Английская Википедия:Elizabeth Sparhawk-Jones
Шаблон:Short description Шаблон:Infobox artist Elizabeth Sparhawk-Jones (born Elizabeth Huntingdon Jones; November 8, 1885 – December 26, 1968) was an American painter who lived in New York City, Philadelphia, and Paris, France.Шаблон:R She had a successful career as a painter at the turn of the century, exhibiting her works internationally and winning awards. She had a mental breakdown that caused a break in her career, and she returned to have a successful second career, creating modern watercolor paintings. She was a resident at three artist colonies, with notable artists, writers, and musicians. Sparhawk-Jones' works are in American art museums, including the Art Institute of Chicago, Metropolitan Museum of Art, and Museum of Modern Art.
Personal life
Family
Elizabeth Huntingdon Jones was born on November 8, 1885,[1]Шаблон:Rp the daughter of Rev. John Sparhawk Jones, D.D. and Harriet Sterett Winchester, who grew up in Northern Baltimore County on the Clynmalira estate.Шаблон:RШаблон:Efn John Sparhawk Jones was a clergyman at the Brown Memorial Presbyterian Church in Baltimore's Bolton HillШаблон:RШаблон:Efn until 1890.Шаблон:R The Sparhawk-Joneses moved to Philadelphia after John suffered a deep depressionШаблон:R and he became the pastor of the Calvary Church in 1894.Шаблон:RШаблон:Efn
Her mother was a domineering woman who nonetheless believed in allowing children to follow their talents and interests.Шаблон:R She introduced Elizabeth and her sister Margaret to classic literature.Шаблон:RШаблон:R Both of her parents encouraged Elizabeth to pursue her interest in art,Шаблон:R which began at about seven years of age.Шаблон:R She won first place in a nationwide art contest as a childШаблон:R and left school at about 15 years of age to attend the Pennsylvania Academy of the Fine Arts (PAFA).Шаблон:R
Elizabeth's first love was Morton Livingston Schamberg, who was a fellow artist and student at the Pennsylvania Academy of the Fine Arts.Шаблон:R Her parents, though, did not approve of her relationship with Schamberg, likely because he was Jewish. In 1906, she was persuaded by her parents to turn down the coveted two-year traveling scholarship from PAFA, which would have had her in Paris at the same time as Schamberg. Their relationship then ended.Шаблон:R
In 1907, Elizabeth changed her name to Elizabeth Sparhawk-Jones to honor her father's mother.[1]Шаблон:Rp
While the family of four was on vacation,Шаблон:R Elizabeth's father died on August 20, 1910, in VermontШаблон:R at Bread Loaf.Шаблон:RШаблон:Efn That year, Margaret graduated from University of Pennsylvania with a Master's Degree.Шаблон:R Margaret married Bayard Turnbull in Paris in October 1913Шаблон:R against her mother's wishes. Harriet pressed Elizabeth to side with her, which resulted in a strained relationship between the sisters for many years.Шаблон:R Elizabeth became exhausted from her career efforts, the strain in the relationship with her sister Margaret, and family financial losses.Шаблон:R
Mental breakdown
Sparhawk-Jones struggled with depression, like her father, and when she was not well she burned her paintings, which reduced the number of works available for sale.Шаблон:R In 1913,Шаблон:RШаблон:R Sparhawk-Jones had a mental breakdown and lived in the Pennsylvania Hospital for the Insane for three years.Шаблон:RШаблон:R The experience was hard on her and she was forever changed. Sparhawk-Jones was terrified and lonely at the asylum, and may have been subject to opium or sedative drugs.Шаблон:R She moved in with her mother after she was released from the hospital in 1916.Шаблон:R Sparhawk-Jones dealt with the losses of her teacher William Merritt Chase, who died in 1916, and Morton Shamburg, who died in 1918.Шаблон:R She said that she did not work as an artist for about 12 years.Шаблон:R
Relationships
