 1888, the 7imes Leaderreported that "Emerald Cottage on Meade Street, near Market, built by William P. O'Neill, is going to make room for a n w church. The Welsh Baptist people of Sheridan Street are about to build a larger and more commodious edifice where the cottage now stands." It i impossible to know how Rose's early years in Wilkes-Barre haped her life. We do know that she never forgot Emerald Cottage; she recalled fondly its "charm, fine trees, a lawn and plenty of roses." 27 lt is tempting to imagine that pleasant memories of her childhood home sparked her life-long affection for another bucolic locale far away in the rural Ozarks. [Stereograph of East Side of Public Square, c. 1860] Photograph Collection of the Luzerne County Historical Society. L92. 2.3 85 lonnan-Brunell, 33. William to ena, luly 20, 1876. ' rna to William,May 31, 1876; William to Sena, Sept. 17, 1876; Sena to William.June 4, 1877. ' Iorman-Brunnel, 33. l.11:erne Union, ept. 12, 1877. O'Neill City was founded by Gen. John O'Neill, who traveled through Pennsylvania coal towns recruiting miners to live in his new town. His relation to William is unknown.http: / / www.holtindependent.com/ pages/ Sculpture-Dedicated-To-Memory-of-General-0Neill-a27008.html 'fl I onnan-Brunnel, 33. �Reenvisioning Rose O'Neill's Comic Feminist Debut Novel, THE LOVES OF EDWY BY JENNY SHANK �the truth, and then, entirely knowing it, I want to see the fun in it," Jane Ross-Connaught tells the narrator, Georgie, in Rose O'Neill's 1904 novel, The Loves ofEdwy, in a moment of candor when she explains to him her animating force. "I wanted to ee," he continues. "I abhorred being blind and selfishly living in illusions, like- others. But when I saw, I was not content; I wanted to make the others see, too. Their eyelessness irks me" (O' eill, Edwy 160). career, but "autobiographical" implies a close plot resemblance to the author's life, and key elements of the plot of The Loves of Edwy roam far from documented details of O'Neill's life. Another problem with the term "autobiographical" is that this is often how novels by women are labeled and understood- as emanating from personal experience rather than imagination and artistic choice. Perhaps The Loves of Edwy is better described as a feminist novel that offers a study in the possible life paths and ways of being in the world available to an American woman at the beginning of the twentieth century. In The Loves ofEdwy,Jane evolves from a verse-scribbling sevenyear-old into an independent woman and professional writer, and her mission of portraying the truth with humor could de cribe O' eill's own. Almost eighty years after Rose O'Neill's death, he is best remembered as a pioneering artist and illu trator, although her literary output was also considerablehe wrote and illustrated four novels and a collection of poetry, a well a several books featuring her most famous creation, the Kewpie. While O' eill's stature has risen in recent years as a trailblazing female cartoonist, a convention-flouting feminist and uffragist, and as the creator of one of the most soughtafter doll among collectors, it appears her books are little read today- or if they are, readers keep their thoughts about the books to them elves. O' eill's first novel, The Loves ofEdwy, is often mentioned in passing in roundups of her accomplishments, where it i almo t always described as "autobiographical." But is this adjective accurate? As The Loves of Edwy opens, its protagonist Aspasia Jane RossConnaught is a 7-year-old growing up in a "mountain town in Pennsylvania" (23), and the narrator, Georgie, most frequently referred to by Jane's nickname for him, Juggs, is a few years older. Juggs is the son of a wealthy man whose business keeps him in New York, while Juggs' mother lives in Europe. While his "father's man" nominally looks after him, instead he becomes "almost a sixth child in the house of Connaught" (25). In many ways this setup echoes the plot of Little Women, a novel popular during O'Neill's childhood, in which the wealthy and parentless boy Laurie becomes a fixture in the impoverished but lively home of the March family next door. Juggs soon begins to feel "that [he] preferred to throw things at [Jane] than at any other little girl" (28) and his lifelong devotion to her begins.Juggs' cousin Edwy becomes equally enamored ofJane, though while the otherwise reserved Edwy speaks openly of his feelings for Jane,Juggs keeps his own hidden. Juggs is sent away for schooling for several stretches of years, but the events of the narrative only continue when he is inJane's presence, chronicling his unexpressed devotion for Jane, which her hints suggest is matched by her own. "I want It' true that several key details of the novel clearly seem inspired by people and incidents in O'Neill's own life, particularly her childhood poverty, her singular father, and her early acting �First Person Peripheral: A NARRATIVE APPROACH MOST OFTEN RESERVED FOR MEN The first unusual choice that O'Neill makes with crafting The Loves ofEdwy is her selection of point of view. The novel is narrated in the first-person perspective of a man,Juggs. Female novelists of this era and before it rarely wrote in the first-person from a man's perspective. An omniscient point of view that included access to the thoughts and feelings of both male and female characters wa a more typical tactic, favored by novelists including Jane Austen, George Eliot, and Louisa May Alcott. O'Neill, however, selected a narrative style that is even more unusual for a female novelist than the first-person central: the first-person peripheral. In this approach, the main character of the novel does not narrate the book, rather, the narrator is someone who is obsessed with the subject or at least keenly interested in them. The most famous example of this type of narration appears in a book published about two decades after The Loves of Edwy, _F. Scott Fitzgerald's The Great Gatsby, in which Nick Carraway details the exploits of his fascinating neighbor. Notably, though, that's a story narrated by a man about another man whom he considers to be "great." Man-on-man narration is the most frequent use of the first-person peripheral, from Robert Penn Warren's. All the King's Men to John Irving's A Prayer for Owen Meany. Occas1onally, especially in recent years, authors have used the _first-pers?n peripheral in books in which a female narrator descr~b:s the _hfe of another female main character, for example, My Brzllzant Friend by Elena Ferrante. O'Neill's extremely unusual choice is to employ a male narrator for the story of a female protagonist, an approach whose most salient example, Willa Cather's My Antonia, was not published until 1918. Was O' eill's choice of point of view for The Loves ofEdwy a deliberate flouting of gender conventions, or, as someone who was accustomed to living so free from gender role restrictions in other aspects of her life, did it just not occur to her that it was unusual for a man to narrate a story that was primarily concerned with the activities and decisions of a woman? In any case,Jane is the star of the book, the character whose actions and choices influence all the other characters, while Juggs, for much of the novel, remains the indolent-if handsome and witty-son of a wealthy man who hangs around observing her. For much of the first part of the book,Juggs only narrates events whenJane is present.Juggs quickly summarizes the years he's apart from Jane while he attends high school. When he returns, he finds her spending more time practicing "the dramatic art" than writing poetry. "She confided to me, though, that she had not out and out abandoned literature, but would content herself with being a great actress who brought forth a book of astonishing poems every year or so. She said her father had assured her that these two, along with music and painting, were 'sister arts,' harmonizing with, and the complements of, each other; all alike being the gifts of the All-ruling Mind to man, to serve as a medium of expression for the pent-up emotions of the human heart" (77). This sentiment about "sister arts" echoes the views of O'Neill's father, as expressed in her posthumously published autobiography. As The Loves of Edwy unfolds,Juggs and Jane both suffer from pent-up emotions, as they busy themselves with writing and drawing, but neither can bring themselves to plainly express how they feel about each other, with tragic results. The narrative again skips rapidly ahead whenJuggs parts from Jane to attend Yale for three years, after which he drops out without graduating and travels to Paris to idle with his mother. His father summons him to New York to enter the family business, a period which he summarizes in one sentence as, "I tried and failed; yawned, sulked, and made pictures in the ledgers; contrived pranks on fellow clerks, played at imitating my father's signature, loafed, and made myself disgusting" (122). After this quick digest of pivotal events in Juggs' life, the narrative pace slows again onceJuggs is back in Pennsylvania inJane's presence. He perceives that her family is suffering financial difficulty, and he hatches a scheme to sell his artwork to a magazine named Wit, and give the money to the Connaughts by purchasing the books Jane's father sells through a third party, obscuring his own role. Juggs lavishes much more time in his narration on every stray glance or encouraging word Jane gives him than on the events that shape his own life. Even the defining episode of his life and the climax of the novel-whenJuggs goes to prison for five years for forging his father's check-is glossed over in the space of a few pages. The book is written from the perspective of a man, but it's the woman whose life is central to it. WhileJuggs lazes about,Jane keeps active, studying Latin, memorizing Shakespeare, performing in plays, writing poetry, and scraping together an education despite her father's inability to pay school fees. Like O' eill, after acting in plays during her early years under ~he encouragement of her father,Jane renounces the theater. Unlike O'Neill,Jane aspires to become a writer, while Juggs becomes an artist. �11 You are more like a Visiting Child than the Mistress here, Lady Jane" 1904, Pen and ink on paper, Springfield Art Museum "Make her Commonplace": MARRIAGE MAKES AWOMAN COMMON Late in the novel, after Edwy has repeatedly proposed to Jane and been rebuffed, while Juggs continues waffling about declaring his love for Jane, Juggs confides his feelings to an older friend named Octavia, who insi ts that he propose to Jane. By now Jane is an ind pendent woman earning a living as a writer in New York, with a lively social life, throwing artsy salons like the ones O'Neill ho ted. Jane has made herself into an exceptional woman. Still, Octavia advises Juggs, "Make her commonplace, make her happy," by proposing to her (355). Throughout The Loves of Edwy, O'Neill depicts female characters who are "commonplace"-those who follow prevailing gender role . Jane's mother is sweet and cheerfully long-suffering; by the nd of the book, after giving birth to nine children, five of whom die, he loses her mind, "thenceforth resting in a dimly smiling oblivion in which she forever nursed an imaginary baby" (320). ailed "the little mother," she is the only character in the book who isn't given a name. While high-spiritedJane is always joking and thinking about art,Jane' younger sister, Cornelia, is practical, ladylike, and a bit of a pill. O'Neill writes, "Cornelia, who was ten and the housekeeper, now came in with a broom, dustpan, and an air of great severity, to put things to rights." When, as an adolescent, Jugg realizes that Edwy loves Jane too, he tries to instead interest him in Cornelia, but neither will have her.Jane dresses like a ragamuffin, and comports herself as she pleases, but Cornelia " elected for her playmates only little girls of white aprons and unmistakable gentility; and those who whistled, wore gingham, and threw their dresses over their heads when it rained, were no better than riff-raff" (45). Cornelia is named after her aunt, who comes to stay with the Ross-Connaughts when it's clear that her i ter need help, and Aunt Cornelia and Jane clash, largely over Jan 's violation of typical expectations for girls. Aunt Cornelia "preferred the little housekeeper, her namesake," O'Neill writes, "and often told her that she hoped she would never, never be like A pa iaJane" (89). Whit Jane spends her time studying, creating, working, romping outdoors, thinking, and being active, the women inJuggs' family are empty-headed coquettes, living in a way that seems parasitic. Juggs's mother and aunt cannot stand to live with his father, so they amuse themselves in Paris, living on their "allowance," buying fancy clothes and frequently beggingJuggs' father for more money. Juggs' sister Nina has been trained at a convent "not to cross her knees, not to recline in her chair," and "not to fail in the lowering of her heavy, white eyelids under a masculine regard" (207). However, when Nina is still a teenager, she elopes with a handsome young man who has no knack for earning a living. It's to support this silly, penniless couple that Juggs eventually forges a check and goes to jail. Even after Juggs' sacrifice, his sister's marriage continues on its luckless path, with Nina repeatedly bearing children, though "none of the babies had outlived a day" (333). Given this portrait of the drudgery of women's roles as child bearers, housekeepers, dependents, mourners, and scolds, it's little wonder that Jane chooses to model her life after none of them. Even though it's suggested her family is Catholic,Jane has little heed for society's or her faith's expectations for marriage. After Edwy again proposes to Jane andJuggs asks himJane's response, Edwy reports, "She asked me if I believed in a short marriage and a merry one" (194). That is,Jane was considering agreeing to marry Edwy, as long as she could divorce him as soon as she becomes bored, an attitude extremely uncommon for women in the early 1900s. Shakespeare, whose works are referenced throughout the novel, established the principle that comedies end with a marriage and tragedies end with a death. With its ample humor but nothing that resembles a traditional happy ending, which category does The Loves ofEdwy fall into? A contemporary reviewer writing in The New York Times described it as "a tragedy done in a series of jests." At the end of The Loves ofEdwy, when Jane andJuggs fail to marry and instead resolve to live apart, this story of star-crossed lovers is presented in the tone of a tragedy, since Juggs is the narrator of it. But given the evidence of the fates of married women in this novel, and the fact that while writing it, O'Neill had just scraped off a first husband, Gray Latham, who drained her financially, and was enduring a second husband, Harry Wilson, who was a depressive scold that she would soon dump, when seen fromJane's perspective,Jane's escape from marriage at the end might be better understood as a triumph. �Funny Woman: O'NEILL'$ RADICAL HUMOR the Annual Meeting of the National Women's Studies Association in 1989, she asserts, "Marietta Holley, Kate Sanborn, and Rose O'Neill have never been given the status accorded to Mark Twain, Will Rogers, or Charles Dana Gibson" (Sheppard, "Continuity" 5). Perhaps the most feminist aspect of Th~ Loves of Edwy is how fu?ny it is. For all the deaths of children, parental emotional abuse, fistfights,jail sentences, and thwarted love affairs it depicts, the novel's tone is largely comic.Juggs' editor at Wit prizes his drawings because they display the same qualities that many of O'Neill's illustrations did, being humorous yet sympathetic. The editor tellsjuggs, "Remember, stay funny in spite of the devil. Funny with that other you have-the little dash of pity" (175). The humor in The Loves ofEdwy ranges from entire characterizations-Mr. Ross-Connaught is funny in bearing, actions, and expression throughout-to Oscar Wilde-esque oneliners. For example, beforejuggs leaves for college, he andjane are hanging out, snacking on nuts and chatting, whenjane uses a pun. Juggs relates, "it was an observance with us to turn a deaf ear to puns, so I continued cracking nuts like a person of some selfrespect" (104). The narration and repartee are witty throughout the book, even when events turn tragic. Although women have been producing humor for centuries, with evident wit, for example, in the novels ofJane Austen and George Eliot, men have frequently questioned whether women are capable of being funny, as recently as 1999, when Christopher Hitchens published his Vanity Fair essay "Why Women Aren't Funny." In 1884, The Critic, a ew York-based magazine of literary criticism, asked its readers to provide evidence of women's humor (Sheppard, "Social Context" 156). In response, the following year, Kate Sanborn published an anthology, The Wit of Women, "to prove that American Women were not devoid of humor" (Sheppard 156). In Alice Sheppard's "Continuity and Change: The Cultural Context of Women's Humor," a paper she presented for O'Neill was funny in her drawings and funny in her writing, but because the guy did not win the girl at the end of The Loves of Edwy, contemporary critics read it as a tragedy, although at least one allowed it had "to a large degree a Dickens flavor" ( The New York Times). ow that it is seldom read, The Loves ofEdwy is mainly remembered as merely "autobiographical" in lists of O'Neill's accomplishments. Instead of understanding O'Neill's first novel as an autobiographical tragedy, perhaps we can more clearly see it as a thoughtfully-crafted work of feminist comic fiction, informed by some of O'Neill's personal experience, that should be considered alongside her better known works of art as evidence of her multifarious gifts. ,, I ' "lady Jane, The Juke, and Juggs" (Illustration from The Loves of Edwy) 1904 Pen and ink on paper 19 x 15 inches Collection of International Rose O'Neill Club Foundation �Works Cited Hitchens, Christopher. ""Why Women Aren't Funny."" Vanity Fair, vol.January 1, 2007, https:/ / www.vanityfair.com/ culture/ 2007 / Ol/ hitchens200701. "Mystical and Humorous.; THE LOVES OF EDWY." The New York Times, Saturday Review of Books ed., 10 September 1904, p. 27. O' eill, Rose.The Story of Rose O'Neill: An Autobiography. Edited by Miriam Forman-Brunell, University of Missouri Press, 2022. O' eill, Rose Cecil. The Loves of Edwy. Wildside Press, LLC, 2010. Public Opinion. "A Disciple of Dickens." Public Opinion: The News of the World Weekly Magazine, vol. 37, no. 1, 1904, pp. 314-315. Sheppard, Alice. Continuity and Change: The Cultural Context of Women's Humor. Paper presented at the annual meeting of the National Women's Studies Association. 1989, Towson, MD, pp. 2-20, https: / / files.eric.ed.g<:)V / fulltextjED318652.pdf. Accessed 25 April 2023. Sheppard, Alice. "From Kate Sanborn to Feminist Psychology: The Social Context of Women's Humor, 1885-1985." Psychology of Women Quarterly, vol. 10, 1986, pp. 155-170. �The Tangle: ROSE O'NEILL AND THE MISSOURI OZARKS BY SARAH BUHR, CURATOR, SPRINGFIELD ART MUSEUM �•, ctu re P a girl. She is eighteen. It is 1894. She has been raised in an unconventional family with parents who told her she could do anything she set her mind to and that she should have a career. She can draw, write, ing, and dance. She was born into poverty. But her family has created a world of their own imagination, one that is different from the usual family. Stacks of books serve as furniture, their mother works outside of the home, and their father cares for the children. This girl has just moved to New York where she lives in a convent as she launches a career as a commercial illustrator. And her family has moved, again. She is going to visit them by horse and wagon. It is a long journey, first a train from New York to St. Louis, then another train to Springfield, and finally a two-day journey by hor e and wagon through the Ozark Mountains to a tiny dogtrot cabin on three hundred acres, nestled in the mountains, remote as remote can be. But there is a babbling brook, a forest of trees, massive caves, and neighbors tucked away in the hills whose language is vivid and playful. It is a place where you can run free in the clothes that you made, bathe in the stream by your home, and ride horses through the fields. Ilow might that affect you? How might that protect you? How might that place be a refuge from the greater world that does not think you should get divorced, or cut your hair, or wear pants, or vote, or do what you want? To live with nature as your kin, with your family of misfits, in a place too far for others to bother with. Well, you just might decide that THAT world IS the world, the REAL world, because you made it. So, you take that world with you wherever you go, nestled in your heart and mind. And then come back whenever you need to recharge. And it serves as a bulwark against despair, sadness, hurt, war, poverty, society's rules, and patriarchal conventions. Who might you be if yo~ were given a place such as this when you were 18, with the freedom it entailed? Well, you might turn out to be Rose O'Neill. (Fig. 1) And that place would be Bonniebrook, in the Missouri Ozarks. Ro e O'Neill is bigger than life. She was complex and paradoxical. Her avid admirers (me included) have refocused her history dependent upon their own connections to her work, which has unfortunately fragmented and_di~ided her persona. At this point we may never fully be able to reform her into the true picture of who she was. But I do believe one thing to be true - he would not have been fully herself had she not been introduced to the Missouri Ozarks. Fig. I: Rose O'Neill at nineteen. Photo courtesy of the Rose O'Neill Foundation. �Rose had already left home to seek a career in ew York when her father, Patrick, moved the family to "Bonniebrook," located just a few miles from Branson and fifty miles south of the larger township of Springfield, Missouri (Fig. 2). On her first visit to see the family's new home, Rose fell in love with the landscape, calling it "the tangle" and the "forest enchanted." 1 She wrote expansively about her introduction to both the land and the people of the Ozarks in her memoirs, in stories, and even in an article for the St. Louis PostDispatch. 2 Within her florid descriptions, she links both of her most well-known creations - the Kewpies and the Sweet Monsters - to the Ozarks. Fig. 2: The dog-trot cabin, later dubbed Bonniebrook in the Missouri Ozarks. Courtesy of the Rose O'Neill Foundation. As she bumped along the trail towards Bonniebrook for the first time, she noted, "The leafy darkness seemed peopled with elves ... exquisite little presences weaving enchanted webs among the boughs. I did not dream then that they were "previews" of Kewpies. I had no inkling that my own beloved elves were waiting in that wilderness for me to give them birth. "3 The Kewpies eventually came to her in a dream (1909), flying in through her studio window in the attic at Bonniebrook. trees made strange figures. I seemed to see primeval shapes with slanting foreheads, deep arched necks, and heaping shoulders playing on primordial flutes. I had a sort of cloudy vision of pictures I was to make long afterwards - a great female figure loomed out of the rocks holding mankind in her vast bosom. That night there came to me the title of the unborn picture, "The Nursing Monster." 4 (Fig. 3) The Sweet Monsters consequently rose from the earth. These drawings depict low-browed beasts and horned creatures whose profiles resemble the craggy outcroppings of rocks visible throughout the Ozark Mountains surrounding Bonniebrook. Rose also mentions these drawings as she describes her initial voyage to Bonniebrook, "The heaped rocks with twisted roots of As Rose, her two younger sisters Lee and Callista, and her father finally reached the cabin at Bonniebrook she exclaimed, "The next day we went deeper and deeper into the thick woods. I forgot my fears and shouted with joy. I called it the 'tangle' and my extravagant heart was tangled in it for good .... The Forest Enchanted closed us in. "5 Rose O'Neill , Charmed Life, an Autobiography: The Story of Rose O'Neill. Collect!on of the Springfield ;'-rt Mus~um, Missouri (photocopy of an undated, copyrighted manuscript) p. 61. Rose O'Neill , "From Convent to ew Rome in Ozark Wilds," St. Louis Post-Dispatch, Sunday Womens Magazine, 5 December 1937. 3 O'Neill , Charmed Life, p. 57-58. 1 Ibid, p. 57. 5 Ibid, p. 61. 