Sparhawk-Jones appreciated the company of writers over other artists, and enjoyed the periods when she lived at artist retreats, like MacDowell Colony and Yaddo, which had resident writers, musicians, and artists.Шаблон:R Edwin Arlington Robinson (1868–1935), a Pulitzer Prize winning poet,Шаблон:R and Sparhawk-Jones visited the MacDowell Colony at the same times over a cumulative total of ten years.Шаблон:R They had a romantic relationship in which she was in love with him,Шаблон:R devoted to him, understood him, and did not press for a more intimate relationship. He called her Sparhawk and was courteous towards her.Шаблон:R They had a relationship that D. H. Tracy described as "courtly, quiet, and intense." When he died, Sparhawk-Jones attended his vigil and then painted several paintings in his memory.Шаблон:R She described him as a charming, sensitive, and emotionally grounded man with high moral values.Шаблон:R
Sparhawk-Jones was a friend of Nancy Cox-McCormack, with whom she corresponded between 1935 and 1956,Шаблон:R Marsden Hartley,Шаблон:R and Hudson Walker (of the Hudson Walker Gallery).Шаблон:R Sparhawk-Jones was known for her humor and wit, but confided in a 1964 oral history interview that she always felt lonely, preferring a quiet lifestyle.Шаблон:R
Residences
Sparhawk-Jones lived part of her adult life in and around Philadelphia, including the rural Westtown Township, Pennsylvania. She visited Paris often for up to six months at a time, returning to spend time with her family.Шаблон:RШаблон:Efn In the mid-1950s, she moved to Paris and lived there at least through the mid-1960s.Шаблон:R
Education
Sparhawk-Jones studied at the Pennsylvania Academy of the Fine Arts (PAFA).Шаблон:R From about 1900, when she was 15 through about 1903, when Thomas Anshutz, Charles Sheeler, and Morton Livingston Schamberg were there. Anshutz taught sketch classes with plaster cast models and dressed models.Шаблон:R She received letters of encouragement and critiques by William Merritt Chase,Шаблон:R who taught a portrait and life class.Шаблон:R During one of the summers at PAFA, she studied in Paris at the Academie de la Grande Chaumiere, where she found the life drawing classes freer than in the United States. In Paris, models included adolescents and pretty young women, and there was an openness and comfort with nudity.Шаблон:R Sparhawk-Jones attended Darby School of Painting at Fort Washington,Шаблон:R under Anshutz,Шаблон:R who was co-founder of the summer school and taught there through 1910.Шаблон:R She learned modern art through Schamberg, who was a romantic interest at PAFA.Шаблон:R
Career
Early career
Sparhawk-Jones was supporting herself through the sales of her oil and watercolor paintings by the time she was eighteen. She painted scenes of women reading or shopping as well as mothers and children walking through a park.Шаблон:R Her Impressionist works, known for their vivid colors, were exhibited internationally in 1908,Шаблон:R like the Carnegie Institute's international exhibition where she was the only woman to win anything and the only artist from the United States to receive an honorable mention.Шаблон:R That year, The New York Times called her "the find of the year",Шаблон:RШаблон:R having found her painting The Porch to be the "most unforgettable canvas" in the exhibition that they reviewed. Her use of color and expressive brush strokes were compared by art critics to William Merritt Chase's style.Шаблон:R
She exhibited at the Pennsylvania Academy of the Fine Arts and in 1908 and 1912 was awarded the Mary Smith Prize.Шаблон:R The 1908 prize was won for Roller SkatesШаблон:R and the 1912 prize was won for a painting of a flower shop in ParisШаблон:R entitled In the Spring, noted for its radiant colors.Шаблон:R Sparhawk-Jones's portrait, painted by Alice Kent Stoddard before 1911, is in the collection of the Pennsylvania Academy of the Fine Arts.Шаблон:R
Shoe Shop, which she painted in 1911, captures the chaotic shopping excursions of the cosmopolitan New Women of the 20th century. This is compared to the more sedate painting by William Glackens entitled The Shoppers (1907). Both paintings, though, capture wealthy women who have a new-found interest in shopping in the city, evidenced by the crowded figures in the paintings.Шаблон:R The Journal of the American Medical Association, which used Shoe Shop as its March 24, 1999 cover, described Sparhawk-Jones as "witty, spirited, and talented".Шаблон:R She received positive critical attention for her paintings, but Sparhawk-Jones did not enjoy and avoided promoting her work.Шаблон:R