1 2 �Fig. 3:: Rose O'Neill, The Faun Weeps Finding Himself the Father of a Human Infant c. 1915-1920 Pen and ink on paper Collection of Bonniebrook Historical Society .61. �Bonniebrook immediately became a refuge, an inspiration, a place to which Rose would return repeatedly to recharge and recuperate. As her fortunes grew over the course of her career, she invested heavily in the home, adding bay windows, French doors, bookshelves, two additional stories, and the first working indoor toilet and telephone in the region (Fig 4). Rose wrote, "For the first time in our lives we learned by heart the sound of solitude, that mystical voice made up of winds, flowing water, rustling leaves and little secret feet, soliloquies of birds and insects, the long lament of owls. It was wild." 6 ature, her hills, forests, and streams were integral to this connection, this belief in the land as respite, but the effect was deepened and augmented by the unique people who lived there and who accepted Rose and her family as best they could with kindness and care. The Ozark Mountain country in Southwest Missouri, where Rose's beloved Bonniebrook was sited, was originally seasonal hunting grounds of the Osage Nation. As white settlers began to move in, they came from Tennessee, Kentucky and the Carolinas and were mostly yeoman farmers by trade. The majority were, as Ro e described it, "that old breed of Scotch and English that had trekked west from the Southern states, following mountains, and carrying with them obsolete English words and Scottish ballads. They carried something else as well: certain courtesies, fine reserves, and gracious hospitalities; indestructible dignity, liberal mind, stoic endurance, and flabbergasting humor." 7 The primary characteristic of this region is isolation. The hills and valleys make the area hard to traverse and easy to hide in. It attracted loners and rebels 8 , but it also supported a network of liberal mindedness and hospitality as the harsh and remote conditions made it tantamount to help your neighbor. Vance Randolph 9, folklorist and Rose's friend, noted that for the residents of the Ozark Mountains, "their way of life changed very little during the whole span of the nineteenth century. They lived in a lost world, where primitive customs and usages persisted right down into the age of industrial civilization." 10 Randolph also fell in love with the people, eventually moving to the Ozarks full time in the 1920s. He described them as "the best talkers I have ever known. Their speech was musical and soothing, full of strange, meaningful words and phrases." 11 The speech patterns of Ozarkians retained an inordinate number of words and phrases from Elizabethan English. According to journalist and scholar H.L. Mencken in 1921, "In remote parts of 6 Fig. 4: Bonniebrook in the Missouri Ozarks after its many additions funded by Rose. Courtesy of the Rose O'Neill Foundation. the United States, there are still direct and almost pure-blooded descendants of the seventeenth-century colonists. Go among them and you will hear more words from the Shakespearian vocabulary, still alive and in common service, than anywhere else in the world, and more of the loose and brilliant syntax of that time, and more of its gypsy phrases." 12 These were the people whom the O' eills befriended and befuddled when they settled at Bonniebrook. Rose, raised on the works of Shakespeare by her father, was enthralled by this world where Shakespearean language was part of everyday speech and was besotted with the turns of phrase, grammar, and vocabulary of her friends and neighbors, many of which she recorded in her journals. Of her neighbors' speech, Rose said "We had never heard such talk. The charm of long-ago words. The drawl. We never tired of the drawl. "13 According to Randolph, "the most striking features of the hillman's speech is his habitual use of picturesque comparisons, outlandish metaphors and similes, old sayings and proverbs, cryptic illusions to esoteric mountain lore, and bucolic wisecracks generally. "14 This use of humor supported and invigorated Rose's own love of wordplay, a trait built into the family dynamic Ibid, p. 63. Ibid, p. 53-54. A group of vigilantes, named the Bald Knobbers, were based in the Missouri Ozarks. They were active from 1883 to 1889 and first formed to protect life and property in the region but later became known for enacting violence and taking the law into their own hands .. 9 0 Randolph was a writer and folklorist who traveled throughout the Missouri and Arkansas Ozarks observing and collecting all aspects of folk culture. I le personally recorded ballads, songs, and stories that had been handed down orally for generations to preserve their history. He met O'Neill in the 1940s and they became close friends. For more on Vance Randolph see his books Down in the Holler: A Gallery of Ozark Folk Speech; Ozark Folksongs, Ozark Magic and Ozark Folklore; The Ozarks: An American Survival of a Primitive Society and Vance Randolph: An Ozark Life by Robert Cochran (1987). wvance Randolph and George P. Wilson, Down in the Holler: A Gallery of Ozark Folk Speech (Norman, OK: University of Oklahoma Press, 1953) p. 3. 11 1bid, p. 4. 12 H.L. Mencken, The American Language: An Inquiry into the Development ofEnglish in the United States, 2nd edition (New York: A.A. Knopf, 1921) p. 69. 13 0' eill, Charmed Life, p. 71. 11 Randolph, p. 172. 7 8 �She also wrote of their neighbors' unique way of dress and comportment: "The young men were fond of decoration. Many wore their hair long, sometimes almost to the shoulders. Often the broad-brimmed hats had a girl's colored belt for a band. On festal occasions a masculine chest would be bespangled with 'beauty pins' (brass breast-pins with setting~ of colored glass). Leather belts were sometimes wound with ribbons. Boots had fringes round the tops or cuffs of scarlet leather. "17 In comparison to the standard fashions in the rest of the country, where men were expected to wear suits and women wore corsets, the Ozarkians were unusual and unconventional - further proof that the O' eills had found a unique. community that might be more accepting of their own unusual ways. Rose noted that "They never made any comment on our difference. They overlooked it as best they could and did not let it interfere with our friendship. "18 Fig. 5: Callisto at Bonniebrook in a "polymuriel" outfit designed by her and Rose. Courtesy of the Rose O'Neill Foundation. through Patrick's r citation of plays and Meemie's love of books and mu ic. Rose was educated in elocution, acted in several theatrical productions, and was an avid reader. Her own love of wordplay i evidenced in her journals, letters, illustrations, and the entire world of the Kewpies. The tongue-in-cheek name , the alliterative speeches, and the Kewpies' witticisms are unmi takable evidence of Rose's love of language, all of which can al o be traced back to the Missouri Ozarks. 15 o. e was equally inspired by the resilience of her Ozark neighbors and featured them in stories and illustrations. Rose featured their closest neighbor, "Aunt Jane," in her story "The llir d Man," with accompanying illustrations published in Good Jfou ekeepingin]une 1929. According to Rose,Jane was "elderly and moked a pipe ... her calico shoulders were narrow and bent... her voice wa a weary little whine. "16 1 jJust a few examples: Kewpiedoodle dog, Ducky Daddies, ~une- buggily, Republikewps, and Demokewps. "Ibid, p. 66. 17 Ibid, p. 70-71. IM Ibid, p. 78. l'I Ibid, p. 63. 0 ., Ibid, p. 95. The O'Neill family, raised as iconoclasts, also used the isolation to their advantage in following their own creative pursuits. (See Fig. 5) Meemie created a lavish and beautiful garden, the children explored the woods, and they read and read and read. As Rose became famous, she invited friends from all over the world to visit where they would swim in the creek, read poetry, and revel in the solitude. She authored books, she made illustrations, and she drew. Brother Hughie made furniture, sister Lee painted, and Meemie played piano. As Rose noted, "we have been coming back to it [Bonniebrook] all these years, from New York, London, Paris, Italy... none of us have ever thought of giving up Bonniebrook. "19 Bonniebrook's supportive and creative environment is linked to so many of Rose's life choices and creative pursuits. It was at Bonniebrook that Rose first determined she ought to divorce first husband Gray Latham. Her father drove her to the courthouse in Forsyth, Missouri, in 1901 to help her file for divorce. 20 During her second marriage to Harry Wilson, they split their time bet~een Bonniebrook and ew York as Wilson found it an ideal place to write. He authored several novels there, which Rose illustrated, including The Spenders (1902) and The Lions of the Lord (1903). It was also at Bonniebrook that she realized she had to leave Harry; a decision supported by her family. �21 lhi 2 /I, 2~ ( ) ' �Rose created untold numbers of illustrations there for the many periodicals for which she worked. She sold the first "pile of drawings" that she made by the brook and the cabin as soon as she returned to New York. And she never stopped working while she was there, rolling her drawings "around smooth sticks ofwood ... sent out across the hills on horseback." 21 The family left their mail by the 'Fairy Tree' at the foot of their property. And she wrote her own poems and several of her novels there. And despite her life as a world traveler, her wealth, and her homes, it was to Bonniebrook that Rose would eventually retire. Of course, her changed financial situation precluded her need to sell her other properties but I remain convinced that she would have preferred to spend her final days in Bonniebrook regardless of the circumstances. When Rose finally returned to Bonniebrook for good, sister Callista also returned. Meemie and brother Clink were already there, and the foursome spent their days reading, singing, and enjoying the company of their Ozark friends, as well as brother Hugh and his children, who now lived in Springfield. If you are given space to imagine your life differently, if you are introduced to diverse ways of living through travel, then you are much more likely to find it possible to navigate your own path. Of course, Rose's wealth made her ability to fully embrace different modes of living financially possible. Her privilege of wealth and race made it easier to be a divorcee and dress in velvet robes in a world that said women should do otherwise. This privilege did not exempt her from all of society's rules or judgements, but it did mean that she was able to create a small pocket where the world ran according to her desires. Bonniebrook and the Missouri Ozarks were such places and had all the ingredients to support such a family - seclusion, forests, magic, caves, and mountains. I would argue that while Rose would always have been a successful illustrator, she might not have had the courage to be herself so fully if she had not had Bonniebrook, where she could recharge, regroup, and arm herself to deal with the rest of the world. She wrote, "I never approached Bonniebrook without an ecstatic lifting of the heart ... "23 (See Fig. 6) A visit to Bonniebrook in 2023 reveals that the site, even without the original home, is magical. It is a place unto its own, created by the confluence of nature, history, and people, and imbued with the frolics and wisdom of Rose O'Neill, her kewpies, and sweet monsters. It remains The Forest Enchanted. ' 1 Ibid, p. 98 ' !he l.ac{v in the White Veil (1909) in parti cular. , O' eill , Charmed life, p. 155. �Re-examining Embrace of the Tree: ROSE O'NEILL'S ART AS ADVOCACY FOR WOMEN BY HEATHER SINCAVAGE, M.F.A. �A heavy numbness seizes her limbs, / her soft breasts are girded by thin bark, / her hair grows into foliage, her arms into branches, / her foot, just now so swift, clings by sluggish roots. Ovid's Metamorphoses, an insulted Eros (Cupid) shoots two arrows - one of gold and one of lead. The golden arrow hits Apollo who falls deeply in love with nymph Daphne. Shot with the lead arrow, Daphne is impervious to love and rebuffs Apollo's advances. Unrelenting Apollo pursues Daphne who cries out to her father, Peneus, the river god, to save her. Peneus transforms her into a laurel tree. Apollo, unable to control himself, steals her leaves, creating a wreath for him to don. The laurel wreath became a symbol of honor and victory, Apollo's triumph to claim a piece of Daphne in his pursuit of love. In Over time, the tale of Apollo and Daphne has been fodder for countless pieces of art; most notable is the marble sculpture by Gian Lorenzo Bernini made between 1622 and 1625, famously still on display today in the Galleria Borghese in Rome. In recent years, the Apollo and Daphne tale has been re-examined through a feminist lens by art critics such as Griselda Pollock. Critics refocus the tale to reflect the Me Too era. Instead of being a story of Apollo's unrequited love, what cannot be ignored is Daphne's lack of body autonomy and her rape. He gives the wood kisses," Ovid recounts, drily, "and the wood shrinks from the kisses. / The god said to her, 'Since you can't be my bride, at least / you will certainly be my tree! Rose O'Neill's impressive and probably most controversial work is Embrace of the Tree (c. 1920), a depiction of the Apollo and Daphne myth. Now residing at her Ozark estate, Bonniebrook, the limestone sculpture was first displayed as a bronze in Paris in 1921 and was thought to be stylistically inspired by the sculptures of Auguste Rodin. The sculpture shows two figures, one male, muscular and commanding, clutching the demure and willowy female figure. The legs of the female figure are bonded at the base to form a rooted tree trunk, thus embodying Apollo's futile attempt to keep Daphne from transforming into a tree. The sculpture's controversy is mostly due to the sensual embrace of the two figures, an image that is troubling for most. Now, as part of the Me Too era, current interpretations of the story might reposition the sculpture's meaning as less of an unrequited love story, but rather as a woman without agency. As an advocate for women, one could imagine that Rose O'Neill might concur with this reinterpretation had she still been living today. �Sands of Time Detail c. 1896-1901 Pen and ink with watercolor on paper 9 x 13 3/ 4 inches Collection of the International Rose O'Neill Club Foundation �from aWoman's Perspective: MORE THAN THE ANGEL IN THE HOUSE Rose O' eill was a singular woman at the turn of the twentieth century. n accomplished artist, writer, poet, and entrepreneur, she used h r gift to be an influential figure in the suffrage lllO\cmcnt, firmly believing in body autonomy and emancipation. In Shelley Armitage' book, Kewpies and Beyond, she states 1h.1t O' ill "e entially argued that only the woman artist ran change the fal e and failed images of women, shaped by mrn's \rnrd "(Armitage, 132). Throughout her career, O' eill \\Ould create ensitive, self-reflective images of women in her illustration for p riodicals such as Puck magazine. She built her ct1n'rr advocating for the marginalized and used her prestige to motivate other to support causes she believed in. In her 1905 illu tration for Puck, The Moral Atmosphere, (p#56) the art nouveau- tyled pen and ink drawing is an image of a hustling treet out ide of a theater. While the people depicted in the image are glamorously self-involved, the woman in the foreground i with her own thoughts - as if she knows she is about to b on <li play and perhaps is uncomfortable about it. I heaters at the time were places to be seen by social climbers \dthin , ociely a evidenced by Mary Cassatt's series of paintings of th cat rgo r throughout the 1880s. At the theater, women \\CIC obj cl lo be seen and everyone knew it. Many of O'Neill's illmtration for Puck are from a woman's perspective which is a profound choice for a men's magazine. O'Neill often grounds her images with women at the forefront of the composition taking up prom in nt pace in the lower quarter of the illustration. 1 "\ioman's the Virtues, Man's the Stupidity Is the Division the Gentle lm 1r11/01 of Kewpies Makes." The New York Tribune, Apri I 14, 1915. O' eill herself was often described as one of the most beautiful women in the world. However, one can imagine how she would recoil at such a statement because of her professional and personal accomplishments. She prided herself on being both an artist and writer, goals she made for herself at a young age, but she also was the sole provider for her family, paying for her siblings to attend college or funding their professional pursuits. She writes: ... she must be taught, as a young girl, not that she is a woman who can do what men allow her to do, but that she is to be the producer. She is to think about her vocation when she is young just as the man does now. Then when the time comes for choice, she is to emancipate herselffrom all traditions. She is to eliminate from her mind all thoughts of shocking anybody or anything. 1 The values she challenged were instilled during the Victorian era when the "Angel in the House" (1854), a poem by Coventry Patmore, was embraced as the feminine ideal - subservient, chaste, and devoted to her family. Writers such as Virginia Wolff and Charlotte Perkins Gilman, author of "The Yellow Wallpaper" and within O' eill's circle of friends, later critiqued the concept as antiquated and unjust for women. In Sands of Time (c. 1901), the woman in the painting seems to question this notion of "Angel of the House." Potentially realizing the value placed on her fading beauty (and all that is implied within a patriarchal society), one might even hear her ask "is that all there is?" �Gibson, C. D. (1903) The weaker sex. II. , 1903. [Photograph] Retrieved from the Library of Congress, https://www.loc.gov/item/2010716170/ Women of the late 19th century and early 20th century were fundamentally governed by their marital status. Generally, a married woman had no separate, legal identity from her husband and prior to marriage, a woman fell under her father's purview. The Gibson Girl, the feminine ideal created by Charles Dana Gibson in 1890, was the new feminine ideal looking to break away from the patriarchy. However, while the Gibson Girl pursued more assertiveness to manage her happiness, her appearance and how she conducted herself in public were still a reflection of the men in her life. 2 Virtue was paramount and a reflection of her upbringing. Stylish with her Gibson Girl updo, the Sands of Time (p#39) woman is not one-dimensional. While the Gibson Girl was the feminine ideal in the late 19th century, suffragist Nina Allender adopted the Gibson Girl aesthetic and "injected [the Allender girl] with the spirit for reform" in 1912. 3 The Sands ofTimewoman precedes the Allender girl but perhaps predicts her existence. O'Neill draws the Sands of Time woman with a concerned expression. The artist professes that men have placed women in the shackles of society-not physical restraints (although she would argue a corset is just that) but with words. They were much easier to make than chains, and more convenient. So, men taught them that chastity was a woman's great virtue. Even now only one thing can 'ruin' a woman. That word should be nonexistent, for it represents false ideals. He taught her that prudence and obedience and all the gentler attributes were fine and womanly. It was convenient for the husband, and it was convenient for the father before he gave her to the husband. And women have believed the silly things. 4 Her Sands of Time woman seems to be in the midst of realizing her constraints. Her image and her beauty represent the values of her family, but she is more than this. 2 Gibson, C. D. (2013, March 30). The Gibson Girl's America: Drawings by Charles Dana Gibson high society scenes. Library of Congress. https: / / www.loc. gov/ exhibits/ gibson-gi rls-america/ high-society-scenes.h tml 3 Scarbrough, E. (n.d.). "Fine Dignity, Picturesque Beauty, and Serious Purpose": The Reorientation of Suffrage Media in the Twentieth Century. h ttps: / /scalar. usc.edu / works/ suffrage-on-display/ the-allegory?path =chapter-three-our-hat-is-in-the-ring 4 "Woman's the Virtues, Man's the tupidity Is the Division the Gentle Inventor of Kewpies Makes." The New York Tribune, April 14, 1915. �' The Kewpies: WITHOUT LIMITS Toget er ror Home and Fami~ llll!!!"lll!lll"!!I... Year later, as O'Neill lent her talents to the suffrage movement, she reimagined the Modern Woman. The 1915 po ter, Together for Home and Family, depicts a man and woman holding hands, the woman with her arm out tretched and reaching forward as if to gesture toward the future. The two are depicted as equals. O' 1cill' Modern Woman wore a long flowing dress \\ith no evidence of the corset, and wore bobbed hair, popular for the period, abandoning the Gibson Girl style that pr vail d in the early 1900s. Women desired to seek life out id of the home - to go to college, have careers - and O'Neill uggests that this was possible in equal partn r hip with her partner. Indeed, this did mean that thi wa available almost exclusively to middle - and upper-class white women. 5 , upporting a cause she believed in, O'Neill called upon her Kewpies to bring her personal beliefs to the main tream. Her infamous creation debuted in Ladies 1/omejournal in 1909. They were inspired by Cupid, (the Kewpie name hark ning to her love for speaking in 'baby talk') and are considered figures of mirth. The K wpie earned O' eill 1.4 million dollars, over 35 million in today' standards, and were all the craze, preceding Walt Di ney's Mickey Mouse by almost 20 year . Rose O'Neill, Together for Home and Family, 1915, Courtesy of Bonniebrook Historical Society, Museum, & Homestead ·1he Kewpies' philosophy is to do "good deeds in a funny way." To promote women's suffrage, O 'Neill enlisted the Kewpies to persuade voters to support the movement. In one instance in 1914, she organized a stunt to drop celluloid Kewpie dolls, each wearing a tiny yellow parachute and a sash bearing women's right slogan , from a plane piloted by aviation pioneer Kath rine tinson over Nashville. 6 The Kewpies were powerful persuaders. O' eill al o would use her own celebrity for the mov ment by attending protests, marching in parades and vrn hanging a banner outside her Washington , quar apartment. As a twice-divorced businesswoman, the m n he married were not particularly helpful and supportive of her accomplishments. She was succe ful - and wealthy- in spite of them, going on to ingl -handedly support the endeavors of her family, other artists, writers, and dancers; therefore she undoubtedly felt she was due the same rights as her male counterparts. Rose and sister Callisto O'Neill advocating for women's suffrage, c. 1915 Courtesy of Bonniebrook Historical Society, Museum, & Homestead 1 Ka~initL, B. "Togetherfor home and family. Women & the American Story." (2022,July 9). https:/ / wams.nyhistory.org/ modernizingam<·tica/ woman-suffrage/ together-for-home-and-family / h 1.iolomon, A. "The prolific illustrator behind Kewpies used her cartoons for women's rights." Smithsonian.com. (2018, March 15). https: / / www. ,mithsonianmag.com / history/ prolific-illustrator-behind-kewpies-used-her-cartoons-womens-rights-180968497 / �1r ]i41 / , ~ -- - - , .,;;~»Aliiil~ ~ I I Rose O'Neill, Sheepwoman, 1915, Collection of Bonniebrook Historical Society, Museum, & Homestead �Sweet Monsters: AN AWAKENING CONSCIOUSNESS \s 0' eill continued as an illustrator and writer, her private l'ndcarnrs, th wcet Monsters, reflected the new Modernist id<'ab that reli hed creation from self reflection and rnnsciousne . Modernists aimed to dismantle the Victorian .. \ngd in the Ilou e" trope. At the same time as her Together for fl111t1l' mul Family ' Uffrage poster, O'Neill created a rendering of the "\1odern Woman" for The New York Tribune, which was more of a stylistic departure from her public suffrage work and more akin in spirit to her private drawings, the Sweet Monsters. The sketch~ nude fi male figure transposes a sheep's head onto her ll<'rk. 5hr stat : Homan i a sheep woman ... She has yet to learn that she is far greater thfln the two sexes. Homan is the philosopher. What she knows, man 1111nt figure laboriously through logic. For centuries, she has borne the gffflf er;t insult of the world, but she is now to be emancipated. 7 ,\ patriarchal societ~ puts limitations on women, an attitude th,tt somr vom n internalize, causing them to hold themselves hark. 0' eill believed that women's ability to give birth was not a limitation of their gender and should be celebrated. She urged ,wmrn to join her in working to overturn such barriers. In her )()Vi articl for the Times Dispatch, she writes: 'You are a woman. So am I. lie have the same problem. We are of one sisterhood. Let us help mrh othn~' 8 encouraging women to band together and support l'lll.trtcipation. Helping each other begins, however, with the sdf. Shelley Armitage writes, "she seemed vitally aware that by rh,mging the inner picture of oneself, the public articulation- the \\Ords of society- could be changed." (132) Indeed, 0' eill publicly celebrated women but perhaps explored h<'t "inner picture" in her private endeavor, the Sweet Monsters. I h<' , ,wet Mon ters, sometimes referred to as Titans, were dr,mings that weren't released to the public until some twenty H',lf'S after he began drawing them. Sitting in her second floor studio at Bonniebrook surrounded by the woods, she would look out of hrr window after dark and wait for the monsters to show 7 " \\ 0111r111's themselves in the windings of tree limbs and branches. Through the Sweet Monsters, O' eill explored the :Jungian Self,' 9 better known as the study of the conscious and subconscious mind, which was a new psychological study emerging in 1902. The monsters could be considered her most honest and revealing work . Stylistically, the Sweet Monsters are "sculpted" through O' eill's heavy cross hatching in pen and ink. Their substantial figures often intertwined with each other suggest interdependence and companionship. Androgynous in nature, the monsters investigate emotional relationships and embody that subconsciousness through their actualization, whereas in O'Neill's earlier work, women are sensitively drawn as thinking and feeling people. The monsters, free of gender constraints, are the act of thinking and feeling. Armitage describes them as the "birth of consciousness. " 10 Androgyny was a distinct choice by O'Neill when creating both the Kewpies and the Sweet Monsters. While O'Neill considered the Kewpies to be male, she did not depict genitalia; moreover, the Sweet Monsters often displayed physical characteristics of both genders simultaneously. By using androgyny as an identity, O' eill offers that the tension between the sexes is eliminated and therefore implies their opportunities are limitless. Differences are resolved when genderless. 11 Once free of constraints, the Kewpies float through the air- an act of being so free that their imagination allows them to flip and float as needed. The monsters emerge from scribbles and become figures woven together hardly noting where one ends and the other begins - the embodiment of collective consciousness. Imagining a world without the limitations of gender suggested that a fuller, limitless world could be created for women. The constraints society created around gender were false shackles. Breaking free from those confines, and by merging the Kewpies with people in the actual world, O'Neill encourages that anyone was capable of this consciousness. "Each person must realize the power of imagination - become an artist of the self- to incorporate the male and female parts of the self." 12 lh f' Virtues, Man 's the Stupidity ls the Division the Gentle Inventor of Kewpies Makes." The New York Tribune, April 14, 1915 " \111mrn11s are Funny Children and New York is Pastoral Says Rose Cecil O'Neill," ihe Times Dispatch, Richmond VA Sunday July 19, 1914 \1mitag(', ~- (1991 ). Kewpies and Beyond: The world ofRose O'Neill. University Press of Mississippi. 10 \1 mit,1gc, S. ( 1991 ). Kewpies and Beyond: The world of Rose O'Neill. University Press of Mississippi. Pg 140. ihid :ihid II 1 �Emancipating Daphne At her core, O'Neill was a forthright activist for women. To her, gender was a power construct in a patriarchal society and when eliminated from the equation, the ability to realize women's potential could happen. Through her early illustrations, O'Neill portrayed women aware of their constraints enforced through the expectations of gender, but with the Kewpies and the Sweet Monsters, the truest of selves could flourish. That said, would she have agreed to reimagine the Apollo and Daphne tale, Embrace of the Tree? Embrace of the Tree is the depiction of gender inequity. Eliminating binary gender as part of the Kewpies and Sweet Monsters identities allowed them to thrive as their truest selves. The only way for Daphne to escape the advances of Apollo is to transform into a non-human, a tree. Even when Daphne changes, Apollo robs her of her leaves to take a piece of her for himself- a metaphorical rape- and, because she is without autonomy, her cry is silenced. In fact, in true Modernist fashion, O' eill uses this well-known mythology because of its inherent emotions and experiences. Perhaps, because of this, she might also agree that her version of the story, Embrace of the Tree, suggests the woman's body is a political space. As O'Neill developed as an illustrator and artist, no doubt she felt the profound impact of her creative voice. For Puck magazine, she was the sole voice for the marginalized. As an up-and-coming entrepreneur, she overcame the doubt of others by wielding her abilities. She used her success to advocate for others, becoming a prominent force in the suffrage movement. As we imagine her cherished sculpture in today's world, Rose O'Neill was not a silen er of women; she was a voice for them. Embrace of the Tree reminds us that power inequity remains. However, if the Kewpies remind us of anything, it is that, when women are freed from the shackles of gender, our abilities are limitless. Rose O'Neill, Embrace of the Tree at the Bonniebrook Estate, Image by Heather Sincavage, 201J �' Je, 2023 �����I Sands of Time c. 1896-1901 Pen and ink with watercolor on paper 9 x 13 3/ 4 inches Collection of the International Rose O'Neill Club Foundation �Untitled (couple on couch) c. 1896-1901 Pen and ink, graphite, watercolor on paper 15x213/4inches Collection of the Ralph Foster Museum, College of the Ozarks �I I \ • \I,\ ,, \I I I ' 11 \I\ >~ ,/ j I 0 Promise Me c. 1896-1901 Pen and ink on paper 18 x 13 inches Collection of the Rose O'Neill Foundation, Courtesy of Bonniebrook Historical Society, Museum, & Homestead �0 Mama's Birthday 1897 Pen and ink with wash on paper 16 x 14 inches Collection of Susan Wilson �When Amaryllis Trippeth Down 1898 Gouache on paper 15x213/4inches Collection of International Rose O'Neill Club Foundation �In the Art Gallery 1898 Pen and ink on paper Collection of the Spnng . f·1eld Art 15 l /2 x 27 7/8 •inc hes Museum, Springfield, MO SAM 2018.2.38 �In the Art Gallery 1898 Pen and ink on paper 15 1/2 x 27 7/8 inches Collection of the Springfield Art Museum, Springfield, MO SAM 2018.2.38 �-'~,· ') '·-) ~~m t_, The Result 1898 Pen and ink on paper 16 x 23 inches Collection of Susan w·11 son �An Admirer's Letter 1899 Letter, lock of hair, and lithograph 16 x 15 inc.hes Collection of Susan Wilson �Elucidating Morals 1900 Pen and ink on paper 21 1/2 x 26 inches Collection of Susan Wilson �The Brain-Worker 1902 Pen and ink on paper 16 x 22 inches Collection of Susan Wilson ��Emphatic Reiection c. 1900 Pen and ink, watercolor, gouache, on board 15 x 21 3/4 inches Collection of the Norman Rockwell Museum �Popularity a la Mode. Mrs. Hightone -1 hear that your new Rector is very popular. Mrs. DeStyle - Popular? Yes, indeed! Why, we are thinking of having his sermons dramatized. 1901 Ink and blue pencil on paper 21 3/8 x 15 l /8 inches Collection of Delaware Art Museum, Gift of Helen Farr Sloan, 1980 �Two Women 1901 Pen and Ink on paper 15 3/8 x 22 l /8 inches Collection of Delaware Art Museum, Gift of the Rose O'Neill Foundation, 2018 �Gentleman's lounge 1901 Ink and wash on paper with blue pencil 15 3/8 x 22 5/16 inches Collection of Delaware Art Museum, Gift of the Rose O'Neill Foundation, 2018 �The Too Affable Girl 1904 Pen and ink on paper 17 x 26 inches Collection of Susan Wilson �if I I JI l l J' { \~ I . A{ .!, , '· . I. , I,\ i '', •. :,::, 1'\ ,, cf \ ,.1 ½> 1 ;\i @'{.•. .1 ·, I 1/ 1 I• 1t l/ I I pt; , • ,( I ~ ·;~y ·~ )~I , ' I .....- / - :/ .~ I: I jl I j • (. )~ JI ~. ~ /I \I f_ 1(/fl~,·~ -'\ ~---:;;) - 1 -1 ,.: • - - ,.., ~ His Uncle brings a present to little Johnny 1905 Pen and Ink on paper 15 3/8 x 22 3/16 inches Collection of Delaware Art Museum, Gift of the Rose O'Neill Foundation, 2018 J ,,- II / �I 1\. I I I I' I I ,' I ii J' I / I J , 1-', I , /-. I II I ' I ' , I / I • I J I ·( I t .,, 1 ', rJ t,: ::'. . ; • • .. ~\t ~'.1 ; \\ \ \\ ' l.·•', l \i I \ t.• .. , • 1 ) 1: I \ /, I' L, , ; h / I, 1/ • , I ·, .:y. I I _...,- f '1 ' {{ _.,,,, / - ~\ 1·'\ - \ l I ' • ')ff;✓~ >,.,· , ,, / '#'/,, •• /{ I J ' • 1 ~I ) ,, " I His Uncle brings a present to little Johnny 1905 Pen and Ink on paper 15 3/8 x 22 3/16 inches Collection of Delaware Art Museum, Gift of the Rose O'Neill Foundation, 2018 �The Moral Atmosphere 1905 Pen and ink on paper 15 1/4 x 22 1/8 inches Collection of Brandywine Museum of Art, Gift of the Rose O'Neill Foundation, 2020 2020.1.7 �A Night with Little Sister 1906 Pen and Ink on paper 7 3/8 x 15 1/ 4 inches Collection of Brandywine Museum of Art, Gift of Jane Collette Wilcox, 1982 82.16.191 �''Do you think you ought to speak in this way to a perfect stranger? 1909 Pen and ink on paper 24 x 17 3/4 inches Collection of Norman Rockwell Museum �Callie Wheatley seated herself at the table and accepted tea., Illustration for A California Consden,e by Edith Wyatt, McClure's 1909 Pen and Ink on paper 18 x 24 inches Collection of the Norman Rockwell Museum �Jell-0 illustration drawing - Kewpies around yellow bowl c. 1909-29 Graphite and watercolor on paper 12 x 15 inches Collection of the Jell-0 Museum, LeRoy Historical Society, Gift of the Rose O'Neill Foundation �Jell-0 illustration drawing - Man Reading Newspaper c. 1909-29 Graphite on paper 14 x 19 inches Collection of the Jell-0 Museum, LeRoy Historical Society, Gift of the Rose O'Neill Foundation �Jell-0 illustration drawing - Nan & Bobby c. 1909-29 Graphite on paper 14 x 19 inches Collection of the Jell-0 Museum, LeRoy Historical Society, Gift of the Rose O'Neill Foundation �One of Our Girls 1914 Pen and ink on paper 21 1/2 x 15 1/2 inches Collection of Susan Wilson ��Various Ads for Jell-0 c.1915-1920 Photolithog ra ph Various Collection of the Jell-0 Museum, LeRoy Historical Society �They Wanted Jell-0 Do )'OIi remember 1he drcruHul di :ippointmcnl it uacd to be In the ol<l d.l}'S 01 home w)l("I\ mother btol.1ght oo for dcl!lcrt 10me ~1k('<.I applH Qr 1>ici>lnnt pie, ur eomcthinfl cl~ llull wa. 100 common,nnd)'OU h:1dcxpcctcdicecre.imor•hor1c.ikent least? 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So many different t.fo•hc,cntrccs ;tnd sal:ul~ n wdl n:s duscrts nn he made of It that tlw fin.t oni-h.h.:ra, uon Is: "\X/hat shall '''\' scn·c in Jdl,Q ?1' The new Jdl-<) Book, Just out, tJ more h auuful an<l complete th:m any mlwr cv~r i~"lued, nnd 1t will ~(' 6cnt fn·c to nny wornnn fumtshin)t hl.'r n.mw .m~I .1dJres. There nre six pure fruit flavors of Jcll-0 : Strawberry, Rnspbcrry, lemon, Oronge, Cherry, Chocolntc. For snle nt oll ~roccrs', 2 package i r 25 cent,. THE OEN ESU PURE FOOD COMPANY ~fardl 19:1 1A R.,., N. Y.. Pd BrWt•~rt. 0.1 , (:ooJ JJOU1tMtf)i11J �Jell-0 illustration drawing - Dorothy c. 1914-18 Graphite and watercolor on paper 11 x 15 inches Collection of the Jell-0 Museum, LeRoy Historical Society, Gift of the Rose O'Neill Foundation ���Telling Mama about Jell-0 1921 Pen and ink with watercolor on paper 25 x 29 inches Collection of Susan Wilson �/JJI -: J /. ,1-=- .) , --.:...:....~ .... ~ -~ ..A . . . , . ) ( ) ~ .... .51,.. ...,,;t... ~:. ~; ..t:;;. ).... \,tt., The Harmonious Child - She writes his first love letter (by Sir Phillip Hamilton Gibbs) Cosmopolitan Fiction Illustration 1925 j. Pen and ink on paper 18 1/2 x 22 1/4 inches Collection of Washington University in St. Louis Libraries and Collections WUISL-23-R0-#09 t' t:""---'--> �Scampering, scuffling, dancing little feet; Pratt Lambert Varnish 1925 Oil on canvas 21 l /2 x 18 inches Collection of Susan Wilson �J I I 't,·'. I i 'I ' '· · id "\-~· I I I I I , ., i I . ; '! , / / 6'1 / .. I i .... :t .• ,;;.: ~""' :c ·,/ /'' '.,_/ ,.. / l ' ,' / ! / / ,..,£ t\ :; 0 A Child Shall Lead Them (by Edith Barnard Delano} Good Housekeeping Fiction Illustration 1925 I .J Pen and Ink on paper 22 x 15 3/4 inches Collection of Washington University in St. Louis Libraries and Collections WU ISL-2 3-R0-#0 l �The New Baby 1927 Pen and ink on paper 17 x 14 1/2 inches Collection of the Kelly Collection of American Illustration �' ,, () I<i:!fpiev!lk ttt GYm:rtJ11asttiJ1t' (: I • • ~ ' ~ ' ~ •• ,,...·$'•'< ', Ji « ,; ./0,110:,· ,\ h.J\.t·1,·f\ \ 1dc:11 to 1(1\ 't' (lco('l1.• ,t u ►rettth of k.ru·t'·' }or ( ,lt n.ll ,1111.~ . TlwHgli lit' tt',..dn cl r1h11ttt1 hu t1111nn\' rht·r,m,t· 111.· i/11>1~-~ u i1tu 11 d1l·crrng d/rct) he t 'i r1irl11.:r sh)' dhuut hc1t 111g Ju.'- p1l'l1trt• fLl~t'H. J.,~l'UH(, u \t'Crh< ,.\ liu J,urhjlil tfoJ>-rood. Towza. ,1rv101tl Ladies Home Journal- Christmas Cover 1927 Periodical page 10 x 12 inches Collection of the Ralph Foster Museum, College of the Ozarks . �Worshipping Freddie 1928 Pen and ink with watercolor on paper 20 x 19 inches Collection of Susan Wilson ��Untitled (railroad workers) n.d. Graphite on paper 13 x 11 inches Collection of Bonniebrook Historical Society, Museum, & Homestead �-1,;;· \ I ~ . ,.. -- - , •. -~ ---rrl /'IV • yoV:,.... - l •. .- . . ._.J ~,r.f :V... I 11, I Youth (by Sinclair lewis) Cosmopolitan Fiction Illustration 1930Graphite and watercolor on paper 13 l / 4 x 10 l /2 inches Collection of Washington University in St. Louis Libraries and Collections WUISL-23-R0-#04 �Green - As In Envy (by Forrest Wilson} Cosmopolitan Fiction Illustration 1929 Ink and watercolor on paper 15 1/4 x 22 1/2 inches Collection of Washington University in St. Louis Libraries and Collections WUISL-23-R0-#02 �What Is It The Mom Does? (by Lenora Mattingly Weber) Good Housekeeping Fiction Illustration 1930 Ink, graphite and watercolor on board 22 x 30 inches Collection of Washington University in St. Louis Libraries and Collections WUISL-23-R0-#07 �,., ., -~ .,,,✓.,, ~ ----... "-- ,' I I Carola's Causes (by Booth Tarkington) Cosmopolitan Fiction Illustration 1930 Graphite and watercolor on board 15 x 22 inches Collection of Washington University in St. Louis Libraries and Collections WUISL-23-R0-#05 �' ·_JI!/\ I I I ,, I I I \ 1\ ~ . \ / ~ i J,/ / ,.~/ ~~~~~ I Untitled (man with a pipe, woman looking over shoulder) 1930 Pen and ink on paper 22 x 15 3/4 inches Collection of Washington University in St. Louis Libraries and Collections WUISL-23-R0-#03 �Pin-Up Girl c. 1930-40 Pen and ink with watercolor on paper 17 1/2 x 13 1/2 inches Collection of Susan Wilson �My Man (by Monica Krawczyk) Good Housekeeping Fiction Illustration 1933 Ink, graphite and watercolor on board 30 x 22 inches .COiiection of Washington University in St. Louis Libraries and Collections WUISL-23-R0-#06 �Mr. Big Doc (by Lenora Mattingly Weber) Good Housekeeping Fiction Illustration 1933 Ink and watercolor on paper 30 x 22 inches Collection of Washington University in St. Louis Libraries and Collections WUISL-23-R0-#08 �Untitled (couple leaning in) n.d. Pen and ink on paper 21 x 8 inches Collection of Bonniebrook Historical Society, Museum, & Homestead ��Untitled (figure study) n.d. Oil on canvas 27 1/4 x 20 1/4 inches Collection of the International Rose O'Neill Club Foundation �Callista n.d. Graphite on paper 10 x 14 inches Collection of the International Rose O'Neill Club Foundation �Untitled (children on chair) n.d. Pen and ink with watercolor on paper 26 x 30 inches Collection of Susan Wilson ����Frontispiece from The Loves of Edwy 1904 Pen and ink on paper 11 5/8 x 19 1/ 4 inches Collection of the Springfield Art Museum, Springfield, MO SAM 2018.2.2 �"You know you can't leave me, Jane?" (Illustration from The Loves of Edwy) 1904 Gouache on illustration board 20 x 13 inches Collection of International Rose O'Neill Club Foundation �\ I -✓- J I / "" ; ,,) ~, • -~ /, ,r._ { . . ... . /'. (!I,'· "':' ' . 1\ ... e· , , · ' ! • I "lady Jane, The Juke, and Juggs" (Illustration from The Loves of Edwy) 1904 Pen and ink on paper 19 x 15 inches Collection of International Rose O'Neill Club Foundation �(He} stared indignantly up (Illustration from The Loves ol Edwy) 1904 Watercolor and gouache on paper mounted on board 15 1/2 x 22 1/8 inches Collection of Delaware Art Museum, Gift of the Rose O'Neill Foundation, 2018 �I I II I ; He had his arm about my neck in the old way (Illustration from The Loves of Edwy) 1904 Pen and ink on paper 22 x 15 inches Collection of Susan Wilson �"You are more like a Visiting Child than the Mistress here, Lady Jane" (Illustration from The Loves of Edwy) 1904 Pen and ink on paper 11 5/8 x 19 l / 4 inches Collection of the Springfield Art Museum, Springfield, MO SAM 20l 8. 2. 9 �..:£... The slender body that a clasp would break (Illustration from The Loves ol Edwy} 1904 Pen and ink on paper 22 1/4 x 15 1/4 inches Collection of the International Rose O'Neill Club Foundation �Georgie on the Couch (Illustration from The Loves of Edwy) 1904 Pen and ink on paper 22 x 15 inches Collection of International Rose O'Neill Club Foundation �The letter had come to me (Illustration from The Loves of Edwy) 1904 Watercolor and gouache on paper mounted on board 15 1/2 x 22 1/8 inches Collection of Delaware Art Museum, Gift of the Rose O'Neill Foundation, 2018 ����\C.'I (! n 0, A /4: -,,i ~ -~ The Kewpies and the Scolding Aunt 1912 I I I I• I Pen and ink on paper 13 x 20 inches Collection of the Norman Rockwell Museum �The Kewps and Stern Irene 1912 Ink and graphite on thick paper mounted on board sheet 17 x 17 7/8 inches Collection of Delaware Art Museum, Gift of the Rose O'Neill Foundation, 2018 �Kewpies scolding a little girl 1912 Ink and graphite on paper 12 7/16 x 18 5/8 inches Collection of Delaware Art Museum, Gift of the Rose O'Neill Foundation, 2018 �Kewpie Doll c. 1914 Porcelain 17 x 11 x 3 1/2 inches Collection of Andrew County Museum �Kewpie doll (African American) c. 1914 Porcelain 2 l /2 x 4 l /2 x l l / 4 inches Collection of Andrew County Museum �I ' The Kewpies and Ducky Daddies 1914 Pen and ink on paper 56 x 33 inches Rose O'Neill Collection Collection of The Ohio State University Billy Ireland Cartoon Library & Museum CGA.AC.BBl 5.004 �. . . • 1~ r- ~(2-? )), ) ((___ "v, • :..(r • The Kewpies and Thanksgiving 1914 Pen and ink on paper 39 x 57 inches Rose O'Neill Collection Collection of The Ohio State University Billy Ireland Cartoon Library & Museum CGA.AC.8815.007 i - cc~,- - ~ ] • •~c;z- �", ( '( 1 (; . - • \ \ \ I .\ (t )' / , ,. I /~/ t ~' I .. , ~ ' /I - \I ~ J/ ., , o "' .,. :. _,. . I I ._ , ~~ -..... f~ a ·\'--< ,J . - . \l l . ( j>-.. I ', -- • ~ I , '-,r(r .-,;:~- ~ ~ ~~- - •-•• / ~~ I <, v -!" ,) / • / I The Kewpies and Little Tibby's Tree 1914 Pen and ink on paper 52 x 34 inches Rose O'Neill Collection Collection of The Ohio State University Billy Ireland Cartoon Library & Museum (GA.AC.BB 15.005 �Kewpie doll (with flower crown) c. 1914-18 Porcelain 7 x 11 x 4 inches Collection of Andrew County Museum �Kewpie doll (blue suit) c. 1914-18 Porcelain 4 x 7 x 2 inches Collection of Andrew County Museum �11 I Children's Kewpie Tea Set c. 1915 Porcelain Variable Collection of Andrew County Museum �Children's Kewpie Tea Set c. 1915 Porcelain Variable Collection of Andrew County Museum ��Kewpies in the lap of learning; Story illustration for "The Kewpies and the College," 1916 Pen and ink on paper 22 1/2 x 16 inches Collection of the Norman Rockwell Museum �The Kewps now vie in antics various to make the Fairy Queen hilarious., Illustration for The Kewpies and their Fairy Cousin 191-6 Pen and ink on paper 22 1/2 x 16 inches Collection of the Norman Rockwell Museum �Kewpies Thanksgiving 1916 Pen and ink on paper 22 1/2 x 16 inches Collection of Susan Wilson �l:,, //I\ i <..- \ I ":I <, . 1;,. :'•1 ( The Mer-kewps 1917 II Pen and ink on paper 22 1/2 x 17 1/4 inches Collection of the Ralph Foster Museum, College of the Ozarks I ? , �When the Information Kewp looked up Liberty's location in his book they all set sail across the bay, carrying the cake 1918 Pen and ink on paper 22 1/2 x 15 inches Collection of the Norman Rockwell Museum �The Kewpies and liberty's Birthday 1918 II Pen and ink on paper 22 1/2 x 16 inches Collection of Susan Wilson ��,, 1 '. , ._,I , (,'<\ 1 ' 1, ' "'-e- kew\>$ Wt.1'6 di$h1r.be<l in.._ the.i-.- usl4a.l Ch,;stma.~ OllQ, 4<\~ p_!ep&Yb.tions b~ ~ Gnat Jau. and the~ all -~ .sat cl._own. ana. ponde-reil with--, ext'l'e111e.-. velocit~ 'Theq tlie~ saicl.,"'This h the ~~ thini jo,. th(!.... Children of A111e-rica'{'rlltJ 11ut ll\- a great ma.11~ in'le~tec\ mesa.J>hones' a.nc\ some tol~ the c.hildrtn abollt it ~ wa.-:,- ani\ some wbispnecl it.. to them in. theh slee~--"' One Day the Kewps ... 1918 I I Pen and ink on paper 22 1/2 x 17 1/4 inches Collection of the Ralph Foster Museum, College of the Ozarks �dci ''·t... the poor sroon.\, , l for me. to be amu.se.d. '"M ~, • :i. f"IIO , 3Uu woul4t'nt l lu.ve- to )(up as a.wj'-ll as ros~ib,e.. People- exre.et it oj m11.,.» Ana. just to show them. , he. .suoc1en1J got q 1uit~ awfull~ awJul , .so that e.ve.n tJ;'!..-. we.ll- roise.cl ke:wr& we.\'e -,.athe.l' ( ) ja-,ee.4. jol' a. moment.. _ _..., ' J Gus the Ghost and the Kewpies 1919 Pen and ink on paper 22 1/2 x 17 1/4 inches Collection of the Ralph Foster Museum, College of the Ozarks �~ ' 7" / , "'" \ ' ~. \ ~ / ~;:I \ ..,..""'• , :, I y' ~ ~ .,. , :~ >~. l\Ff-rtJ}i;~' .;;·:- ,..__1 - ' (' "1 ~ Kewpieville 1925 Pen and ink on paper 22 x 28 inches Rose O'Neill Collection . . B'II I land Cartoon Library & Museum Collection of The Ohio State University I y re CGA.AC.8815.010 I , ) l �', __ . ,, / ~i Kewpieville 1925 Pen and ink on paper 22 x 28 inches Rose O'Neill Collection Collection of The Ohio State University Billy Ireland Cartoon Library & Museum CGA.AC.BBl 5.011 �~ _..::::::;:-,p<i>- • . "'v-v' - ~ . ; - , , - - ~~~ · r-, .,J~~ . -[ .◄ ,.:.). .-. ~('11 .,. •• I .h. / • •, ~h O/~j ( - ., (~:\ ;.~;:~ ' . . .; ..J'<; 7-. .,.,.r-. J.,.~~ ~--'i 1Ff ? ~ :~· v .- ' -- ~':"\ .- .. ~.',:' ' - / , Q-( ~ ~~ - - l_ I ./ i• . I I J ' 11 --r ,/ f.' _,,.,,-;;- ~ I / ~ '-<..>\ ' , ~(- ' ' ~ -t·· I " ,.__' , r Kewpieville 1925 Pen and ink on paper 22 x 28 inches Rose O'Neill Collection Collection The Ohio State University • & Museum CGA.AC.BBlof5.009 Billy Ireland Cartoon Library • , , t , ,)( \ \~, �Kewpieville 1925 Pen and ink on paper 22 x 28 inches Rose O'Neill Collection L1.b rary & Museum Collection of The Ohio • State University Billy Irelan d Cartoon CGA.AC.BBl 5.012 �Kuddle Kewpie c. 1925 Fabric, cotton, stuffing 17 3/ 4 x l Ox 4 l /2 inches Collection of the Ralph Foster Museum, College of the Ozarks �Kewpie mold c. 1925-50 Cast aluminum 11 l / 4 x 7 l / 4 x 4 inches Collection of the Ralph Foster Museum, College of the Ozarks �.Philantht-cipists need. Ii. .spice of wit , 01' else. they maltc.. Dull W<ir'K of it : .Ancl ~ood cleecls &lone, Too .Se>)emn-}ee, /1:re, harcl on-the Do-ep ./\no. the Do-ee.. But the. KewRJ, id.ea (if under~toocl.~ Is to m~t yJLu l~gh. ~hile t.b!'-y ~y_gµ. ~ood.: Ju.st to he. chipper, { Just to be. ~ay )" J\ud. clo .Kin.d aee.ds .ln a funnywa_Yt , take the ca:,e, Of Samue,l Brown, The dl'e.a:rie.st man. In.. Dreal'ytown: .New He -was ~ g°rumpy-! lfe had. i.lte. ~out : The neighbors all hid. When he dodc:lerea. aho u.l1 1 He. wa~ .so heavy His shcie& never Jaste~ Some. peoP.le callecl him. ~imply "aod_gastecl';' But the Ke.wP,S make Jjght,. Of heavy oJcl thin~s, J\nd. they fitted him out With a pai-r of wlng.s . lNhen he rec.overed. From his vexation. OldkSamud Jau51hed... Li e all creation..... -nte hal'e iclea Of wings on him. Nade him guffaw With -verve. and. vlm. He. whooped till he Became .so Ji~ht, He drifted ~~nlly Out of .stght. ~ H~ _clrifted. in. '"-· Nis .SunclaY, hat; And D-real'yville "'Wa$ ~lad of that• ffe•s likely to he Drifting- .still Unle$S he'.s IJone. To Kewi,ieval~ . J,am ~•wr<•':!_}- ••"--- d,ifti:-.,1~ : ! ~ "' The Kewpies June 1928 Pen and ink on paper 22 1/2 x 17 1/4 inches Collection of Delaware Art Museum, Gift of the Rose O'Neill Foundation, 2018 �.I, , ., ' Q \'1 . ~ 1 • t· ,'< • ••, ll t:_ll I/ I · 1 - :.· ,. " • • ("' Y? ~ >~ ( . ..,r ' '· ,,~·." ...... !ft•' · .i{, ,, '" r- ,\1,.' \r.\.f11 l"Jf',, '"'l /•/1.''l\ /l,,l~.I' ' ,(-/ • 1~ I ··'. '.- ' r' {\ - 3 . , r. ,I ,, r , , ,h l~ 05: V t, I l :J; . \'""·• J' • ~ ~,-- ❖, :;< \. I . I I -,. ) •. '\,~\'I •, t·'•(,\l,-,,/ } }? . l .,., ,\ },\1~liI F'\t•:\,r,i J., !._ " ·1 t '·~ ~~~ · i' ·•, j ...... ~ ........... "1 ', -=)' I ')~' I .rd. ' 'J'- ~·• • "> .~~ Untitled (Kewpie in a fairy net) n.d. Pen and ink on paper 22 3/4 x 20 1/4 inches Collection of the International Rose O'Neill Club Foundation ��Girl and Kewpie Voting n.d. Pen and ink on paper 12 x 8 1/ 4 inches Collection of Bonniebrook Historical Society, Museum, & Homestead �Ho Ho 1940 Plaster cast 4 3/ 4 x 4 x 4 inches Collection of the Ralph Foster Museum, College of the Ozarks �Ho Ho 1940 Coated plaster 4 3/ 4 x 4 x 4 inches Collection of the Ralph Foster Museum, College of the Ozarks ���I I I �I I I Erato c. 1886-1901 Graphite on paper 19 x 12 1/2 inches Collection of the Norman Rockwell Museum �/ \, f ,,,( / I 1/ 1/ / ~ 1/ I / / / The Defection of the Fairy Godmother 1901 Pen and ink on paper 25 x 24 inches Collection of Susan Wilson �Paolo and Francesca 1911 Graphite and watercolor on paper 31 x 28 inches Collection of Susan Wilson �I I The Faun Teaches the Poet to Play the Pipes co. 1910s Ink on paper 18 x 24 inches Collection of Brandywine Museum of Art, Purchased with Museum funds, 1989 89 .20.4 �Untitled (Sweet Monsters) c. 1915-20 Pen and ink on paper 10 1/2 x 13 l /2 inches Collection of Susan Wilson �Fugitive portrait c. 1915-20 Graphite on paper 6 1/ 4 x 4 1/ 4 inches Collection of Bonniebrook Historical Society, Museum, and Homestead �Satyr c. 1915-20 Bronze 5 1/2 x 4 1/2 x 3 3/4 inches Collection of Ralph Foster Museum, College of the Ozarks �Dryad and Faun 1922 Photolithograph 22 1/2 x 28 1/2 inches Collection of the Norman Rockwell Museum ��..