Her painting Shop Girls Шаблон:Circa was exhibited at the Art Institute of Chicago as part of an intention to pick "eye-popping" or "little masterpieces of compactness and stimulation" from American artists' works of the late 19th century and early 20th-century.Шаблон:R Now in the Art Institute's collection,Шаблон:R Shop Girls was the first woman's painting bought by the Friends of American Art of the Art Institute. It was purchased in 1913 from Sparhawk-Jones for $550. Women's paintings were not generally as revered as paintings by men, which could fetch several thousands of dollars per painting at that time.Шаблон:RШаблон:R The painting was made into a poster in the 1980s by the New York Department of Labor,Шаблон:R which had the following quotation:
Low point
She hit a low point in her career when she suffered from mental illnessШаблон:R and was admitted to an asylum in 1913.Шаблон:R She exhibited work in the mid 1910s, for example at the 1916 exhibition at the Pennsylvania Academy of the Fine Arts when she exhibited The Gardener.Шаблон:R
Artist colonies
She was one of the resident painters in the MacDowell Colony,Шаблон:R run by Marian MacDowell in Peterborough, New Hampshire.Шаблон:R Lilla Cabot Perry was another of the resident painters.Шаблон:R The colony provided residence and a place for men and women to develop their literary, artistic, or musical talent.Шаблон:RШаблон:R Sparhawk-Jones was identified as one of the "men and women who have gone on to enrich American life". Among the other named influential people were Puerto Rican Governor and poet Luis Muñoz Marín, novelists Willa Cather and Thornton Wilder, and poet Edwin Arlington Robinson.Шаблон:R According to Starhawk-Jones, she was there for a sum total of about ten years, and Robinson was there during each of her stays.Шаблон:R
In 1928,Шаблон:R she was a resident at Yaddo,Шаблон:RШаблон:R a 400-acre estate and artist community in Saratoga Springs, New York founded by Spencer and Katrina Trask.Шаблон:R She continued to receive invitations to visit Yaddo for one- to two-month stays over the years, and her works were exhibited with those of Yaddo residents after her stays, such as in 1956 when two of her watercolor paintings incorporated in a Yaddo exhibit at Schenectady Museum while she was living in Europe.Шаблон:R Other former Yaddo residents include Langston Hughes, Katherine Anne Porter, Truman Capote, and Sylvia Plath.Шаблон:R
For two or three years, she lived and worked in Florida at the Research Institute (now Maitland Art Center), which was run by Mary Louise Curtis Bok, later the wife of Efrem Zimbalist, and Andre Smith.Шаблон:R Her works were exhibited at the Research Studio Gallery in late March and early April 1940.Шаблон:R
Later career
She encouraged gallery and Pennsylvania Academy of the Fine Arts shows of the works of self-taught Horace Pippin, of whom she said: "For me he is one of the few real artists in our century, when he is at his best."Шаблон:R
In the 1940 book Pennsylvania; a Guide to the Keystone State, Sparhawk-Jones was identified as one of the state's "important young artists".Шаблон:R William Alexander Newman Dorland also identified her as a talented woman painter, along with Cecilia Beaux and other American and English painters in his book The Sum of Feminine Achievement.Шаблон:R She reestablished a successful career of modern works in the 1940s, during which she lived in Philadelphia.Шаблон:RШаблон:R Sparhawk-Jones has particularly had a following in Chicago and Philadelphia.Шаблон:R
In 1940, she combined watercolor and oil in The Generations. Of her talent, realized in the painting, Marsden Hartley said, "It seems to be with something of a mental rapier that she conceives her subject matter for [her] pictures border on the exceptionally forceful and they are different in thought, as well as execution, from the work of most of the soft painters among men and women. She is a thinking painter with a rare sense of the drama of poetic and romantic incident."Шаблон:R
Шаблон:Multiple image She painted with watercolor in the 1940s,Шаблон:R producing works such as The Dreamer which is in the permanent collection of the Delaware Art Museum.Шаблон:R