~-l:.-~' ,~ ~ Struggle for Life (Sweet Monsters) c. 1920s Pen and ink on paper 15 x 11 l /2 inches Collection of the Norman Rockwell Museum !: - ·_.,; _·_.. / .,,...,..· ; ,. , �Untitled (Sweet Monsters) n.d. Pen and ink on paper 25 x 26 inches Collection of Susan Wilson �Tl\ Even at Heaven's Gate Pen and ink on paper 19 x 18 inches Collection of Susan Wilson n.d. �Untitled (head) n.d. Graphite on paper 22 x 28 inches Collection of the Ralph Foster Museum, College of the Ozarks �The Will to Create #1 (Sweet Monsters) n.d. Pen and ink on paper 19 1/4 x 24 3/4 inches Collection of the International Rose O'Neill Club Foundation �~ I I I i �Embrace of the Tree button n.d. Manufactured button with printed ribbon 2 1/2 x 9 inches Collection of Andrew County Museum ��Sand Pen a 9x l Col lee Unlit Pen a 15 X Callee 0 Pre Pen a 18 X Callee Court, Mam Pen a 16 X Callee Whe1 Gouae 15 X Callee In th Pen a 15 l1 Callee SAM'. The I Pen a 16 X Callee AnA1 letter. 16 X Callee Elucit Pen □ 1 21 l; Callee Eratc Graph 19 X Callee �lands of Time, c. 1896-1901 Emphatic Reiection, c. 1900 ren and ink with watercolor on paper h 13 3/4 inches (ollection of the International Rose O'Neill Club Foundation Pen and ink, watercolor, gouache, on board 15x213/4inches Collection of the Norman Rockwell Museum Undtled (couple on couch), c. 1896-1901 ren and ink, graphite, watercolor on paper 1~ x 21 3/ 4 inches (ollection of the Ralph Foster Museum, College of the Ozarks 0Promise Me, c. 1896-1901 ren and ink on paper rn x 13 inches (ollection of the Rose O'Neill Foundation, (ourtesy of Bonniebrook Historical Society, Museum, & Homestead lama's Birthday, 1897 ren and ink with wash on paper 1o x 14 inches (ollection of Susan Wilson When Amaryllis Trippeth Down, 1898 bouache on pa per 1h213/4 inches (ollection of International Rose O'Neill Club Foundation Popularity a la Mode. Mrs. Hightone - I hear that your new Rector is very popular. Mrs. DeStyle - Popular? Yes, indeed! Why, we are thinking of having his sermons dramatized., 1901 Ink and blue pencil on paper 213/8x 15 l/8inches Collection of Delaware Art Museum, Gift of Helen Farr Sloan, 1980 Two Women, 1901 Pen and Ink on paper 15 3/8 x 22 l /8 inches Collection of Delaware Art Museum, Gift of the Rose O'Neill Foundation, 2018 Gentleman's lounge, 1901 Ink and wash on paper with blue pencil 15 3/8 x 22 5/16 inches Collection of Delaware Art Museum, Gift of the Rose O'Neill Foundation, 2018 The Defection of the Fairy Godmother, 1901 In the Art Gallery, 1898 ~en and ink on paper 1~ 1/2 x 27 7/8 inches (ollection of the Springfield Art Museum, Springfield, MO )~M 2018.2.3 8 The Result, 1898 ren and ink on paper 1o x 23 inches (ollection of Susan Wilson ln Admirer's letter, 1899 letter, lock of hair, and lithograph 1o x 15 inches (ollection of Susan Wilson Pen and ink on paper 25 x 24 inches Collection of Susan Wilson The Brain-Worker, 1902 Pen and ink on paper 16 x 22 inches Collection of Susan Wilson Frontispiece from The Loves of Edwy, 1904 Pen and ink on paper 115/8 xl91/4inches Collection of the Springfield Art Museum, Springfield, MO SAM 2018.2.2 llucidating Morals, 1900 "You know you can't leave me, Jane?" (Illustration from The Loves of Edwy), 1904 ren and Ink on paper 111/2 x 26 inches (ollection of Susan Wilson Gouache on illustration board 20 x 13 inches Collection of International Rose O'Neill Club Foundation lrato, c. 1896-1901 "lady Jane, The Juke, and Juggs" (Illustration from The Loves of Edwy), 1904 braphite on paper 1~ x 12 1/2 inches (ollection of the Norman Rockwell Museum Pen and ink on paper 19 x 15 inches Collection of International Rose O'Neill Club Foundation �(He) stared indignantly up (Illustration from The Loves of Edwy), 1904 The Moral Atmosphere, 1905 The Pen and ink on paper 15 1/4 x 22 1/8 inches Collection of Brandywine Museum of Art, Gift of the Rose O'Neill Foundation, 2020 Ink o 2020.1.7 89.2 He had his arm about my neck in the old way (Illustration from The Loves of Edwy), 1904 A Night with little Sister, 1906 Port Pen and ink on paper 22 x 15 inches Collection of Susan Wilson 7 3/8 Pen and ink on paper x 15 1/ 4 inches Collection of Brandywine Museum of Art, Gift of Jane Collette Wilcox, 1982 82.16.191 Oil 01 25 X "You are more like a Visiting Child than the Mistress here, Lady Jane" (Illustration from The Loves of Edwy), 1904 "Do you think you ought to speak in this way to a perfect stranger?", 1909 The Pen and ink on paper 24 x 17 3/4 inches Collection of the Norman Rockwell Museum 13 Watercolor and gouache on paper mounted on board 15 1/2 x 22 1/8 inches Collection of Delaware Art Museum, Gift of the Rose O'Neill Foundation, 2018 Pen and ink on paper 11 5/8 x 19 1/4 inches Collection of the Springfield Art Museum, Springfield, MO SAM 2018.2.9 The letter had come to me (Illustration from The Loves of Edwy), 1904 Watercolor and gouache on paper mounted on board 15 1/2 x 22 1/8 inches Collection of Delaware Art Museum, Gift of the Rose O'Neill Foundation, 2018 The slender body that a clasp would break (Illustration from The Loves of Edwy), 1904 Pen and ink on paper 22 1/4 x 15 1/4 inches Collection of the International Rose O'Neill Club Foundation Callie Wheatley seated herself at the table and accepted tea., Illustration for A California Constiente by Edith Wyatt, McClure's, 1909 Pen and ink on paper 18 x 24 inches Collection of the Norman Rockwell Museum Jell-0 illustration drawing - Kewpies around yellow bowl, c. 1909-29 Graphite and watercolor on paper 12 x 15 inches Collection of the Jell-O Museum, LeRoy Historical Society, Gift of the Rose O'Neill Foundation Jell-0 illustration drawing - Man Reading Newspaper, c. 1909-29 Pen and ink on paper 22 x 15 inches Collection of International Rose O'Neill Club Foundation Graphite on paper 14 x 19 inches Collection of the Jell-O Museum, LeRoy Historical Society, Gift of the Rose O'Neill Foundation The Too Affable Girl, 1904 Jell-0 illustration drawing - Nan & Bobby, c. 1909-29 Pen and ink on paper 17 x 26 inches Collection of Susan Wilson Graphite on paper 14 x 19 inches Collection of the Jell-O Museum, LeRoy Historical Society, Gift of the Rose O'Neill Foundation Georgie on the Couch (Illustration from The Loves of Edwy), 1904 15 3/8 x 22 3/16 inches Collection of Delaware Art Museum, Gift of the Rose O'Neill Foundation, 2018 X Colle1 Purch Colle SAM Pen 1 >< Colle The lnkl 17 > Colle Gift KH Ink, 12 i Colli Gift Ke11 Pore 7X Colli Ke, Pore 2l Coll Ont Pen 21 Coll His Uncle brings a present to little Johnny, 1905 Pen and Ink on paper 18 I Paolo and Francesca, 1911 Graphite and watercolor on paper 31 x 28 inches Collection of Susan Wilson Tht Pen 56 Ros Coll Car CGJ �The Faun Teaches the Poet to Play the Pipes, ca. 1910s The Kewpies and Thanksgiving, 1914 Ink on paper 18 x 24 inches Collection of Brandywine Museum of Art, Purchased with Museum funds, 19 89 89 .20.4 Pen and ink on paper 39 x 57 inches Rose O'Neill Collection Collection of The Ohio State University Billy Ireland Cartoon Library & Museum (GA.AC.BB 15.007 Portrait of Rose O'Neill, c. 1912 Oil on Canvas 25 x 21 inches Collection of the Springfield Art Museum, Springfield, MO SAM 2018. 2. l The Kewpies and the Scolding Aunt, 1912 Pen and ink on paper 13 x 20 inches Collection of the Norman Rockwell Museum The Kewps and Stern Irene, 1912 Ink and graphite on thick paper mounted on board sheet 17 x 17 7/8 inches Collection of Delaware Art Museum, Gift of the Rose O'Neill Foundation, 2018 Kewpies scolding a little girl, 1912 Ink and graphite on paper 12 7/16 x 18 5/8 inches Collection of Delaware Art Museum, Gift of the Rose O'Neill Foundation, 2018 Kewpie doll, c. 1914 Porcelain 7 x 11 x 3 1/2 inches Collection of Andrew County Museum Kewpie doll (African American), c. 1914 Porcelain 2 1/2 x 4 1/2 x 1 1/ 4 inches Collection of Andrew County Museum One of Our Girls, 1914 Pen and ink on paper 21 1/2 x 15 l /2 inches Collection of Susan Wilson The Kewpies and Ducky Daddies, 1914 Pen and ink on paper 56 x 33 inches Rose O'Neill Collection Collection of The Ohio State University Billy Ireland Cartoon Library & Museum (GA.AC.BB 15.004 The Kewpies and Little Tibby's Tree, 1914 Pen and ink on paper 52 x 34 inches Rose O'Neill Collection Collection of The Ohio State University Billy Ireland Cartoon Library & Museum CGA.AC.BBl 5.005 Jell-0 illustration drawing - Dorothy, c. 1914-18 Graphite and watercolor on paper 11 x 15 inches Collection of the Jell-0 Museum, LeRoy Historical Society, Gift of the Rose O'Neill Foundation Jell-0 advertisement - The Kewpies and the Sensible Woman, 1915 Photolithograph, Ladies Home Journal, 1915 11 x 16 inches Collection of the Jell-0 Museum, LeRoy Historical Society Jell-0 advertisement - Dorothy's Getting Well, 1915 Photolithograph, Ladies Home Journal, 1915 11 x 16 inches Collection of the Jell-0 Museum, LeRoy Historical Society Kewpie doll (with flower crown), c. 1914-18 Porcelain 7 x 11 x 4 inches Collection of Andrew County Museum Kewpie doll (blue suit), c. 1914-18 Porcelain 4 x 7 x 2 inches Collection of Andrew County Museum Children's Kewpie Tea Set, c. 1915 Porcelain Variable Collection of Andrew County Museum Untitled (Sweet Monsters), c. 1915-20 Pen and ink on paper 10 1/2 x 13 l /2 inches Collection of Susan Wilson �Fugitive portrait, c. 1915-20 Jell-0 advertisement - What Mama Said, 1919 Graphite on paper 6 l / 4 x 4 l / 4 inches Collection of Bonniebrook Historical Society, Museum, and Homestead Photolithograph, Ladies Home Journal, October 1919 11 x 16 inches Collection of the Jell-O Museum, LeRoy Historical Society Satyr, c. 1915-20 Jell-0 advertisement -They Wanted Jell-0, 1919 Bronze 5 l /2 x 4 l /2 x 3 3/ 4 inches Collection of Ralph Foster Museum, College of the Ozarks Photolithograph, unknown source, April 1919 11 x 16 inches Collection of the Jell-O Museum, LeRoy Historical Society Kewpies in the lap of Learning; Story illustration for "The Kewpies and the College,", 1916 Gus the Ghost and the Kewpies, 1919 Pen and ink on paper 22 l /2 x 16 inches Collection of the Norman Rockwell Museum The Kewps now vie in antics various to make the Fairy Queen hilarious., Illustration for The Kewpies and their Fairy Cousin, Good Housekeeping, 1916 Pen and ink on paper 22 l /2 x 16 inches Collection of the Norman Rockwell Museum Kewpies Thanksgiving, 1916 Pen and ink on paper 22 1/2 x 16 inches Collection of Susan Wilson The Mer-kewps, 1917 Pen and ink on paper 22 1/2 x 17 1/4 inches Collection of the Ralph Foster Museum, College of the Ozarks When the Information Kewp looked up Liberty's location in his book they all set sail across the bay, carrying the cake, 1918 Pen and ink on paper 22 1/2 x 15 inches Collection of the Norman Rockwell Museum The Kewpies and Liberty's Birthday, 1918 Pen and ink on paper 22 1/2 x 16 inches Collection of Susan Wilson One Day the Kewps ..., 1918 Pen and ink on paper 22 1/2 x 17 1/4 inches Collection of the Ralph Foster Museum, College of the Ozarks Pen and ink on paper 22 1/2 x 17 1/4 inches Collection of the Ralph Foster Museum, College of the Ozarks Jell-0 advertisement - Dorothy is five years old today, c. 1920 Photolithograph, Good Housekeeping magazine, March 1921 9 x 12 inches Collection of the Jell-O Museum, LeRoy Historical Society, Gift of the Rose O'Neill Foundation Jell-0 advertisement - Playing at Housekeeping, 1920 Photolithograph, Genesee Pure Food Company 9 x 12 inches Collection of the Jell-O Museum, LeRoy Historical Society Struggle for Life (Sweet Monsters), c. 1920s Pen and ink on paper 15 x 11 l /2 inches Collection of the Norman Rockwell Museum Telling Mama about Jell-0, 1921 Pen and ink with watercolor on paper 25 x 29 inches Collection of Susan Wilson Dryad and Faun, 1922 Photolithograph 22 1/2 x 28 1/2 inches Collection of the Norman Rockwell Museum Kewpieville, 1925 Pen and ink on paper 22 x 28 inches Rose O'Neill Collection Collection of The Ohio State University Billy Ireland Cartoon Library & Museum CGA.AC.BBl 5.010 �Kewpieville, 1925 Kuddle Kewpie, c. 1925 Pen and ink on paper 22 x 28 inches Rose O'Neill Collection Collection of The Ohio State University Billy Ireland Cartoon Library & Museum CGA.AC.BBl 5.01 l Fabric, cotton, stuffing 17 3/ 4 x l Ox 4 l /2 inches Collection of the Ralph Foster Museum, College of the Ozarks Kewpieville, 1925 Pen and ink on paper 22 x 28 inches Rose O'Neill Collection Collection of The Ohio State University Billy Ireland Cartoon Library & Museum CGA.AC.BBl 5.009 The New Baby, 1927 Pen and ink on paper 17 x 14 l /2 inches Collection of the Kelly Collection of American Illustration Ladies Home Journal- Christmas Cover, 1927 Periodical page 10 x 12 inches Collection of the Ralph Foster Museum, College of the Ozarks Worshipping Freddie, 1928 Kewpieville, 1925 Pen and ink on paper 22 x 28 inches Rose O'Neill Collection Collection of The Ohio State University Billy Ireland Cartoon Library & Museum CGA.AC.BBl 5.012 The Harmonious Child - She writes his first love letter (by Sir Phillip Hamilton Gibbs) Cosmopolitan Fiction Illustration, 1925 Pen and ink on paper 18 1/2 x 22 1/4 inches Collection of Washington University in St. Louis Libraries and Collections WUISL-23-R0-#09 Scampering, scuffling, dancing little feet; Pratt Lambert Varnish, 1925 Oil on canvas 21 l /2 x 18 inches Collection of Susan Wilson A Child Shall Lead Them (by Edith Barnard Delano) Good Housekeeping Fiction Illustration, 1925 Pen and ink on paper 22 x 15 3/4 inches Collection of Washington University in St. Louis Libraries and Collections WUISL-23-RO-#O l Kewpie Mold, c. 1925-50 Cast aluminum 11 l / 4 x 7 l / 4 x 4 inches Collection of the Ralph Foster Museum, College of the Ozarks Pen and ink with watercolor on paper 20 x 19 inches Collection of Susan Wilson The Kewpies, June 1928 Pen and ink on paper 22 1/2 x 17 1/4 inches Collection of Delaware Art Museum, Gift of the Rose O'Neill Foundation, 2018 Green - As In Envy (by Forrest Wilson) Cosmopolitan Fiction Illustration, 1929 Ink and watercolor on paper 15 1/4 x 22 1/2 inches Collection of Washington University in St. Louis Libraries and Collections WUISL-23-R0-#02 Youth (by Sinclair Lewis) Cosmopolitan Fiction Illustration, 1930 Graphite and watercolor on paper 13 1/4 x 10 1/2 inches Collection of Washington University in St. Louis Libraries and Collections WUISL-23-R0-#04 Carola's Causes (by Booth Tarkington) Cosmopolitan Fiction Illustration, 1930 Graphite and watercolor on board 15 x 22 inches Collection of Washington University in St. Louis Libraries and Collections WUISL-23-R0-#05 What Is It The Mom Does? (by Lenora Mattingly Weber) Good Housekeeping Fiction Illustration, 1930 Ink, graphite and watercolor on board 22 x 30 inches Collection of Washington University in St. Louis Libraries and Collections WUISL-23-R0-#07 �Untitled (man with a pipe, woman looking over shoulder), c. 1930 Pen and ink on paper 22 x 15 3/4 inches Collection of Washington University in St. Louis Libraries and Collections WUISL-23-R0-#03 Girl and Kewpie Voting, n.d. Pen and ink on paper 12 x 8 1/ 4 inches Collection of Bonniebrook Historical Society, Museum, and Homestead Glass photo, Rose O'Neill portrait, n.d. Collection of Ralph Foster Museum, College of the Ozarks Pin-Up Girl, c. 1930-40 Pen and ink with watercolor on paper 17 1/2 x 13 1/2 inches Collection of Susan Wilson Glass photo, Rose O'Neill with Ho Ho, n.d. Mr. Big Doc (by Lenora Mattingly Weber) Good Housekeeping Fiction Illustration, 1933 Untitled (children on chair), n.d. Ink and watercolor on paper 30 x 22 inches Collection of Washington University in St. Louis Libraries and Collections WUISL-23-R0-#08 My Man (by Monica Krawczyk) Good Housekeeping Fiction Illustration, 1933 Ink, graphite and watercolor on board 30 x 22 inches Collection of Washington University in St. Louis Libraries and Collections WUISL-23-R0-#06 Ho Ho, 1940 Plaster cast 43/4x4x4inches Collection of the Ralph Foster Museum, College of the Ozarks Ho Ho, 1940 Coated plaster 4 3/4 x 4 x 4 inches Collection of the Ralph Foster Museum, College of the Ozarks Callista, n.d. Graphite on paper 10 x 14 inches Collection of the International Rose O'Neill Club Foundation Embrace of the Tree button, n.d. Manufactured button with printed ribbon 2 1/2 x 9 inches Collection of Andrew County Museum Even at Heaven's Gate, n.d. Pen and ink on paper 19 x 18 inches Collection of Susan Wilson Original photo by Gertrude Kasebier, 1907 Collection of Ralph Foster Museum, College of the Ozarks Pen and ink with watercolor on paper 26 x 30 inches Collection of Susan Wilson Untitled (couple leaning in), n.d. Pen and ink on paper 21 x 8 inches Collection of Bonniebrook Historical Society, Museum, and Homestead Untitled (figure study), n.d. Oil on canvas 27 1/4 x 20 1/4 inches Collection of the International Rose O'Neill Club Foundation Untitled (head), n.d. Graphite on paper 22 x 28 inches Collection of the Ralph Foster Museum, College of the Ozarks Untitled (Kewpie in a fairy net), n.d. Pen and ink on paper 27 1/4 x 20 1/4 inches Collection of the International Rose O'Neill Club Foundation Untitled (railroad workers), n.d. Graphite on paper 13 x 11 inches Collection of Bonniebrook Historical Society, Museum, and Homestead Untitled (Sweet Monsters), n.d. Pen and ink on paper 25 x 26 inches Collection of Susan Wilson The Will to Create# 1 (Sweet Monsters), n.d. 4 Pen and ink on paper 19 1/4 x 24 3/4 inches Collection of the International Rose O'Neill Club Foundation �Books Garda, 1929 Doubleday, Doran & Co. Collection of Sordoni Art Gallery, Wilkes University The Goblin Woman, 1930 Doubleday, Doran & Co. Collection of Ralph Foster Museum, College of the Ozarks The Kewpies, Their Book, 1913 Verses and Imag es by Rose O'Neill Frederick A. Stokes Company Collection of Ralph Foster Museum, College of the Ozarks "Sweet Monsters": The Serious Art of Rose O'Neill Pamphlet, January 1, 1980 Lois Helman (Author) Publisher unknown Collection of Ralph Foster Museum, College of the Ozarks The Loves of Edwy, 1904 Lothrop Publishing Collection of Ralph Foster Museum, College of the Ozarks The Master-Mistress, 1922 Alfred A. Knopf Collection of Ralph Foster Museum, College of the Ozarks Books By Harry Leon Wilson, Illustrated by Rose O'Neill The Lions of the Lord, 1903 Lothrop Publishing Collection of Ralph Foster Museum, College of the Ozarks The Splendors, 1902 Grosset & Dunlap Collection of Ralph Foster Museum, College of the Ozarks ��Contributors SARAH BUHR Sarah Buhr is Curator of Art at the Springfield Art Museum; she has been with the museum since 2007. During her tenure, Buhr has curated exhibitions on the work of Nick Cave, Rose O'Neill, Linda Lopez, and Roger Shimomura, among many others, and originated the biennial exhibition Four by Four: Midwest Invitational which highlights emerging artists from Missouri, Oklahoma, Kansas, and Arkansas. Buhr holds an M.A. in History with a concentration in Museum Studies from the University of Missouri - St. Louis and a B.A. in Art History from the University of Missouri - Columbia. She was previously the Assistant Curator of Fine Arts at the St. Louis Mercantile Library. JENNY SHANK Jenny Shank's story collection Mixed Company won the George Garrett Fiction prize and the Colorado Book Award in General Fiction, and her novel The Ringer won the High Plains Book Award. Her stories, essays, satire, and book reviews have appeared in The Atlantic, The Washington Post, The Guardian, Los Angeles Times, and Prairie Schooner. She is a longtime book critic and member of the National Book Critics Circle. She was a Mullin Scholar in writing at the University of Southern California. She teaches in the Mile High MFA program at Regis University and the Lighthouse Writers Workshop in Denver. HEATHER SINCAVAGE Heather Sincavage is an artist, curator, and educator. She is the Associate Professor of Art and the Director of the Sordoni Art Gallery at Wilkes University. She has performed in several performance festivals and exhibitions at the Queens Museum in ew York, Tempting Failure festival in London, during Miami Art Basel, and featured at the Tate Modern in London. She has received over 10 international artist residencies and exhibited in over 40 solo and group exhibitions across the United States, Europe and Iceland. Her work is included in "An Introduction to the Phenomenology of Performance Art: SELF/ S" by TJ. Bacon. In 2018, Heather received the Tanne Foundation Award. DIANE WENGER Diane Wenger taught courses in American History, Women's History, and Material Culture at Wilkes University where she also chaired the department of Global Cultures. She retired as emerita professor in 2019. She holds a B.A. in English from Lebanon Valley College, an M.A. in American Studies from Penn State Harrisburg, and a Ph.D. in History, Program in American Civilization, from the University of Delaware. Her publications include A Country Storekeeper in Pennsylvania (Penn State Press), Schaefferstown and Heidelberg Township (co-authored with Jan Taylor for Arcadia) and numerous articles on Early American businesses and Pennsylvania German culture and architecture. �Sordoni Art Gallery STAFF Heather Sincavage, M.F.A., Director Melissa Carestia, Assistant Director Olivia Caraballo, Educational Outreach Assistant Dylan Kofie, SAG Student Design Fellow, Project Lead Gallery ATTENDANTS McKenna Dolan, social media team member Paige Edwards, design team member, social media team member Jay' no Johnson Alina Mclaurin, social media team member Lara Mullen, social media team member Erika Tomes, design team member Advisory COMMISSION Jean Adams Melissa Carestia Greg Cant, Ph. D. Virginia C. Davis Patricia M. Lacy Kenneth Marquis Allison Maslow Bill Miller Paul Riggs, Ph. D. Eric Ruggiero, M.F.A. Heather Sincavage, M.F.A. Susan Shoemaker Jamie Smith Andrew J. Sordoni, Ill David Ward, Ph. D. Mia Weaver Joel Zitofsky �Thank You To Our SORDONI ART GALLERY MEMBERS Art Lover Director's Lifetime MEMBERS CIRCLE MEMBERS Bonnie Marconi Evans Leoma & Tim Evans Robert Friedman Elizabeth Fulton & Russel Roberts Michael & Sharon Hinchey David & Sharon Hourigan Marquis Art & Frame Michael & Marie Sincavage Margaret Sordoni Morris Susan Shoemaker Mia Weaver Westmoreland Club Joel Zitofsky & -Ronne Kurlancheek Virginia & David Davis Ray Dombroski & Colleen Demorat Harry R. Hiscox, Esq. Kathleen Kroll Caleb McKenzie Bill Miller Jean & Paul Adams Stephen & Maria Hudacek *Clayton & Theresa Karambelas Erik & Patricia Rasmussen Margaret Simms Robert & Judith Stroud Andrew J. & Susan Sordoni, Ill Matthew Sordoni Sordoni Foundation, Inc. �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The One Rose: Celebrating the Life and Legacy of Rose O'Neill: The 50th Anniversary Celebration Exhibition program, Fall 2023 Creator An entity primarily responsible for making the resource Sordoni Art Gallery Publisher An entity responsible for making the resource available Wilkes University Date A point or period of time associated with an event in the lifecycle of the resource Fall 2023 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition Program Description An account of the resource In celebration of Sordoni Art Gallery’s 50th anniversary, the gallery honored the work of Wilkes-Barre native, Rose O’Neill (1874–1944), artist, illustrator, sculptor, poet, novelist, suffragist, and entrepreneur. Exhibition ran from August 25th-October 8th, 2023. O’Neill (1874–1944), an American illustrator of the early 20th century, was a woman of many accomplishments — published poet, novelist and activist for women’s suffrage. She is considered the first female comic artist and was the first woman illustrator for Puck magazine, the leading men’s magazine of the late-19th century, entertaining its readers with considerable satire and political commentary. Kewpie dolls, based on comic strip characters O’Neill created, gained international popularity, served as the face of major advertising campaigns and appeared on a variety of household goods. O’Neill became the first woman to earn over a million dollars, and her $1.4 million fortune would be equivalent to more than $36 million today. An accomplished artist and sculptor of Sweet Monsters, her work was featured in exhibitions in Paris and New York. O’Neill was inducted into the National Women’s Hall of Fame in 2019. The One Rose celebrates the life and career of this Wilkes-Barre artist who was born just streets away from where the gallery is today. https://omeka.wilkes.edu/omeka/files/original/7ac7e4b6821d5d8dd2409e0ee8c37dd1.pdf 8f6035c06258d1ce2ca060f2d901a161 PDF Text Text '' Al »; J lj ' ' I irl If if ; I I �Three Pennsylvania Women CASSATT CECILIA BEAUX MARTHA WALTEE MARY MARCH 22-APRIL 27,1980 SORDONI ART GALLERY WILKES COLLEGE E.S. FARLEY LIBRARY WILKES UNIVERSITY WILKFS-BA'jP ] Sponsered by the Junior League of Wilkes-Barre 1 �ARC 'IVES I'. SORDONI ART GALLERY OF WILKES COLLEGE X T Director WILLIAM STERLING Coordinator CARA BERRYMAN Advisory Commission ALBERT MARGOLIES, Chairman ALETA CONNELL PATRICIA DAVIES JULIETTE EPSTEIN RICHARD FULLER THOMAS KELLY SHIRLEY KLEIN SUE KLUGER PAUL MAILLOUX MARILYN MASLOW ROBERT OTT SANDY RIFKIN JILL SAPORITO HELEN SLOAN ANDREW SORDONI, III ACKNOWLEDGEMENTS This exhibition is the first to show, in any collective w; the work of these three artists in northeastern Pennsylvai It would not have materialized without the generous assistance of numerous people and institutions. We are f and particularly grateful to the lenders who have provid the works comprising the exhibition. We also wish to extend our fullest gratitude to the Jur League of Wilkes-Barre for its sponsorship of the exhibit! without which the scope would have been far more modt and for its help in the preparations surrounding the exhibition. We thank Mr. Alan David for his help in securing the Walters. From the college, Cara Berryman, Exhibitions Coordir ator, Jane Manganeila, Associate Director of Public Relations, and Dr. Thomas Kelly, Dean of External Affi have provided indispensible service. Finally, we wish to recognize our Director Emeritus, J Philip Richards, who initiated the idea for this exhibitioi and offer our thanks to the Advsory Commission of the Gallery and to Robert S. Capin, President of the College their steady support. WILLIAM H. STERLII Director Sordoni Art Gallery JUNIOR LEAGUE OF WILKES-BARRE President JUDITH SCHALL Chairwomen ALETA CONNELL NANCY GRABENSTETTER JUDITH SEROSKA 2 [The modest scale of this exhibition does not permit a comprehe: overview of each artist's oeuvre. We have limited ourselves to paintings and pastels, with the exception of some of Mary Cassatt' prints, since she was unusually accomplished and prolific in that medium. As to selection, we were fortunate to locate works from a stages of Cecilia Beaux's career. Martha Walter is represented by I early and middle works. Cassatt is represented by early, middle an late works, but due to their extreme value or fragility, her large compositions were unavailable to us.] �ACKNOWLEDGEMENTS This exhibition is the first to show, in any collective way, the work of these three artists in northeastern Pennsylvania. It would not have materialized without the generous assistance of numerous people and institutions. We are first and particularly grateful to the lenders who have provided the works comprising the exhibition. We also wish to extend our fullest gratitude to the Junior League of Wilkes-Barre for its sponsorship of the exhibition, without which the scope would have been far more modest, and for its help in the preparations surrounding the exhibition. We thank Mr. Alan David for his help in securing the Walters. From the college, Cara Berryman, Exhibitions Coordin­ ator, Jane Manganella, Associate Director of Public Relations, and Dr. Thomas Kelly, Dean of External Affairs, have provided indispensible service. Finally, we wish to recognize our Director Emeritus, J. Philip Richards, who initiated the idea for this exhibition, and offer our thanks to the Advsory Commission of the Gallery and to Robert S. Capin, President of the College, for their steady support. WILLIAM H. STERLING Director Sordoni Art Gallery LENDERS TO THE EXHIBITION Anonymous Lenders Mr. and Mrs. Philip I. Berman, Allentown, Pennsylvania Brooks Memorial Art Gallery, Memphis, Tennessee David David, Inc., Philadelphia, Pennsylvania J. W. Fisher, Fisher Governor Foundation, Marshalltown, Iowa Judy and Alan Goffman Fine Art, Blue Bell, Pennsylvania Hall Galleries, Fort Worth, Texas The High Museum of Art, Atlanta, Georgia Indianapolis Museum of Art, Indianapolis, Indiana Johns Hopkins Hospital, Baltimore, Maryland Lehigh University, Office of Exhibitions and Collection, Bethlehem, Pennsylvania Morgan State University, Gallery of Art, Baltimore, Maryland National Collection of Fine Arts, Smithsonian Institution, Washington, D. C. National Portrait Gallery, Smithsonian Institution, Washington, D. C. Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania Robert Rice Gallery, Houston, Texas Rutgers University Art Gallery, Fine Arts Collection, New Brunswick, New Jersey [The modest scale of this exhibition does not permit a comprehensive overview of each artist's oeuvre. We have limited ourselves to paintings and pastels, with the exception of some of Mary Cassatt's prints, since she was unusually accomplished and prolific in that medium. As to selection, we were fortunate to locate works from all stages of Cecilia Beaux's career. Martha Walter is represented by both early and middle works. Cassatt is represented by early, middle and late works, but due to their extreme value or fragility, her large compositions were unavailable to us.] The Westmoreland County Museum of Art, Greensburg, Pennsylvania Whitney Museum of American Art, New York Mr. Jacques S. Zinman, Jenkintown, Pennsylvania 3 92-18^5^6 �INTRODUCTION □ The last decades of the nineteenth century and the first decades of the twentieth constituted one of the most rapidly changing and revolutionary periods in the history of art. After nearly half a millenium of dominance, the Renaissance tradition finally began to collapse as the foundation of pictorial art in western culture. Radical new art forms emerged from the maelstrom of frenetic creative activity which filled those decades. Beginning with Realism and Impressionism and moving on to Cubism, Constructivism, and Dada among many other styles, those fifty-odd years left reverberations which are still being felt in art. Mary Cassatt, Cecilia Beaux, and Martha Walter, like most serious and thoughtful artists of the period, were caught up in this storm of change and cast in their different directions by it. Along with their contem­ poraries, The Eight (whose work was shown at the Sordoni Gallery last year), these artists reflect the early phases of transition which led to modern art. □ Although the grouping together of these three painters may be arbitrary, they nevertheless share some important common ground. First, the fact that they were women compels, today, a concern about their achievement which did not exist so strongly in their own era. Women faced special obstacles in pursuing a career in the visual arts. While all well-bred and well-educated women of the 19th century were expected to acquire a certain amount of cultural polish, even to the point of becoming amateur practitioners in drawing and painting, they were hardly ever encouraged to enter the professional art world. That place was already becoming tainted with a reputation for libertinism and bohemianism. Once in a while, however, some schoolgirl would so impress her drawing instructor 4 with her abilities that an exception had to be made. Though she would hardly be encouraged to plunge pell-mell into the man's art world, a careful chaperoning through the right academies and into the right professional circles might be attempted. Though most of the academies had become coeducational, many classes, such as drawing from the nude model, still remained segregated. Once the woman ascended to a full-time career, her most acceptable specialties, if she were a painter, would be portraiture or history painting. The portraitist, because of the usual status of her clientele, rarely left the precincts of the wealthy and respected, where little harm could come to her. The J 9th century was not without its female mavericks, of course. Rosa Bonhcur, for example, enjoyed early success, but adopted the life style of her male­ companions, even to the point of dressing like them. □ It was fairly remarkable, then, for the properly bred Mary Cassatt to strikeout on her own in 1866. Even though an umbrella of familial contact and wealth still sheilded her as she journeyed to France in search of the vital artistic currents of her time, there was no tradition of interest in art in her family, and the moral support she received was apparently more obligatory than heartfelt. It was similarly remarkable for young Cecilia Beaux, a virtual orphan, and Martha Walter, to make similar moves a little later. Here were three women willing to sacrifice the usual comforts and rewards, and possibly even the respectability, enjoyed by their sisters who had chosen marriage and motherhood. For it was assumed that a woman could not easily pursue a career in art while raising a family. (There were exceptions. The other major woman Impressionist, Berthe Morisot, was able to build both a career and a family, but her husband was the brother of the great painter Manet, and was entirely supportive of his wife's career). Even for one independently wealthy, as Mary Cassatt was, there were too many demands and restrictions in marriage to allow room for the CASSATT 1-7 �V I I abilities that an exception had to be made. Though d hardly be encouraged to plunge pell-mell into the : world, a careful chaperoning through the right s and into the right professional circles might be d. Though most of the academies had become ional, many classes, such as drawing from the nude ill remained segregated. Once the woman ascended ime career, her most acceptable specialties, if she inter, would be portraiture or history painting. The it, because of the usual status of her clientele, rarely recincts of the wealthy and respected, where little Id come to her. The 19th century was not without : mavericks, of course. Rosa Bonheur, for example, iarly success, but adopted the life style of her male ms, even to the point of dressing like them. fairly remarkable, then, for the properly bred Mary □ strike out on her own in 1866. Even though an of familial contact and wealth still sheilded heras . eyed to France in search of the vital artistic □f her time, there was no tradition of interest in family, and the moral support she received was Iv more obligatory than heartfelt. It was similarly )le for young Cecilia Beaux, a virtual orphan, and Valter, to make similar moves a little later. Here ;e women willing to sacrifice the usual comforts rds, and possibly even the respectability, enjoyed listers who had chosen marriage and motherhood, s assumed that a woman could not easily pursue a art while raising a family. (There were exceptions, r major woman Impressionist, Berthe Morisot, was uild both a career and a family, but her husband jrother of the great painter Manet, and was entirely ve of his wife's career). Even for one independently as Mary Cassatt was, there were too many ; and restrictions in marriage to allow room for the I CASSATT 1-7 [ih Xv-? 5 �kind of total commitment required of a serious artist. All three of our women, therefore, eschewed marriage in favor of their careers. Of course, it is difficult to say to what extent the choice was calculated. One can imagine art becoming, early on, a surrogate to romantic love. In any case, after their adolescence, there are no indications of serious romantic attachments, although Cassatt is known to have had a very close, but probably platonic relationship with that severe bachelor among the Impressionists, Edgar Degas. Whatever impelled these women, aside from their own artistic gifts, they all unhesitantingly took up the challenge of competing in a predominantly male profession, with little precedent or tradition, known to them, to fall back upon. It required considerable determination and great self­ confidence. This fact, by itself, binds these artists. ■I □ Pennsylvanians can also appreciate the fact that our three painters were born and reared in this state. They all spent their formative adolescence in and around Philadelphia, and went on to enroll at the Pennsylvania Academy of Fine Arts, which was the oldest and one of the most important art schools in the United States. Being of different generations, their stays at the Academy did not coincide, and they apparently were not acquainted with each other until many years later. If there was any Philadelphia style or Academy style in the late 19th century, it was the sober realism of Thomas Eakins, the most eminent teacher at the Academy and one of the outstanding painters America produced in the 19th century. Cassatt had gone by the time Eakins came to teach; in fact, she was a student at the Academy at the same time he was (1861-1864), but there is little stylistically which is common to them. Cecilia Beaux enrolled in the Academy, but appears not to have studied much there, preferring instead the private classes of William Sartain. 6 Martha Walter attended the Academy after Eakins had gone. While his influence was still felt, Walter studied under another strong personality, William Merritt Chase. Of the three, only Beaux's style bears a resemblance to Eakins'. Her early portraits are close enough, in fact, to suggest his direct influence. As a portraitist in Philadelphia, during the period of Eakins' preeminence in that genre, she could hardly have avoided his style. Given these facts, there is little to connect our three women in terms of a geographical style. Jon,inant nX’i^' vherCint>"va was Romantic escnted ,n a subjects "ere "grousing the dee the intention ° ; jncient the viewer, the settm; wildernesses p the rOrnan emotion al im^ Qne inost of t< " JAnris'Moralizing or literarj academic • ,etl3ntically, rt triples of classical idealism. L for.clul mnvern. □ We may profit more from a consideration of their achievements vis a vis the artistic period in which they worked. Mary Cassatt was born in 1844. Martha Walter died in 1976, in her hundredth year. This is the span of time covered by rhe lives of the three. To a large extent, however, their work as artists compresses into a narrower stylistic frame than a span of 132 years might suggest. The half-century between 1875 and 1925 were the crucial years for our artists. Beginning with the development of Impres­ sionism in the early 1870's, and climaxing with the most extreme forms of abstraction immediately before and after World War I, many new avenues of artistic expression opened up, creating the vast heterogeneity of styles which continues to characterize art today. Cassatt, Beaux, and Walter confronted that rapidly changing world in their own ways. Yet, as painters formed in the second half of the 19th century, they were all to one degree or another affected by Impressionism. It is to this seminal movement in the history of modern art that their work must be related. Commonplace subjec ts, st were depicted matter-of-factly a tality or moralizing. In pic torial not necessarily imply photograp than not, the subject was represe brushwork and strong contrasts topresent an image with the pot* Impressionism was c lose to R* attitude toward subjec t mat ter. I or stories, or even very rnuc h in j surprising that a Realist such as toward Impressionism, or an liri] could remain < lose to Realism. T I The differences between the t emerge only when we examine! �Vcademy after Eakins had gone, elt, Walter studied under /illiam Merritt Chase. style bears a resemblance to re close enough, in fact, to <s a portraitist in Philadelphia, ireeminence in that genre, she ; style. Given these facts, there ■omen in terms of a i consideration of their tistic period in which they ?rn in 1844. Martha Walter h year. This is the span of ae three. To a large extent, s compresses into a narrower 132 years might suggest. The nd 1925 were the crucial years h the development of Impresnd climaxing with the most immediately before and after rues of artistic expression heterogeneity of styles which today. :r confronted that rapidly . ways. Yet, as painters formed i century, they were all to one y Impressionism. It is to this itory of modern art that their □ Before Impressionism was created, there were three dominant artistic modes in Europe and America. The first was Romanticism, wherein emotional, often melodramatic subjects were represented in a variety of artistic styles, with the intention of arousing the deepest subjective rsponses of the viewer. Exotic places, ancient eras, and nature's wildernesses provided the settings which engaged the emotional impulses of the romantic artist. The second mode was Classicism, the one most often championed by the academies. Moralizing or literary subjects were usually represented, often pedantically, according to the rationalist principles of classical idealism. Lastly, there was Realism, which became a forceful movement at mid-century. Commonplace subjects, such as scenes from everyday life, were depicted matter-of-factly and without any sentimen­ tality or moralizing. In pictorial form, however, Realism did not necessarily imply photographic precision. More often than not, the subject was represented with broad, vigorous brushwork and strong contrasts of light and shade, in order to present an image with the potency of real life. Impressionism was close to Realism in terms of its frank attitude toward subject matter. It had no interest in myths, or stories, or even very much in personalities. It is not surprising that a Realist such as Manet could gravitate toward Impressionism, or an Impressionist such as Degas could remain close to Realism. □ The differences between the two movements clearly emerge only when we examine their purely visual aspects. The sense of spontaneity and freshness is even greater in Impressionism than it is in Realism. Off-beat, and some­ times seemingly off-balance compositions, resembling modern snapshots, were often employed. Pictures were sometimes left deliberately “unfinished" (by traditional standards), and many paintings were completed in a single session, without reworking and, customarily, without preliminary sketches. Unlike Realism, Impressionism concentrated upon a single aspect of reality: light, with its corollary, color. Threedimensional mass and space were subordinated to the play of light and shade (i.e. tone) upon the surfaces of nature. Visual experience was regarded as a purely tonal phenomenon, to the extent that solid shapes and continuous outlines were often submerged in an atmosphere of flickering colors. In order to analyze color and light properly, the Impres­ sionist had to paint directly from the subject; landscapes, for example, had co be painted out-of-doors, on the spot, in order to capture the fleeting tones and colors as they appeared at a given moment. This was one of the reasons for the often sketchy, unfinished appearance of Impres­ sionist paintings. Just as important as accuracy of tone and color was a sense of natural vibrancy. By using a high tonal key, intense hues, and small, contrasting, briskly applied brushstrokes, such vibrancy was approached far beyond any previous style of painting. This effect is much admired today, but in the 19th century, most critics, unused to it, thought it garish and reckless. □ Impressionism, then, was a style devoted to the sense of sight and the pure enjoyment of seeing. But while the Impressionist sought to analyze and record the light and color he saw in nature, he also realized that the painted picture was physically limited as an effigy of the external world. Paint could never have the brilliance of true sunlight, nor could a small canvas encompass the true scale of a landscape. The picture, therefore, had to have a life of its 7 �i'i I I own, an internal harmony and structure which might serve as an equivalent to nature rather than a replica of it. In dealing with this concept, the Impressionists, for all their interest in reality, began to enter a world of abstraction. The vibrant, colored surfaces in the painting, with their harmonies and rhythms, were cherished for themselves. The various Impressionist painters employed these techniques in quite varying ways and degrees, with Claude Monet being the most extreme practitioner. Later gener­ ations of painters in Europe and America extended aspects of Impressionism into distinctly new styles, such as Fauvism and Futurism. Without question. Impressionism was a crucial step toward the creation of 20th century modernism. !i ill ill ___ JJ □ As dedicated painters coming to maturity during the era of Impressionism, Mary Cassatt, Cecilia Beaux, and Martha Walter had to confront it, or resign themselves to the comfortable oblivion of unquestioning traditionalism. Mary Cassatt has been accepted by history, as she was by her peers in the movement, as one of the premier French Impressionists, even though she was an American. She went to Paris in 1866, absorbed the lessons of old and new masters prodigiously on her own, and gradually achieved recognition by the art establishment. But she was not content with the status quo, and by the early 70's was clearly moving into more experimental forms. In 1877, only a few years after Impressionism had emerged as a distinct movement, its members invited Mary Cassatt to join them. Her work continued to mature and strengthen in the 80's and 90's. Like her friend Degas, Cassatt was an Impres­ sionist who exhibited other strong tendencies, which often inflected her work with Manet's brand of Realism 8 (cf. no. 1-2). But, until ill health and failing eyesight caused her to cease painting in 1914, she remained essentially an Impressionist. Indeed, she was generally hostile to most of the later developments in modern art. By temperament and capacity, Mary Cassatt and Impressionism seemed made for each other. Her preference for the human figure as a subject, however, caused her to retain more solidity of form than was usual usual among among her her colleagues, colleagues, even though all the freshness of color, spontaneity of stroke, and informality of attitude characteristic of Impressionism animated her art to the end. In the 90'5, a dose study of Japanese woodcuts heightened her sense of pattern, as did her tacit apprenticeship to Degas who had never foregone that element in his own work. Other progressive artists, such as Gauguin and Seurat, revealed similar tendencies at the same time. Only after the turn of the century, then, did Cassatt no longer seem to respond to the tides of artistic experimentation. Up to the end of the 19th century, America was culturally provincial, and any reasonably sophisticated artist or patron knew that, in matters of taste, the European centers of Paris, London, and Munich set the standards. America certainly had had artists of genius, but not a single one had significantly influenced developments in Europe and not until the last quarter of the century, was one even accepted as a progressive master equal to Europe's own. Whistler and Cassatt were among the first to crack that barrier. □ It does not belittle Cecilia Beaux's remarkable talents to say that her art remained essentially an offshoot of a more conservative European tradition. This was due, to someextent, to her choice of portraiture as a special field. Cassatt did many portraits, but they were informal studies of close friends and relatives. Beaux was a portraitist in the stricter She >jr style, dramati/' background^-’ moredw t'1 ’ whom she ha-m" ' < .. .... Be-u ! , f Ui ; . pii'blyfehth«‘i‘hadli“,e' However, her ip"- • ' certainly showed Impressions most rc -peit though, i! seem with the Realists Rather than element', of artistic form, Beau with presenting her subjt-c ts rc tradition-- of portraiture, she r< grate, and <i quiet fori efulne .-. preten e. With Whi .tier. barge one of the last pr.n titii>r;> r' of portratiure. Portraiture in the 1 usurped by the camera, leaving hands of lesser, usually mecha phenomenon in the work of v j -moved from the old portr �til ill health and failing eyesight caused j in 1914, she remained essentially an ?d, she was generally hostile to most of nts in modern art. By temperament and salt and Impressionism seemed made for ference for the human figure as a subject, t to retain more solidity of form than was lleagues, even though all the freshness :y of stroke, and informality of attitude ipressionism animated her art to the end. study of Japanese woodcuts heightened n, as did her tacit apprenticeship to Degas egone that element in his own work, artists, such as Gauguin and Seurat, ndencies at the same time. Only after the y, then, did Cassatt no longer seem to es of artistic experimentation. f the 19th century, America was culturally ly reasonably sophisticated artist or patron ters of taste, the European centers of d Munich set the standards. America I artists of genius, but not a single one had uenced developments in Europe and not rter of the century, was one even accepted master equal to Europe's own. Whistler e among the first to crack that barrier. little Cecilia Beaux's remarkable talents to remained essentially an offshoot of a more ropean tradition. This was due, to some mice of portraiture as a special field. Cassatt aits, but they were informal studies of close itives. Beaux was a portraitist in the stricter sense. Her work was usually commissioned, and she was obliged to accommodate the tastes of her "establishment" patrons. She was not reluctant to extend their expectations when it seemed possible, but a portraitist could never be very radical with a generally conservative clientele. She first followed Eakin's lead with a tightly analytical style, dramatized by spotlighting the figure against a dark background (cf, no. 2-5). Her style gradually became looser, more in the bravura manner of John Singer Sargent, with whom she has most often been compared (cf. no. 2-8). Like Cassatt, Beaux had gone to Europe (in 1888) to polish her skills, but she did not come under the spell of the avantgarde. She was not antagonistic to Impressionism, but probably felt that it had little to offer a portrait painter. However, her increasingly colorful and sketchy backgrounds certainly showed Impressionist influence (cf. no. 2-6). In most respects, though, it seems more logical to place Beaux with the Realists. Rather than experiment radically with the elements of artistic form, Beaux was much more concerned with presenting her subjects forthrightly. In the best traditions of portraiture, she rendered them with dignity, grace, and a quiet forcefulness, avoiding sentiment or pretense. With Whistler, Sargent, and Eakins, Beaux was one of the last practitioners of this grand manner of portratiure. Portraiture in the 20th century has been largely usurped by the camera, leaving the painted portrait in the hands of lesser, usually mechanical talents, or as an isolated phenomenon in the work of various modernists, where it is far removed from the old portrait tradition. □ Younger by a generation than her companions in this exhibition, Martha Walter felt the strong winds of change which followed Impressionism during her maturing years a painter. As Cassatt and Beaux had done before her, she attended the Pennsylvania Academy, where she came under the strong influence of William Merritt Chase, a popular and energetic painter, whose eclectic style contained elements of both Sargent and Impressionism. From the beginning, Walter showed a predilection for quick, fluid brushwork and strong tonal contrasts (cf. no. 3-2). This approach was intensified during the first of her many trips to Europe. That was in 1908, when Impressionism had become a more or less acceptable style, and much more radical styles, such as Fauvism and Cubism, were beginning to appear. Walter's adoption of Impressionism followed easily upon her preparations tinder Chase, and seemed an ideal approach for her favorite subject: the figure in the landscape. Becoming an Impressionist in 1908 was not a radical thing to do, but it was certainly more progressive than conservative, and Walter underscored her progressiveness by inflecting Impressionism with more modern elements. Brilliant splashes of intense color against cool grounds and almost recklessly bold brushwork brought her work close to that of Fauve painters such as Matisse and Derain (cf. no. 3-5). A loose surface pattern of color and texture predominated over illusions of depth. Sensuous paint became the proxy of sun-dappled gardens and summer beaches. Objects on the verge of dissolving into luminous atmosphere were held in focus only by boldly contrasting patches of color. Sometimes, her work veered closer to her American counterparts in "The Eight," such as Henri, Luks, and Prendergast, or independents like Edward Potthast. 9 �f r ■ : :< □ Beneath the representational surface of all three women's work lay an important modernist attitude, namely that the artistic form was as important as the subject matter. The abstract verities of that form — balance, harmony, tension, and rhythmic movement — were felt to be quite as satisfying to our senses as identifiable shapes and gestures. Design, color, and surface were recognized as expressive and appealing entities in themselves, a fact understood by all great painters of the past, but rarely stated with such boldness before the advent of modern art. In the process of capturing the sensations of the external world, our painters simultaneously created an internal world, as lush and beautiful, in their shimmering canvases. Cassatt, especially, showed an awareness of artistic structure, supported by a sound instinct for its creation. She orchestrated into a taut compositional unity the selection and application of color, the measured spontaneity of brushstrokes and sketched outlines, and the balances and tensions of masses and spaces, lights and darks. Beneath the vivacious color, commonplace subjects took on simple grandeur and eternal poise. Beaux, although more preoccupied with the specific appearance of her subjects, as required by objective portraiture, nevertheless managed to adapt those appear­ ances to rhe abstract realities of paint, color, and composition, as had her exemplars Whistler, Velasquez, and Hals. The fresh spontaneity of her brushwork both defines objective fact, and, by adhering to the solid shape of the 10 va-‘. « x subject, exists in its own right as an appealing surface in a state of flux. Like Cassatt, she had a sure eye for composi­ tion, placing her figures in solid relationship with adjacent shapes and with the edges of the canvas. Her dramatic use of light and dark, in the manner of Realists such as Manet, took the place of Cassatt's impressionistic interplay of vibrant, but tonally close colors. The result, however, is only slightly less abstract, as a distillation of reality into a visual structure compatible with the texture of paint and the design potentials of the flat, rectangular canvas. Late nineteenth century interests in surface and pattern are clearly evident in the works of both these artists. Walter was equally affected by these concerns, and to some extent, she seems to have combined the formal qualities of Beaux with those of Cassatt. The loose, liquid, brushwork of the former merges with the intense color and rhythmic excitement of the latter. But an even higher key and a greater nonchalance of stroke, the difference between an early twentieth century sensibility and a late nineteenth century one, set Walter apart from her two companions. □ We might be tempted, with these three painters, to look for a peculiarly feminine style, but nothing valid seems to come forth from any analysis along these lines. One could see as much "feminine" taste (stereotypically speaking) in the art of Renior as in that of Cassatt. Nothing partic ularly sexual seems to differentiate the styles of Beaux and Sargent, for example, or Walter and Prendergast. Although Cassatt favored female or maternal subjects, that had little to do with her style of painting, and certainly one could find male artists with similar predilections. AU three women showed an independence of mind and vigor of spirit which seems to have had nothing to do with their gender. �its own right as an appealing surface in a e Cassatt, she had a sure eye for composifigures in solid relationship with adjacent the edges of the canvas. Her dramatic use in the manner of Realists such as Manet, Cassatt's impressionistic interplay of illy close colors. The result, however, is ; abstract, as a distillation of reality into a compatible with the texture of paint and the ; of the flat, rectangular canvas. Late try interests in surface and pattern are i the works of both these artists. ually affected by these concerns, and to seems to have combined the formal x with those of Cassatt. The loose, liquid, e former merges with the intense color and nent of the latter. But an even higher key rebalance of stroke, the difference between h century sensibility and a late nineteenth Walter apart from her two companions. empted, with these three painters, to look eminine style, but nothing valid seems to any analysis along these lines. One could linine" taste (stereotypically speaking) in as in that of Cassatt. Nothing particularly lifferentiate the styles of Beaux and nple, or Walter and Prendergast. Although emale or maternal subjects, that had little /le of painting, and certainly one could with similar predilections. All three women endence of mind and vigor of spirit which d nothing to do with their gender. �□ Impressionism, 'fin de siecle' Realism, and Fauvism, the styles which most strongly affected our artists, have come to be among the most widely accepted styles in modem art, in part, perhaps, because all three represent vibrant responses to a seemingly untroubled and luxuriant world which no longer exists. To a large extent, it was the world of the gentry, created out of fourth and fifth generation wealth and culture — confident, relaxed, and responsible. It was the primary source of America's intellectual and political leadership in the late nineteenth century, but it wore its culture graciously and its wealth discreetly. Our three painters grew up in that world, understanding its values, sharing its tastes, and, in turn, mirroring its richness in opulent pigment, its solidity in firmly structured composi­ tions. Ultimately, then, it was an aesthetic rather than a style, which they shared, an aesthetic native to that gentry world, and one which survives for us today in these paintings. Only Walter, in her choice of subjects, began to sing a popular tune similar to The Eight's. Though still infused with an air of elegance, her paintings represented the emergence of a new generation, from which came forth the American Scene painting of the 1920's and 30's. WILLIAM STERLING SELECTED BIBLIOGRAPHY Background with Figures, Boston, 1930. Beaux, Cecilia. Boyle, Richard. American Impressionism, Boston, 1974. Mary Cassatt: A Catalogue Raisonne of the Graphic Work, Washington, D. C., 1979. Breeskin, Adelyn D. Breeskin, Adelyn D. Mary Cassatt: A Catalogue Rai-mtne of the Oils, Pastels, Watercolors anil Drawings, Washington, D. C„ 1970. David, Carl. "Martha Walter," American Art Review, May, 1978, pp. 84-90. Neilson, Winthrop and Frances.. Painters, Philadelphia, I960. Seven Women: Great Pennsylvania Academy of the Fine Arts. Cecilia Beaux: Portrait of an Artist, Exhibition Catalogue, Philadelphia, 1974. I he History of Impressionism, New York, 1961. Rewald, John. Sweet, Frederick A. bu-in‘ but H' With h. ■ >•’ >•.> ‘ r Parte t® cCrtt‘nUe Chapl'’lC,e,'o7'i trips in the f ' *• 11 ['no big 11 J|u * Philadelphia, but Italian Kenan sanniejues in I’arma followed before ■ As early a . 187 the Pari . Salon, tl I uropt. Although in style, it shower of the great Inipi t 1874 Salon, be rei do." t oilowing an < ourbet and Man in the a tivities of "Independents," but < cmservative ‘ finally introdu P'-nder.ts," who m Zionists. T wo i Miss Mary Cassatt, Impressionist from Pennsylvania, Norman, 1966. Cassatt's prefe ^r‘d young womp, fluent v.s.ts pa ^^Pres.dent U5Ins, and the.r t 12 �SELECTED BIBLIOGRAPHY Beaux, Cecilia. Background with Figures, Boston, 1930. Boyle, Richard. American Impressionism, Boston, 1974. Breeskin, Adelyn D. Mary Cassatt: A Catalogue Raisomme of the Graphic Work, Washington, D. C., 1979. Breeskin, Adelyn D. Mary Cassatt: A Catalogue Raisonne of the Oils, Pastels, Watercolors and Drawings, Washington, D. C., 1970. David, Carl. "Martha Walter," American Art Review, May, 1978, pp. 84-90. xieilson, Winthrop and Frances. Seven Women: Great Painters, Philadelphia, 1969. Pennsylvania Academy of the Fine Arts. Cecilia Beaux: Portrait of an Artist, Exhibition Catalogue, Philadelphia, 1974. lewaid, John. The History of Impressionism, New York, 1961. Sweet, Frederick A. Miss Mary Cassatt, Impressionist from Pennsylvania, Norman, 1966. MARY CASSATT Mary Cassatt was born in the Pittsburgh suburb of Allegheny City in 1844, the daughter of a successful businessman. The family moved to Philadelphia in 1849, but from 1851 to 1855 they lived and traveled in Europe. In 1861, at the age of 17, Cassatt entered the Pennsylvania Academy of the Fine Arts, where she studied until 1866, With her father's reluctant consent, she then moved on to Paris to continue her studies with such academicians as Chaplin, Gerome, and Couture. She also went on sketching trips in the French countryside at this time (cf. no. 1-1). During the Franco-Prussian War, she returned to Philadelphia, but by 1872, was back in Europe, studying the Italian Renaissance masters as well as printmaking tech­ niques in Parma. Trips to Spain and the Low Countries followed before she finally settled again in Paris in 1874. As early as 1872, Cassatt had had a painting accepted in the Paris Salon, the major proving ground for artists in Europe. Although her work at this time was still traditional in style, it showed a vigor and solidity which caught the eye of the great Impressionist Degas. Admiring her work in the 1874 Salon, he remarked, "There is someone who feels as I do." Following an allegiance to older "moderns" such as Courbet and Manet, Cassat became increasingly interested in the activities of the younger generation radicals, the "Independents," who no longer showed in the prestigious, but conservative Salons. In 1877, she and Degas were finally introduced, and he invited her to join the "Inde­ pendents," who were later to be known as the Impres­ sionists. Two years later she first exhibited with them. Cassatt's preference for intimate portraits of children and young women was at least partly' occasioned by the frequent visits paid her by her brothers (one of whom became president of the Pennsylvania Railroad), sister, cousins, and their families. Her mother also visited often, and in 1887, her parents moved into her new apartment on the Rue Marignan. Among her artist friends, the aloof and often difficult Degas remained one of her closest, and she his. Cassatt also hosted art-loving Americans in Paris, and became an important adviser to several major collectors, such as the Henry O. Havcmeyers (whose collection later became one of the finest in the Metropolitan Museum). Cassatt had her first solo exhibition in 1891. The next year, she was commissioned to do a large mural for the Woman's Building at the World Columbian Exposition in Chicago (a work now lost). Although a member of the avant-garde and never one to promote her own work, she did enjoy a respectable success in the Parisian art world. In 1904, she was made a Chavalier in the French Legion of Honor. She was still not well-known in her native land, spending little time there (only three visits after 1872). In 1914, however, the year she stopped painting because of increasing blindness, the Pennsylvania Academy awarded her their Gold Medal of Honor. From that point on, her reputation as America's greatest woman painter and America's greatest Impressionist, (although she lived among the French), became well established. She died at her villa, Chateau de Beaufresne, in 1926, the same year as did her eminent colleague Claude Monet. Mary Cassatt's Impressionism followed the more structured approach of her friend and critic, Degas, rather than the more diffuse style of Monet and Renoir. Especially after 1880, she showed a predilection for modelled shapes as well as linear designfcf. no. 1-5) The design aspect became even more apparent after her contact with Japanese art, particularly at the great 1890 exhibition in Paris. Her graphic work, both in drypoint and aquatint, was especially influenced by oriental pattern and composition. The ten color prints she executed in 1891 constitute one of the great achievements in the history of printmaking. 13 �I CE Like Degas, Cassatt worked frequently in pastel, increasingly so after the turn of the century when her eye­ sight began to fail. This affliction also affected her style, often forcing her to replace subtle nuances with simpler, flatter shapes and brighter colors (cf. no. 1-7). But to the very end, Cassatt retained her powerful sense of design, her vibrant surfaces, and her warm, unsentimental interpreta­ tions of subject. "Two Women, One Sketching" oil on canvas, ca. 1869, 30 x 21 Vi" On loan from Mr. and Mrs. Philip I. Berman h ! 1-2 "Young Girl Reading" oil on canvas, n.d. 9 x 8" On loan from The Collection of The High Museum of Art, Atlanta; J. J. Harvey Collection, 1949 1-3 "Sketch of a Mother Looking Down on Thomas" pastel on paper (counterproof), 1893,21% x 17" On loan from The Hall Galleries, Fort Worth 1-4 "Baby John on IJis Mother's Lap" pastel on paper, n.d., 31 x 23" On loan from J. W. Fisher, Fisher Governor Foundation, Marshalltown, lotoa 1-6 "Sketch of Jeanette" pastel on paper, ca. 1902,21 x 1772" On loan from The Gallery of Art, Morgan State University, Baltimore; Mr. and Mrs. Abraham Adler Collection Cecilia Beaux of a French I daughter Her rn0ther^ddtoFrai 1-7 "Bebe Souriant a Sa Mere" pastel on paper, 1913,33Vz x 24" On loan from The Westmoreland County Museum of Art, Greensburg, Pa.; Mary Marchand Woods Memorial Fund She was listed on the r 1-8 "The Stocking" drypoint, 1890,10% x 7^6" On loan from The Fine Arts Collection, Rutgers, The State University of Neto Jersey 1-9 "Tea" drypoint, ca. 1890, 7-1/6 x 6Vs” On loan from The Fine Arts Collection, Rutgers, The State University of Neto Jersey 1-10 "Nursing" drypoint, ca. 9% x 7" On loan from The Fine Arts Collection, Rtitgers, The State University of New Jersey 1-11 1-5 "Sara in a Green Bonnet" oil on canvas, ca. 1901,16% x 13% " On loan from The National Collection of Fine Arts, Smithsonian Institution; Gift of John Gellatly 14 "Kneeling in an Armchair" drypoint, ca. 11% x 9fts" On loan from The Fine Arts Collection, Rutgers, The State University of New Jersey although there is som training there. She die most extensive studie about 1881 to 1883, ai regularly and winning "Les Derniers Jour d ’ collection), was enter. Beaux was astonished In 1888, Beaux wer enrolled in the Acadei that the great museur ularly to those exubei Rubens, and Velasqu, returned to Philadelp: at the Academy, she v Sargent's work in Lor sionist Monet at his h in 1897, she had her f enjoy continuous crit City, and never want, most distinguished cc Was invited by the Ur Portraits of the war h B«tly, and George C "nPPhnghip injury a �CECILIA BEAUX cetch of Jeanette" ;tel on paper, ca. 1902,21 x 1, - : loan from The Gallery Art, M.'-y.:-: Sture utarersify, timore; Air. ami Nirs. .nt r.. ■....... —....r e.. .xt.... ?. be Souriant a Sa Mere' tel on paper. 1913,331 r x 24 loan from The Weshrtorel.-.rt.i County Mns.-zm: of Art, ■gnsburg, Pa.;.Mary Mor.-'rrv.r i'.’oo.f.- Momort.-’ Fund ,e Stocking" joint, 1890,10^ x7he loan from The Fine Arts CclAurtthn, Rutgers, State University cf .X’rtr Jersey >oint,ca. 1890, 7-1 6xe-.s" oan from The Fine ArtsCollection. Rutgers, State University of New Jersey rsing" oint, ca. 9?'s x 7" tmi from The Fine Arts Collection, Rutgers, State University of A'e:r lersez leling in an Armchair" oint, ca. 11 "a x9hs" ran from The Fine Arts Collection, Rutgers, itate University of New Jerse-j Cecilia Beaux was born in Philadelphia in 1855, the daughter of a French businessman and his American wife. Her mother died a tew days after her birth, and the bereaved father returned to France. leaving his infant daughter in the care of her maternal relatives. The latter were sympathetic to her interest in art as it emerged in her mid-teens, and, in 1S72. they sent her to private art classes. In 1877 and 1878 she was listed on the roles of the Pennsylvania Academy, although there is some doubt about the extent of her training there. She did exhibit at the Academy in 1879. Her most extensive studies were with William Sartain, from about 1SS1 to 1SS3, and by 1885, she was exhibiting regularly and winning awards. In 1887, one of her paintings, Les Derniers Jour d ’Enfance" (Pennsylvania Academy roZecticn was entered in the Paris Salon by a friend, and Beaux was astonished to learn that it had been accepted. In 1888, Beaux went to Europe for the first time. She enrolled in the Academie Julian, but also absorbed much that the great museums had to offer, being drawn particularlv to those exuberant handlers of pigment, Titian, Rubens, ar.d Velasquez. After a year and a half in Paris, she returned to Philadelphia. In 1896, after a brief teaching stint at the Academy, she went off again to Europe, seeing Sargent’s work in London and visiting the great Impresfionist Monet at his home in Giverny. Returning to America in 1897, she had her first large exhibition, and began to er Ay continuous critical acclaim. She settled in New York City, and never wanted for important clients. One of her most distinguished commissions came in 1919, when she was ir.r ited by the United States government to do the portraits of the war heroes, Cardinal Mercier, Sir David Beatty, and George Clemenceau (cf, no. 2-10). Only after a crippling hip injury and the onset of cataracts in 1924 did her productivity decline. Her autobiography "Background with Figures" was published in 1930, and a year later she was elected one of the twelve most distinguished living women in America by Good Housekeeping magazine, an indication of her widespread recognition. Cecilia Beaux died in Gloucester, Massachusetts in 1942. Although Beaux executed some of her strongest and freshest work in the early twentieth century, she seems today completely a painter of the nineteenth century. Indeed, she had little respect for the more radical develop­ ments of modem art, feeling that they had lost touch with humanistic values. Her greatest admiration went to such contemporaries as Eakins (cf. no. 2-5), and later Whistler and Sargent (cf. no 2-7). Her visit with Monet in 1896 was very cordial, and she liked the almost abstract works he exhibited in 1911. She never followed Impressionism, however, except in partial ways, such as some of her land­ scape backgrounds (cf. no. 2-9). The increasing bravura of her brushwork, the atmospheric treatment of solid forms, and subtle coloring (cf. no. 2-8), bore some resemblance to Impressionism, but it was equally akin to Sargent and such old masters as Velasquez and Hals. In regard to Sargent, who could be a very superficial painter, the great connoisseur Bernard Berenson once remarked that Beaux's work was superior to that of her better known peer. William Merritt Chase, another leading painter and teacher of the period, called Beaux "not only the greatest living woman painter, but the best that has ever lived." While that might be argued, there can be no question that Beaux found admirers among the most astute critics of the time. For her, modernism, per se, was irrelevant. She regarded her way as timeless and unneedful of labels. Her subjects were still more important to her than the style or method of their portrayal. Even so, Beaux's style rarely lacked an expressive blend of liveliness, elegance and formal structure, so that ultimately her paintings either transcended their subjects or epitomized them with a few bold strokes (cf. no. 2-10). 15 �"Self Portrait" oil on canvas,ca. 1880-85,18 x 14 On loan from The National Portrait Gallery, Smithsonian Institution 2-7 "Adelaide Nutting" (First Superintendent of the John-IS Hopkins Hospital School of Nursing, 1894-1907) oil on canvas, n.d., 38 x 25" On loan from Johns Hopkins Hospital, Baltimore 2-2 "Landscape With a Farm Building" oil on canvas, 1888,11 x 14" On loan from The Pennsylvania Academy of the Fine Arts; Gift of Henry S. Drinker, 1950 2-8 "Mrs. Samuel Hamilton Brooks" oil on canvas, 1911, 48 x 34" On loan from The Collection of the Brooks Memorial Art Gallery, Memphis; Gift of Mrs. Samuel Hamilton Brooks 2-3 "A Breton Woman, and Other Studies" oil on canvas, 1888, 15 Vs x 10s/s" On loan from The Pennsylvania Academy of the Fine Arts; Gift of Henry S. Drinker, 1950 2-9 "Mrs. Addison Clay Harris" oil on canvas, 1917,55 x 41 Vz" On loan from The Indianapolis Museum of Art; Gift of Mrs. Addison C. Harris 2-4 "A Young Woman" oil on canvas, ca. 1895, 295/s x 22% " On loan from The Pennsylvania Academy of the Fine Arts; Gift of Henry 5. Drinker, 1950 "George Clemenceau" oil on canvas, 1920,47 x 36% " On loan from The National Collection of Fine Arts, Smithsonian Institution; Gift of the National Art Committee 2-5 2-11 "Portrait of Ethel Page (Mrs. James Large)" oil on canvas, 1884, 30 x 25" On loan from Judy and Alan Goffman Fine Art "Dr. Henry Sturgis Drinker" oil on canvas, ca. 1923, 50 x 37" On loan from Lehigh University, Office of Exhibitions and Collection 2-6 I 2-10 I >' LA "Dorothea in the Woods" oil on canvas, 1897,53% x 40" On loan from The Whitney Museum of American Art, New York; Gift of Mr. and Mrs. Raymond J. Horwitz' 3-5 IB �i ' (First Superintendent of the ’ohn< School of Nursing, 1894-1907) 38 x 25" ; Hopkins Hospital, Ba’Hrscro lilton Brooks" ,48x34" Collection of the Brook's k—.4^ Gift of Mrs. Samtie’. "■3 i y Harris" ,55x41-;" ndianapc'is Museum :• .~^t ■ jn C. Harris ■■ .3 au" ,47x36\" National Collection C" .-.-rs. ution; Giri 0! ,\r;„ ':.~i ■ Cr-;-::r:co i s Drinker" 923,50 x 37" gh Univ: rsity, Office c Election WALTER ■ ■ 'i V- -• 0 17 �MARTHA WALTER Martha Walter was born in Philadelphia in 1875. Follow­ ing high school, she entered the Pennsylvania Academy, where she studied with the eminent quasi-Impressionist painter, William Merritt Chase. In the first decade of the twentieth century, Walter's work showed not only the influence of her master, but also that of painters such as Henri, Sargent, and Whistler, with whom she shared a taste for rich surfaces and dark tonalities (cf. no. 3-1). In 1908, she won a two-year traveling scholarship, which took her to Spain, Italy, Holland, and France. In Paris, she studied at the Grande Chaumiere, but finding its classical curriculum stiffling, she moved to the Academie Julian. Shortly after­ ward, she established her own studio, and began to work in a somewhat Impressionist manner, including out-of-doors painting. The full impact of Impressionist color did not make itself felt in Walter's art until about 1912, however. In 1909, she won the Academy's "Mary Smith Prize," for best work by a woman. With the outbreak of World War I, Walter returned to America and began a series of beach scenes at Gloucester and Atlantic City (cf. no. 3-5). Here, the full potency of Impressionist light and color came into play, but with an added impetuosity that resembled the style of the Fauves, whom she had seen in Paris. Sometimes, Walter called upon earlier inspirations, such as Boudin's works of the 1870s, for her cloudy beach scenes (cf. no. 3-10). Walter was a constant traveler, shuttling between Paris and her studios in New York and Gloucester (where Cecilia Beaux also had a studio). In addition, she taught at the New York School of Art and, for a time, in Brittany. Perhaps because of her own cosmopolitanism and her interest in less 18 fortunate travelers, she spent several months in 1922 paint­ ing a series of thirty-six pictures of the crowded immigratioi halls of Ellis Island. In that same year, she had a large exhibition in Paris, from which the French government selected a painting for the Musee du Luxenbourg collection. 171-' Walter traveled to North Africa in the 1930s, and responded to that special quality of light and color there, which had also intrigued such painters as Delacroix and Matisse. In 1941, she had a large exhibition at the Art Club of Chicago, and a few years later opened a studio in Palm Beach. Walter continued painting well into her nineties, and died at the age of one hundred in 1976. To the end, she remained a painter of locales — beaches, gardens, market­ places —- just as Cassatt had been a painter of friends and family. Not unlike Cassatt, she was most stimulated by the strong patterns and rich colors of her subjects, and projected them with great facility and verve. Despite a long and successful career, Walter's art is still not widely known, but this seems destined to change. 'While not an innovator among the modernists of her age, she did develop a distinctive style. Her often daring color, vivacious brushwork, and consistently solid compositions have endured the tides of fashion, much as have those similar qualities in such contemporaries of hers as Henri, Sloan, and Marsh. Like theirs, Walter's paintings retain their wonderful freshness and energy. Air Kids" licgNude" aioacanvas.1912,14x18" Ch :^vDmidDmid,Inc., Philadelp Parasol' --.’actEvas, 1918,14x18" '■■ r:'~ ’ ^-“-'sZmman Section �S' sne SDen, 1 3-7 lgover At Ur§ CollectiOri ■ ~Ior there, and .ArtQub ’ne hundred in 1976 £her nineties - of locales — beach * she assatt had been a paiX^fo ' ?**' Cassatt, she was mos‘ d rich colors of her subjeccility and verve. “Boy in Black Cape oil on canvas, 1904,51 x 38 On loan from David David, Inc., Philadelphia Shady Spot in Luxembourg Gardens, Paris" oil on canvas, 1919, 20 x 25" On loan from a private collection 3-2 “Paris Cafe" oil on canvas, 1906,22V: x 17^2 " On loan from David David, Inc., Philadelphia 3-8 H "Coney Island" oil on panel, 1922,14 x 18" On loan from David David, Inc., Philadelphia i ! 3-9 ) and d by ** d Pr°J'ected nd successful career, Walter's art is still ■ but this seems destined to change. While mong the modernists of her age, she did ' “The Fresh Air Kids" oil on canvas, 1910,78 x 38" On loan from David David, Inc., Philadelphia "Mother and Baby" oil on canvas, 1922, 30 x 24" On loan from David David, Inc., Philadelphia 3-4 “Reclining Nude" oil on canvas, 1912,14 x 18" On loan from David David, Inc., Philadelphia 3-10 "After the Storm" oil on canvas, n.d., 24 x 30" On loan from The Robert Rice Gallery, Houston i i /e style. Her often daring color, vivacious msistently solid compositions have 3-5 "Japanese Parasol" oil on canvas, 1918,14 x 18" On loan from Mr. Jacques Zinman )f fashion, much as have those similar ntemporaries of hers as Henn, Sloan, ana , Walter's paintings retain their ss and energy. 3-6 "Young Woman in Black Hat" oil on canvas, 1918,21 x 26" On loan from a private collection f 19 �! WALTER 20 3-10 �MILKES COLLEGE LI8RARV �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1980 March 22-April 27 Three Pennsylvania Women: Mary Cassatt, Cecilia Beaux, and Martha Walter Creator An entity primarily responsible for making the resource Sordoni Art Gallery Publisher An entity responsible for making the resource available Sordoni Art Gallery; Wilkes University Date A point or period of time associated with an event in the lifecycle of the resource 1980 March 22- April 27 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition book https://omeka.wilkes.edu/omeka/files/original/b1e4525250ab0ce13153d517adead8d3.pdf e8e3ea6832da561c69f79e020726b5db PDF Text Text �AN EXHIBITION OF PAINTINGS BY THE EIGHT robert hcnri arthur b. davies william glackens ernest lavvson georgeluks maurice prendergast E.S. FARLEY LIBRARY WILKES UNIVERSITY WILKES-BARRE, PA everelt shinn john sloan MARCH 9 — APRIL 1, 1979 WILKES COLLEGE SORDONI ART GALLERY 1 �ACKNOWLEDGEMENTS Mr. J. Philip Richards, Director of the Sordoni Gallery, who lent invaluable aid in the selection process; The Advisory Commission of the Wilkes College Sordoni Art Gallery makes grateful acknowledgment to the follow­ ing lenders and to those who through their interest, generos­ ity, and cooperation have so greatly enhanced the success of this exhibition: Mrs. Cara Berryman, Exhibitions Coordinator of the Sor­ doni Gallery, who expertly handled the many logistical prob­ lems involved in an undertaking so wide in scope; Dr. William Sterling, Chairman of the Wilkes College Art Department, for his exacting work in this catalogue; BUCKNELL UNIVERSITY, (George M. Jenks, Director) Mr. Robert S. Capin, President of Wilkes College, whose cooperation knew no bounds; LEHIGH UNIVERSITY, (Ricardo Viera, Director of Exhibitions and Collection) - Dr. Thomas Kelly, Dean of External Affairs of Wilkes College, whose liason work smoothed all problems; PENNSYLVANIA ACADEMY OF THE FINE ARTS, (Richard J. Boyle, Director) Mr. George Pawlush, Director of Wilkes College Public Relations, and Mrs. Jane Manganella, Assistant Director, who handled all phases of publicity and public relations; READING PUBLIC MUSEUM & ART GALLERY, (Bruce L. Dietrich, Director) SYRACUSE UNIVERSITY, (Domenic J. lacono, Director) Mrs. Arnold Rifkin, who contributed her intimate knowl­ edge of The Eight, and assisted in much needed gallery con­ tacts; VASSAR COLLEGE, (Peter Morrin, Director) THE WESTMORELAND COUNTY MUSEUM OF ART, (Paul A. Chew, Director) Mrs. Esther Davidowitz, for her invaluable suggestions in promoting this retrospect. MUSEUM OF ART, PENNSYLVANIA STATE UNIVERSITY, (William Hull, Director) And to all members of the Sordoni Art Gallery Advisory Commission without whose aid and support this presenta­ tion might not have been made possible. COE-KERR GALLERY INC. BERRY HILL GALLERIES We sincerely wish that all visitors who are destined to view this show, might share the same excitement, we who gathered it experienced during the past twelve months. KRAUSHAAR GALLERIES HIRSCHL & ADLER GALLERIES INC. Several private area collectors who for personal reasons chose to remain anonymous. ALBERT MARGOLIES Chairman, Advisory Commission The exhibition of works by the Ash Can School — the carefully selected product of the Immortal Eight, could not have been mounted to engage our intelligence; to exhilarate our feelings; to stimulate our sensual experience, without the dedicated assistance of the following: Sordoni Art Gallery Wilkes College Wilkes-Barre, Pennsylvania 2 SIGNIFICANCE OF THE EIGI Just about a lifetime ago, on February 3,1903 ant exhibition of paintings opened in New YorJ Gallery. It was to be among a handful of landr which, over the next few years, would arouse A out of its complacency and into the mainstream o century modernism. The exhibition consisted o eight American artists who were operating eithei or barely within the artistic establishment of the ert Henri, John Sloan, William Glackens, George rett Shinn, Maurice Prendergast, Ernest Lawson, B. Davies. Two years later, Henri and Sloan helped to o other landmark show, the Exhibition of Indepenc in direct competition with the annual display by t Academy of Design, that august bastion of ai conservatism. In 1913, another member of the Ei B. Davies, became a prime mover of the renowr Show which brought together, for the first time hundreds of works by the leading avant-gard Europe and the United States. Today's spectator would perceive striking sty ences between the 1908 and 1913 events. The A highlighted such radical groups as the Cubists a ves, while the exhibition of The Eight offered w< ly representational character, with an occasion; into Impressionism. Europe's progressive front on from Impressionism some twenty years earl: Matisse's Fauvism was officially three years old, was on the verge of Cubism. The pace of artis ment in America clearly lagged behind that of sweeping changes were not to be made ovem 1850s and 1860s the French realist painters C Manet had turned their backs on the accepted < romantic traditions of the French Academy, and �ip Richards, Director of the Sordoni Gallery, luable aid in the selection process; Jerryman, Exhibitions Coordinator of the Sorvho expertly handled the many logistical prob­ in an undertaking so wide in scope; Sterling, Chairman of the Wilkes College Art or his exacting work in this catalogue; S. Capin, President of Wilkes College, whose lew no bounds; ; Kelly, Dean of External Affairs of Wilkes : liason work smoothed all problems ; Pawlush, Director of Wilkes College Public I Mrs. Jane Manganella, Assistant Director, II phases of publicity and public relations ; 1 Rifkin, who contributed her intimate knowl|ght, and assisted in much needed gallerv conDavidowitz, for her invaluable suggestions in ; retrospect. lembers of the Sordoni Art Gallen- Advisory-ithout whose aid and support this presentahave been made possible. y wish that all visitors who are destined to v, might share the same excitement, we who erienced during the past twelve months. 1GOLIES nsory Commission alienPennsylvania SIGNIFICANCE OF THE EIGHT a path for fresh thinking that ultimately drew along it the Impressionists, the Post-Impressionists, and every radical movement of the early twentieth century. Just about a lifetime ago, on February 3,1908, an import­ ant exhibition of paintings opened in New York's Macbeth Gallery. It was to be among a handful of landmark events which, over the next few years, would arouse American art out of its complacency and into the mainstream of twentieth­ century modernism. The exhibition consisted of works by eight American artists who were operating either outside of, or barely within the artistic establishment of the time: Rob­ ert Henri, John Sloan, William Glackens, George Luks, Eve­ rett Shinn, Maurice Prendergast, Ernest Lawson, and Arthur B. Davies. In America, The Eight performed a similar, if somewhat belated function. They were spoilers who championed artis­ tic freedom in a society which had held tenaciously and rev­ erently to the academic line. They were not the first non-con­ formists; men such as Thomas Eakins, Winslow Homer, and Albert Ryder had successfully gone their own way, but they had not crystallized widespread rebellion; Mary Cassatt and Whistler had created more radical styles in their time, but only as expatriates little known or appreciated in their native land. The Eight, on the other hand, set off the first explosion to seriously undermine the power structure of the academic establishment in America. Two years later, Henri and Sloan helped to organize an­ other landmark show, the Exhibition of Independent Artists, in direct competition with the annual display by the National Academy of Design, that august bastion of authoritarian conservatism. In 1913, another member of the Eight, Arthur B. Davies, became a prime mover of the renowned Armory Show which brought together, for the first time in America, hundreds of works by the leading avant-garde artists of Europe and the United States. The show was precipitated when the National Academy refused to accept works by Sloan and Glackens for their 1907 exhibition. Henri, a member of the Academy jury, could not prevail upon his colleagues, and in fact, found his own work luke-warmly accepted. Therefore, he determined to organ­ ize an independent exhibition which would show work of the more liberal artists. The show of The Eight, as a con­ troversial event, was very well attended, and received as much favorable as hostile criticism. All in all, and with $4,000.00 in sales, it was a success. Today's spectator would perceive striking stylistic differ­ ences between the 1908 and 1913 events. The Armory show highlighted such radical groups as the Cubists and the Fauves, while the exhibition of The Eight offered work of solid­ ly representational character, with an occasional excursion into Impressionism. Europe's progressive front had moved on from Impressionism some twenty years earlier. By 1908, Matisse's Fauvism was officially three years old, and Picasso was on the verge of Cubism. The pace of artistic develop­ ment in America clearly lagged behind that of Europe, and sweeping changes were not to be made overnight. In the 1850s and 1860s the French realist painters Courbet and Manet had turned their backs on the accepted classical and The painters of the Eight did not constitute a homogene­ ous group, and they never exhibited all together again. Lawson and Prendergast were strongly influenced by Impres­ sionism, though in quite different ways, and Davies was a Fantacist, loosely related to the French Symbolists. Only Henri, Sloan, Shinn, Luks, and Glackens formed a long­ standing and fairly closeknit group. These five shared a style of briskly painted realism, similar to Manet's, as well as a passion for ordinary subjects unsentimentally presented, particularly ones drawn from their own urban surroundings (hence their later designation "The Ash Can School"). romantic traditions of the French Academy, and had broken 3 �them squarely in a late nineteenth-century aesthetic. It was as if they had reinvented the wheel, and historians whose primary criterion for achievement was innovation had diffi­ culty looking at work which was "out of date." Robert Henri, the eldest of these five, had been their in­ spirational mentor and supporter back in their Philadelphia days, when he was teaching at the Pennsylvania Academy and they were working as newspaper artists. With their journalistic backgrounds, Glackens, Luks, Shinn, and Sloan responded naturally to Henri's spontaneous realism. These men had not deliberately set out to break new artistic ground, and certainly they don't look very radical today. Indeed, they revered such old masters as Hals, Velasquez, and Goya, who mated candor with powerfully graphic styles. Henri and his Philadelphia friends sought to reveal twen­ tieth-century life with the same candor and visual pungency. The other three members of The Eight were more involved with poetic transformations of the natural world, but all eight were ill-treated by an art establishment which still fa­ vored romantic idylls, classical pastiches, and vignettes of drawing room morality. Several things have happened in the last decade which may be changing this approach. For one thing, as we recede farther from the birth of modernism in Paris, the significance of its initial moments no longer overshadows so completely the importance of the hours of assimilation which followed, especially within the context of the cultural differences which existed between Europe and America. A somewhat analogous situation would be the adoption of Caravaggio's style by younger painters, such as Velasquez, in the seven­ teenth century. The intrinsic power and beauty of Velasquez' early work are not belittled because it resembles Caravag­ gio's. There has also been a widespread return to various forms of naturalism in contemporary art, which places the center of vanguard taste somewhat closer to The Eight than it has been for quite a few decades. At the same time, American scholars (and not just the chauvinistic ones) have begun to outgrow their inferiority complex, vis-a-vis Europe, when it comes to any discussion of American art before our own rev­ olutionary period of the forties and fifties. More than ever before, American art of the past is being looked at on its own terms and for its inherent strength. As historical cata­ lysts, The Eight have always been recognized; as artists in their own right, they may now receive a fresh appraisal. The historical position of The Eight is usually fixed in terms of the group's catalytic role in bringing about an im­ portant change in America's artistic values. By promoting liberalized exhibition opportunities for less conventional art­ ists, they opened the door for a much broader exchange of ideas and tastes. It might not be reaching too far to assign another significance to these painters, particularly the AshCan contingent. Their brash, bravura, paint-loving techni­ que and their sensitivity to the vital presence of the Ameri­ can urban environment place them closer to the Abstract Expressionism of the fifties than we might initially suppose. In a spiritual sense, The Eight were the forerunners of the New York School which erupted on the international scene after World War II. It is the purpose of this exhibition to reveal The Eight on both these levels. As we experience them together again, we can perhaps more easily imagine their impact in IPOS.* At the same time, we can look at them with an open mind, in the solace of another day. Yet, except for Prendergast, whose style approached a Fauve-like abstractness and therefore seemed more modem, The Eight have rarely enjoyed the limelight in twentieth­ century criticism. Modernist scholars were not inclined to look beyond the fact that these painters resembled Manet and his generation more than anyone else, which placed * The present show, while representing al! the artists of The Eight, does not include those pictures which were in the original exhibition (with one exception). Many oi these works are later, and show something of the various directions the artists leek during their careers. 4 SELECTED BIBLIC ARTHUR B. DAVIES, 1862-1928. Introduction by H. K. Prior. V Institute, Utica, New York, 1962. BERRY-HILL, H & S. Ernest La~.cn pressionist. Leigh-on-Sea, Englar BREUNING, M. Maurice Prendergi BROWN, M. W. American Paintin to the Depression. Princeton, 195 CARY, E. L. George Luks. New Yor DU BOIS, G. P. Ernest Lawson. Nev DU BOIS, G. P. John Sloan. New Yi DU BOIS, C. P. William J. Glacken: THE EIGHT (Exhibition Catalogu Art, Brooklyn, 1944. FINK, L. M. and J. C. TAYLOR Aca Tradition in American Art. Wash GALLATIN, A. E. John Sloan. New �th-century aesthetic. It -was ■heel, and historians whose it was innovation had diffi"outof date." J in the last decade which For one thing, as we recede sm in Paris, the significance overshadows so completely ssimilation which followed, >f the cultural differences and America. A somewhat e adoption of Caravaggio's as Velasquez, in the sevener and beauty of Velasquez' tuse it resembles Caravag- ;ad return to various forms rt, which places the center er to The Eight than it has t the same time, American nistic ones) have begun to ;, vis-a-vis Europe, when it can art before our own revind fifties. More than ever t is being looked at on its Irength. As historical cata:n recognized; as artists in eive a fresh appraisal. tion to reveal The Eight on ce them together again, we their impact in 1908.* At em with an open mind, in SELECTED BIBLIOGRAPHY GLACKENS, I. William Glackens Er the Ashcan Croup: The Emergence of Realism in American Art. New York, 1957. ARTHUR B. DAVIES, 1862-1928. (Exhibition Catalogue). Introduction by H. K. Prior. Munson-Williams-Proctor Institute, Utica, New York, 1962. GOODRICH, L. John Sloan, 1871-1951. New York, 1952. HENRI, R. The Art Spirit. Philadelphia, 1923. BERRY-HILL, H. & S. Ernest Lawson, N.A.; American Im­ pressionist. Leigh-on-Sea, England, 1968. HOMER, W. I. Robert Henri & His Circle. Ithaca, 1969. BREUNING, M. Maurice Prendergast. New York, 1931. HUNTER, S. "The Eight-Insurgent Realists," Art in Amer­ ica XLIV. (Fall, 1956), 20-22,56-58. BROIVN, M. W. American Painting from the Armory Show to the Depression. Princeton, 1955. THE LIFE & TIMES OF JOHN SLOAN (Exhibition Cata­ logue). Introduction by H. F, Sloan & B. St. John. Dela­ ware Art Center, Wilmington, 1961. CARY, E. L. George Luks. New York, 1931. PERLMAN, BENNARD The Immortal Eight. New York, 1962. DU BOIS, G. P. Ernest Lawson. New York, 1932. DU BOIS, G. P. John Sloan. New Y'ork, 1931. PHILLIPS, D., ET AL. Arthur B. Davies: Essays on the Man and His Art. Cambridge, Massachusetts. 1924. DU BOIS, G. P. William J. Glackens. New York, 1931. 1HE EIGHT ■ Exhibition Catalogue), Brooklyn Museum of RHYS, H. H. Maurice Prendergast. Cambridge, Massachusettes. 1924. Art, Brooklyn, 1944. SCOTT, D. & J. BULLARD John Sloan. Washington, 1971. FINK, L. M. and J. C. TAYLOR Academy: The Academic Tradition in American Art. Washington, D. C., 1975. YOUNG, M. 5. The Eight: The Realist Revolt in American Painting. New York, 1973. GALLATIN, A. E. John Sloan. New York, 1925. I artists cf The Eight, does not include Bbiticn (Hith ere c*rcf*Ucr,} Man> ot Bthe various directions the artists took 5 �Show and several other important exhibitions of the Lime. ROBERT HENRI I Henri's success as a painter was matched by that as a teacher, and his students included such major figures George Bellows, Edward Hopper, and Man Ray. In terms of local interest, it may be noted that during the summer of 1902, Henri painted-landscapes at Black Walnut, Pennsyl­ vania, northwest of Wilkes-Barre, at the home of his wife's parents. "Picnic at Meshoppen," in the present exhibition dates from this visit. In 1907-08, Henri again travelled to Wilkes-Barre, to paint portraits of Mr. & Mrs. George Cot­ ton Smith and Miss Edith Reynolds. (1865-1929 Born in Cincinnati, Ohio) Henri was the doyen of the Philadelphia, or Ash Can, con­ tingent of The Eight. Having lived most of his adolescence in the middle and far west, Henri displayed something of the audacity and rugged individualism typically associated with the American frontier. His father, a land speculator, had killed a man in self-defense in Nebraska, but before his name was cleared, he had changed it and had fled to New Jersey. His son, Robert Henry Cozad, thus became Robert Henri (Hen'-rye). Henri studied at the Pennsylvania Academy under Thomas Anshutz, one of Thomas Eakins' foremost students. His natural inclinations for candor and realism flowed easily into the Eakins tradition. Henri's ambition to excel as an artist carried him to Paris in 1888 for several years of study at the Academe Julien, during which time he was temporar­ ily 'attracted to academic painters, such as his teacher Bougereau. His attempts at acceptance into the prestigious Ecole des Beaux-Arts met with failure until 1891, Gradually, he gravitated toward the loosely-painted realism of Manet, as well as to old masters such as Velasquez and Hals. "Cafe at Night, Paris" oil 32 x 25%" On loan from Lehigh University, Department of Exhibitions and Collection, Bethlehem, Pennsylvania. 2. "Rue de Rennes" oil 25% x 32" On loan from Vassar College Art Callery, Poughkeepsie, New York. Back in Philadelphia, Henri's charisma drew a large and faithful following to the weekly open-houses at his studio, where art, literature, philosophy and politics were discussed along with regular forays into madcap fun and frivolity. Henri, Sloan, Glackens, Shinn and Luks cemented their ties there. 4. "Picnic at Meshoppen, Pennsylvania, July 4, la02" oil 26 x 32" On loan from The Westmoreland County Museum of Art. Greensburg, Pennsylvania. After a well-reviewed one-man show at the Pennsylvania Academy in 1897, selection into three Paris salons, and the purchase of one of his paintings by the French government, Henri's place in the art establishment was well-secured. From that position, he fought to liberalize the establishment, particularly with regard to exhibition opportunities for young and progressive artists. He was chief instigator of the exhibition of The Eight and also had a hand in the Armory 5. "Dutch Fisherman" oil 24 x 20" On loan from The Westmoreland County Museum of Art, Greensburg, Pennsylvania. 6 Bridgie Beg' oil 20 x 24" On loan from a private collection. �■ important exhibitions of the time, painter was matched by that as a its included such major figures as I Hopper, and Man Ray. In terms of . noted that during the summer of dscapes at Black Walnut, Pennsylkes-Barre, at the home of his wife's hoppen," in the present exhibition 1907-08, Henri again travelled to ortraits of Mr. & Mrs. George Cot1 Reynolds. J iversify, Department of Exhibitions m, Pennsylvania. '.allege Art Gallery, Poughkeepsie, mnsylvania, July 4,1902" moreland County Museum of Art, ia. moreland County Museum of Art, ia. 3. "Bridgie Beg" oil 20 x 24" On loan from a private collection. 7 �WILLIAM ARTHUR B. DAVIES (1870-l°38 Bom m Phi (1862-1928 Born in Utica, New York) o Davies was not one of the Ash-Can painters, and at first glance it would seem unlikely that he could have had much in common with them. But like them, he sought to free art from the grip of the Academy. With a talent for organiza­ tion and a perspicacious eye, he was largely responsible for putting together the Armory Show in 1913. ft j Davies initially studied landscape painting, then attended the Chicago Academy of Design, and briefly considered a career as a draftsman. He went to New York to further his studies in painting and in 1893 was off to Europe. His dreamy landscapes, often inspired by myths and poems, put him into the orbit of late Romantic and Symbolist artists such as Bocklin, Puvis de Chevannes, and Odilon Redon. I J 7. "Seven Nudes" oil 11 x 213/4" On loan from Lehigh University, Department of Exhibitions and Collection, Bethlehem, Pennsylvania. After the Armory Show, Davies began to experiment with Cubism, and also turned more and more to printmaking. His Cubist work put him irrevocably into the mainstream of twentieth-century art, and along with Prendergast, made him the most apparently modem of the painters of The Eight after World War I. 6. "Silvered Heights" oil 18 x 40" On loan from Lehigh University, Department of Exhibitions and Collection, Bethlehem, Pennsylvania. 9. "Lane with Trees and Fence" watercolor 4Vz x 7" ' On loan from Lehigh University. Department of Exhibitions and Collection, Bethlehem, Pennsylvania. 8. "Bam Swallow" watercolor 7 x 5V2" On loan from Lehigh University, Department of Exhibitions and Collection, Bethlehem, Pennsylvania, 10. "Cows Out to Pasture" watercolor 4Vs x 6Vs" On loan from Lehigh University, Department of Exhibition? and Collection, Bethlehem. Pennsylvania. 8 Glackens had little formalj a natural facility and a prod: naturally suited to the artist/ est in serious painting soon newspaper colleagues, to He with whom he came to share France for a year before settli a taste for Manet, the Impress Impressionists. In 1898, Glackens risked li War for McClure's Magazin but mainly from the vantage heard about the day’s events Manet, Glackens’ later work ful vein, similar to Renoir's I Saco at Conway," for examp scenes to nudes, landscapes, Albert Barnes. Glackens wr procuring many of the maste and post-impressionist pain important Barnes Foundation vania. 11. "Nude Dressing Hair’ oil 30 x 25" On loan from Lehigh Univen and Collection, Bethlehem, P 13. Mixed Bouquet, White Vast oil 16 x 14" On loan from the Kraiishaar ( �WILLIAM GLACKENS (1870-1938 Bom in Philadelphia, Pennsylvania) Glackens had little formal art training, but was gifted with a natural facility and a prodigeous visual memory’. He was naturally suited to the artist/reporter profession. His inter­ est in serious painting soon led him, via his Philadelphia newspaper colleagues, to Henri, who encouraged him and with whom he came to share a studio. Glackens travelled to France for a year before settling in New York, and developed a taste for Manet, the Impressionists, and several of the PostImpressionists. In 1898, Glackens risked life and limb to cover the Cuban War for McClure’s Magazine. (Luks also covered the War, but mainly from the vantage point of tl^e taverns, where he heard about the day's events.) Early under the influence of Manet, Glackens' later work followed a lighter, more color­ ful vein, similar to Renoir's Impressionism (as seen in "The Saco at Conway," for example). He also turned from urban scenes to nudes, landscapes, and still-lifes. A friend of Dr. Albert Barnes, Glackens was instrumental in selecting and procuring many of the masterpieces of French impressionist and post-impressionist painting which now comprise the important Barnes Foundation Collection in Merion, Pennsyl­ vania. y, Department of Exhibitions nsylvania. [./, Department of Exhibitions Insylvania. I/, Department of Exhibitions fisylvania. ____lXS.1 12. "The Saco at Conway" oil 25 x 30" On loan from the Kraushaar Galleries, New York. II. "Nude Dressing Hair" oil 30 x 25" On loan from Lehigh University, Department of Exhibitions and Collection, Bethlehem, Pennsylvania. 14. "Nude with Black Stockings" oil 16J/2 x 13" On loan from a private collection. 13. "Mixed Bouquet, White Vase" oil 16 x 14" On loan from the Kraushaar Galleries, New York. 15. "Flowers in a Pitcher" oil 24 x 18" On loan from the Berry Hill Galleries, New York. 9 ( �a. i.. ,• j. - ERNEST LAWSON j 7-.^ . (1873-1939 Born in Nova Scotia, Canada) *■- •T Lawson was the only member of the group who was pri­ marily a landscapist. During his lifetime, he travelled widely, beginning with a stint as a draftsman in Mexico, where his father was engaged in an engineering project. He later moved to New York, and studied under the American impression­ ists Twachtman and Weir. ■ -'Vh7,. "A ' - -J"/ - -a" - —— In Paris, he came under the influence of European Impres­ sionism as a friend of Sisley. Later trips took him to Spain, Nova Scotia, and west and midwest of the United States, and finally to Florida, where he died. Today, however, we associate Lawson mostly with the up­ per reaches of Manhattan and the Harlem River, where he was living at the time of the Exhibition. More than any other painter, he preserved, with poetic substantiality, the charac­ ter of those places. Working with the palette knife, he ma­ nipulated his scumbled impastos into a surface of "crushed jewels," as one critic described it. And though he is typically thought of as an impressionist, Lawson shared with the Symbolists a belief that color should be used to evoke partic­ ular emotions rather than merely depict natural facts. 16. "High Bridge-Winter" oil 19 x 24" On loan from The Reading Public Museum and .Art Gallery, Reading, Pennsylvania. 17. "Spring" 19. "The Blue Hill" oil ■16 x 197a" On loan from Vassar College Art Callcry. Poughkeepsie, New York. oil 25 x 30" On loan from the Syracuse University Art Collections, Syra­ cuse, New York. 18. "The Everglades" oil 30 x 40" On loan from Vassar College Art Gallery, Poughkeepsie, New York. 20. "The Lock" oil 177a x 3174" On loan from The Westmoreland County Museum of -Art, Greensburg, Pennsylvania. 10 GEORGE 1 (1867-1933 Bern William; Luks, the son of a cuitured phys a free spirit and a mocker of Vi went to Philadelphia in 1833, appa ville performer. He briefly attende emy, and then spent several years met his fellow Ash-Can painters ir Philadelphia Press, where thev r staff of the New York World, lie t ing comic strip, "The Yellow Kid." ly involved in painting, he devi Henri's with dark tonalities and fondness for seventeenth-century dent in this work. Luks, only ha that Frans Hals was incarnate witl came lighter, more colorful, often ; With his irrepressible theatrical was the group's clown prince, gi1 instigating barroom brawls. But h ly honest. On his impulsive and claimed, "I can paint with a shoe lard .,. Guts! Guts! Life! that's mt 22. "Portrait of a Man" oil 3072 x 2574 " On loan from The Westmorelanc Greensburg, Pennsylvania. 23. "Beggar Woman" oil 20 x 16" On loan from a private collection. �GEORGE LUKS ('iScv-lP-'-’ Born in Williamsport, Pennsylvania) I I I I I I I I I Luks, the son of a cultured physician, was from the outset a free spirit and a mocker of Victorian respectability. He went to Philadelphia in 18S3, apparently to become a vaudeville performer. He briefly attended the Pennsylvania Academy, and then spent several years traveling in Europe. Luks met his fellow Ash-Can painters in the art department of the Philadelphia Press, where they regularly met. Joining the staff of the -Veto York World, he took over the first continuing comic strip, "The Yellow Kid." As he became increasingly involved in painting, he developed a style similar to Henri's with dark tonalities and broad brushstrokes. His fondness for seventeenth-century Dutch painting was evi­ dent in this work. Luks, only half-jokingly, used to claim I that Frans Hals was incarnate within him. His later work be| came lighter, more colorful, often garish. Bridge-Winter" ■24" from The ■ng, Pennsylvania. useur: and Art Gallery, 21. "Boy with Bowl" oil 30 x 25" On loan from Lehigh University, Department of Exhibitions and Collection, Bethlehem, Pennsylvania. With his irrepressible theatrical flair and brashness, Luks I was the group's clown prince, given to practical jokes and I instigating barroom brawls. But his painting was unfailing| ly honest. On his impulsive and brutally realistic style, he claimed, "I can paint with a shoestring dipped in pitch and lard... Guts! Guts! Life! that's my technique." Blue Hill" 22. "Portrait of a Man" 24. "Old Timer" oil 3074 x 25" On loan from the Hirschl and Adler Galleries Inc., Neto York. I oil 1972" ’an from ’. assar College Art Gal’er-j, Poughkeepsie, York. Lock'­ t317i" an from The Westmoreland County Museum of Art, sburg, Pennsylvania. 30% x 25*4" I Or. loan from The Westmoreland County Museum of Art, I Greensburg, Pennsylvania. 23. "Beggar Woman" 25. "Little Tommy" oil 23 x 177a " On loan from the Coe-Kerr Callery Inc., Neto York. oil 20 x 16" On loan from a private collection. ll �■ ■■--■w. . ?: :-y:x ■ ■ ' EVERETT SHINN Ct (1876-7953 Born in Idstown. New Jersey) MAURICE PRENDERGAST (1859-1924 Born in Newfoundland, Canada) Prendergast, although the eldest of The Eight, was the most avant-garde in style. He came to serious painting graduauj, _____ o ' t as a show-card painter in Boston. ually, out Three having years instarted Paris (1892-95) were spent absorbing the lat­ est developments in art created by the Impressionists, the Neo-Impressionists, the Symbolists, and the Nabis, Despite the fact that he was a provincial painter in his middle thir­ ties, Prendergast gravitated easily to this radical current. By 1900 he had developed a personal style reminiscent of Pierre Bonnard's. Both men shared a love for the festive promenades and graceful landscapes of urban parks. The dancing rhythms of Prendergast's bright patchworked color exuded an air of bourgeois elegance. Perhaps more than any other American painter of the first decade of the twentieth century, Prendergast approached the lyrical color explora­ tions of Matisse. His abstractness, lack of "finish," and lav­ ish color caused his work to be the most strongly attacked by the critics of The Eight, but this was no deterrant to a mature and independent spirit. Later on, he experimented with a somewhat pointillist technique of painting, partly de­ rived from Paul Signac. From beginning to end, Prendergast remained an individualist who charted his own artistic course. "Marblehead Rocks," in the present show, was in the original exhibition of The Eight. Everett Shinn, the youiue.t of The Eight, had the mt varied career. In addition to painting and illustration. Shit at one time or another, teas involved in set design, moti picture art direction and playwriting. i % i 27. , „ "Marblehead Rocks watercolor 14 x 10" On loan from a private collection. Shinn met the other Philadelphia painters at the Penns vania Academy, which he attended while working as an lustrator for the Philadelphia Press Ilis ambition, upon i grating to New York City, was to establish himself ai fashionable illustrator for the better magazines and public ing houses. His pastel of the Metropolitan Opera House a snowstorm, rendered overnight to meet the deadline landing a job with Harper's Weekly, helped to launch h toward the fulfillment of his ambition. Unlike the other A‘ Can painters, Shinn gravitated to the fashionable sections town rather than the humbler ones. Art, University Park, Pennsylvania. His interest in the theater was stirred by his trip to Pr in 1901, and the* pictures he showed with The Eight indue stage scenes. Partly because of this interest, he was parti larly drawn to the art of Degas. He also shared with Dei a love for pastel as a medium, two examples of which app in the present show. 29. "Cresent Beach" oil 10% x 13/16" On loan from Bucknell University, Ellen Clarke Bertrand Li- : 31. "Strong Man, Clown and Dancer" oil 10 x 8" On loan from the Pennsylvania Academy of the Fine A 28. "Bathers in a Cove" oil 20 27% from " On Xloan Pennsylvania State University, Museum 26. "La Rouge: Portrait of Miss Edith King" oil 28/z x 31/2" On loan from Lehigh University, Department of Exhibitions brary, Lewisburg, Pennsylvania. Philadelphia, Pennsylvania. 30. "Paris Omnibus" oil 10/4 x 13%6" On loan from Bucknell University, Ellen Clarke Bertrand Li- ' 32. "Clown" oil 9 x 7>/z" On loan from Vassar College Art Callery, Poughkeep brary, Lewisburg, Pennsylvania. and Collection, Bethlehem, Pennsylvania. 12 of New York. �EVERETT SHINN " ■ -if-i--j-. -d r-,- 'ection. (1876-1953 Born in Woodstown, New Jersey) Everett Shinn, the youngest of The Eight, had the most varied career. In addition to painting and illustration, Shinn, at one time or another, was involved in set design, motion picture art direction and play writing. Shinn met the other Philadelphia painters at the Pennsyl­ vania Academy, which he attended while working as an il­ lustrator for the Philadelphia Press. His ambition, upon mi­ grating to New York City, was to establish himself as a fashionable illustrator for the better magazines and publish­ ing houses. His pastel of the Metropolitan Opera House in a snowstorm, rendered overnight to meet the deadline for landing a job with Harper's Weekly, helped to launch him toward the fulfillment of his ambition. Unlike the other AshCan painters, Shinn gravitated to the fashionable sections of town rather than the humbler ones. tia State University, Museum of isylvania. His interest in the theater was stirred by his trip to Paris in 1901, and the pictures he showed with The Eight included stage scenes. Partly because of this interest, he was particu­ larly drawn to the art of Degas. He also shared with Degas a love for pastel as a medium, two examples of which appear in the present show. iversity, Ellen Clarke Bertrand Livania. 31. "Strong Man, Clown and Dancer" oil 10 x 8" On loan from the Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania. liversity, Ellen Clarke Bertrand LiIvania. 32. "Clown" oil 9 x 71/2" On loan from Vassar College Art Gallery, Poughkeepsie, New York. 34. "Snowstorm, Washington Square" pastel 25 Vz x 19V2" On loan from a private collection. 33. "The Green Ballet, 1943" oil 19% x 30" On loan from The Westmoreland County Museum of Art, Greensburg, Pennsylvania. 35. "Startled Nude" pastel 15 x 14V1" On loan from a private collection. 13 �37. "Horace Traubel" JOHN SLOAN (1871-1951 Born in Lock Haven, Pennsylvania) oil 32 x 26" On loan from the Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania. Sloan was the "slow starter" of the Ash-Can group, ut one of its most durable successes. He continued to work as an artist/reporter for Philadelphia newspapers long after his journalist colleagues in The Eight had turned to painting. He was the last of them to move to New York, and the only one never to go to Europe. For a long time he received little attention as a painter, and sold his first painting only after 38. "Self Portrait" oil 24 x 20" On loan from the Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania. he was past forty. His manner of painting was also slower than that of his Philadelphia friends. He had less facility with the quick study than men such as Luks and Glackens, and during his newspaper career concentrated on illustrations for the Sun­ day sections rather than attempting on-the-spot recordings of fast-breaking news. On the other hand his work took on an increasing structural solidity, and he gained early recogni­ tion as an illustrator with his art-nouveau drawings and his etchings for novels. 39. "Gloucester Harbor" oil 26 x 32" On loan from Syracuse University Art Collections, Syracuse, New York. When he began his career as a serious painter in New York, Sloan turned to the realities of the urban environment for inspiration. So candid and forceful was his work that several paintings submitted to an exhibition in 1906 were rejected for their "vulgarity." Sloan's deep attachment to the humbler elements of urban society aroused more than artistic interest in them, and he ran for the State Assembly in 1908 on the Socialist ticket, but was defeated. In 1912 he became art editor for the socialist magazine, The Masses. His social consciousness continued to influence his painting and illustration for several years, but after World War I, he turned more fully to formal problems, such as the study of the nude. Like his own mentor, Henri, Sloan became an in­ fluential teacher, whose students included such later mas­ ters as Alexander Calder, Adolph Gottlieb, Barnett New­ man, and Reginald Marsh. 40. "Dolly Reading" oil 20 x 24" On loan from a private collection. 36. "Balancing Rock, Gloucester Harbor" oil 26Vz x 32 Vz" On loan from Lehigh University, Department of Exhibitions and Collection, Bethlehem, Pennsylvania. 14 �idemy of the Fine Arts, ademy of the Fine Arts, ,rt Collections, Syracuse, Ir" Department of Exhibitions Ifoania. �Director J. PHILIP RICHARDS Coordinator CARA BERRYMAN Advisory Commission MR. ROBERT CAPIN MRS. STANLEY DAVIES MRS. CHARLES EPSTEIN MR. RICHARD FULLER DR. THOMAS KELLY MRS. ALLAN KLUGER MR. MICHAEL KOLESAR mrs. john McDonald MR. ALBERT MARGOLIES MR. ANDREW SORDONI, III DR. WILLIAM STERLING WILKES COLLEGE SORDONI ART GALLERY WILKES-BARRE, PENNSYLVANIA 18766 16 �llliffl 100D183318 MILKES COLLEGE LIBRARY �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1979 March 9 - April 1 An Exhibition of paintings by The Eight Subject The topic of the resource Exhibition program Creator An entity primarily responsible for making the resource Sordoni Art Gallery Publisher An entity responsible for making the resource available Sordoni Art Gallery; Wilkes University Date A point or period of time associated with an event in the lifecycle of the resource 1979 March 9 - April 1 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition Book https://omeka.wilkes.edu/omeka/files/original/93ceaf08bf92584fa40b202b1b8b88d8.pdf 04d6c446b60f5ff6412d7ba445c07543 PDF Text Text � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource [no year] August 28 - September 5 Paper Expressions Creator An entity primarily responsible for making the resource Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource [no year] August 29 -September 5 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition Notice https://omeka.wilkes.edu/omeka/files/original/cb5b291ac588b62ea0597a3f749055d6.pdf 855182e2ee45f94f97a5ac56d98b53ac PDF Text Text �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. 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Title A name given to the resource 1981 - 1982 Exhibition Calendar Creator An entity primarily responsible for making the resource Sordoni Art Gallery Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition Calendar https://omeka.wilkes.edu/omeka/files/original/3d500ea6fbaf4d58d7c25c589cef1a2b.pdf a00266f8afe08c2e3134d74f385b208d PDF Text Text %? i'+. *trs 4*:' ffi �KEYSTONE COLLEGE MOBILE GLASS STUDIO COM MUN ITY DEMONSTRATION FRIDAY SEPTEMBER '15, 2017,from 5 - 7PM During the Third Friday Art Walk ANDY WARHOL 15 MINUTES: FROM IMAGE TO ICON OCTOBER 6 - DECEMBER20,2017 OPEN/NG RECEPTION & R/BBON CUTTING CEREMONY OCTOBER 6 Ribbon Cutting: 4:30pm Gallery Reception: 5 - 7pm Pennsylvania artist, Andy Warhol, changed how we view art. lnspired by pop culture, Warhol's imagery defined the new age of fine art and influenced society, to in turn, be a creator of pop culture. This exhibition examines the artist's inspiration, process, and wide influence to both fine and commercial a rt. JO'N U5 F O R T H E WARH O L W ED N ES DAY LECTU RE SERIES: October 11: Curator'sTour with Director Heather Sincavage (in gallery) October 25: 'Andy Warhol is a V: Bachelorhood & the Celibate Factory" by Dr. Benjamin Kahan, Louisiana State University November 15: 'Andy and the Rusyns" by Dr. Elaine Rusinko, University of Maryland, Baltimore County (co-sponsore d by the Eastern PA Chapter of the Carpatho-Rusyn Society) All Lectures are at 4:30pm in KC Room 135. Please check website for updates' PEPPER POI *.ffi.1 SELECTIONS FROM THE SORDONI COLLECTION OF AMERICAN ILLUSTRATION & COMIC ART ANGELA FRALEIGH BETWEEN TONGUE AND TEETH JANUARY 16 - MARCN 2,2018 APRILS-MAY20,2O18 Angela Fraleigh reimagines the woman's role as it has been depicted in art history, literature, and media. Her paintings revisit centuries-old, male dominated sources and provide women with agency. Fraleigh is the Chair of Studio Art at Moravian College. ., . ':" GUERRILLA GIRLS ON TOUR POSTER MAKING WORKSHOP APRIL 9,2018, from 2 - 4:30PM Registration Required OffereC rn con1,.,nciio Cen der,ilu cre-. Cc lt'rittt r, f e re n :-e the Vt/cnte n & This landmark exhibition features more than 100 years of the art of illustration. Often featured in advertising, these works stand alone as works of art. Artists featured are: NC Wyeth, Maxfield Parrish, & Chris Payne. �SORDONI ART GALLERY AT WILKES UNIVERSITY WI L KES 84WESTSOUTH STREET UNIVERSITY WILKES - BARRE, PA18766 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2018- 2019 Exhibition Calendar Creator An entity primarily responsible for making the resource Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 2018-2019 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition Calendar https://omeka.wilkes.edu/omeka/files/original/14d4bd000c836a8d9af4bfb005e2e6e5.pdf a00266f8afe08c2e3134d74f385b208d PDF Text Text %? i'+. *trs 4*:' ffi �KEYSTONE COLLEGE MOBILE GLASS STUDIO COM MUN ITY DEMONSTRATION FRIDAY SEPTEMBER '15, 2017,from 5 - 7PM During the Third Friday Art Walk ANDY WARHOL 15 MINUTES: FROM IMAGE TO ICON OCTOBER 6 - DECEMBER20,2017 OPEN/NG RECEPTION & R/BBON CUTTING CEREMONY OCTOBER 6 Ribbon Cutting: 4:30pm Gallery Reception: 5 - 7pm Pennsylvania artist, Andy Warhol, changed how we view art. lnspired by pop culture, Warhol's imagery defined the new age of fine art and influenced society, to in turn, be a creator of pop culture. This exhibition examines the artist's inspiration, process, and wide influence to both fine and commercial a rt. JO'N U5 F O R T H E WARH O L W ED N ES DAY LECTU RE SERIES: October 11: Curator'sTour with Director Heather Sincavage (in gallery) October 25: 'Andy Warhol is a V: Bachelorhood & the Celibate Factory" by Dr. Benjamin Kahan, Louisiana State University November 15: 'Andy and the Rusyns" by Dr. Elaine Rusinko, University of Maryland, Baltimore County (co-sponsore d by the Eastern PA Chapter of the Carpatho-Rusyn Society) All Lectures are at 4:30pm in KC Room 135. Please check website for updates' PEPPER POI *.ffi.1 SELECTIONS FROM THE SORDONI COLLECTION OF AMERICAN ILLUSTRATION & COMIC ART ANGELA FRALEIGH BETWEEN TONGUE AND TEETH JANUARY 16 - MARCN 2,2018 APRILS-MAY20,2O18 Angela Fraleigh reimagines the woman's role as it has been depicted in art history, literature, and media. Her paintings revisit centuries-old, male dominated sources and provide women with agency. Fraleigh is the Chair of Studio Art at Moravian College. ., . ':" GUERRILLA GIRLS ON TOUR POSTER MAKING WORKSHOP APRIL 9,2018, from 2 - 4:30PM Registration Required OffereC rn con1,.,nciio Cen der,ilu cre-. Cc lt'rittt r, f e re n :-e the Vt/cnte n & This landmark exhibition features more than 100 years of the art of illustration. Often featured in advertising, these works stand alone as works of art. Artists featured are: NC Wyeth, Maxfield Parrish, & Chris Payne. �SORDONI ART GALLERY AT WILKES UNIVERSITY WI L KES 84WESTSOUTH STREET UNIVERSITY WILKES - BARRE, PA18766 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2017-2018 Exhibition Calendar Creator An entity primarily responsible for making the resource Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 2017 January Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource The exhibition calendar for 2017-2018 Type The nature or genre of the resource Calendar Rights Information about rights held in and over the resource SAG