- Curator Heather Campbell Coyle compared it to Michelangelo's The Dream (c.1533) and Francisco Goya's Capricho 43: The Sleep of Reason Produces Monsters (1799). In Sparhawk-Jones' painting, the dreamer is a sleeping nude woman surrounded by images that seem to reflect her eerie nightmare.Шаблон:R A skeleton lies against a stone in the foreground and above her nude women are carried by "winged creatures" into the darkness.Шаблон:R Women are also carried away by men with wings, dressed in business suits.Шаблон:R The painting has a composition similar to Michelangelo's painting, but Coyle states that, to her, the work is more similar to Goya's painting that also includes winged creatures above the sleeping subject of the painting.Шаблон:R
Sparhawk-Jones was called a phenomenon in 1944 in an American Artist magazine, in which the author questioned, "Strange, that she is not recognized far and wide as among the ablest, most distinguished women painters in the United States."Шаблон:R Sparhawk-Jones may not have attained greater fame, because at that time there was a "glass ceiling" for women artists that prevented them from attaining significant notoriety, according to biographer Townsend Ludington.Шаблон:R Jerry Saltz of the Village Voice, for example, found that modern women painters, born 1879 to 1969, only accounted for 5% of the paintings in the Museum of Modern Art's permanent collection,Шаблон:R which includes one of her paintings, Startled Woman. Barbara Lehmen Smith postulated about additional theories. For instance, it could also have been because she didn't promote her paintings, further complicated by her destruction of paintings when she was ill. Another theory is that she was not taken seriously because of her periods of mental illness.Шаблон:R
An exhibition of her watercolor paintings was held at PAFA in April 1948.Шаблон:R Beginning in the mid-1950s and into the mid-1960s, she lived and enjoyed painting in Paris at the Saint Roman hotel near Tuileries Garden and the Louvre.Шаблон:R Her work was featured in a story in the summer 1954 issue of the New Mexico Quarterly.Шаблон:R Sparhawk-Jones was described as an emotional painter who created spiritual works of art in the 1960s.Шаблон:R She was interviewed in 1964 for an oral history project by Ruth Gurin Bowman, curator of New York University's art collection, who gave the interview materials to the Archives of American Art.Шаблон:R That year she won an award for her painting of a seascape at the Silvermine Guild of Artists show in New England.Шаблон:R
Death and legacy
Sparhawk-Jones died on December 26, 1968, in a hospital in Connecticut. She was buried in the same cemetery as her parents in Immanuel Episcopal Church, Glencoe, Maryland;[1]Шаблон:Rp her sister was later buried there too.Шаблон:R
Papers about Sparhawk-Jones' career, including exhibition catalogs, sketches, artist's statements, and newspaper clippings are held at the Victor Building in the Smithsonian American Art Museum / National Portrait Gallery Library.Шаблон:R In 2010, Elizabeth Sparhawk-Jones: The Artist Who Lived Twice, a biography of her life, was written and published by Barbara Leham Smith. Her research included four boxes of materials that had originally belonged to Sparhawk-Jones that were inadvertently included with Smith's boxes during an office move from La Paix,Шаблон:Efn the former home of Margaret Sparhawk Jones Turnbull,Шаблон:R to another St. Joseph Medical Center location about 1993.Шаблон:R
Collections
Actor Claude Rains was a collector of her works.Шаблон:R Her works in private collections are valued up to $250,000Шаблон:R and are in the following public collections:
- Art Institute of Chicago
- Shoe Shop, Шаблон:Circa, oil on canvasШаблон:R
- Shop Girls, Шаблон:Circa, oilШаблон:R
- Delaware Art Museum – The Dreamer, Шаблон:Circa, tempora on boardШаблон:RШаблон:R
- Metropolitan Museum of Art – Caryatides, 1940 watercolor on linenШаблон:R
- Museum of Modern Art – Startled Woman, Шаблон:Circa, oil on canvasШаблон:R
- Pennsylvania Academy of the Fine Arts
- Whitney Museum of American Art – The Sea Claims its Own, 1961, oil on canvasШаблон:R
- Wichita Art Museum – The Generations, Шаблон:Circa, watercolor and oil on silkШаблон:RШаблон:R
Notes
References
Further reading
Exhibition catalogs
About Sparhawk-Jones
External links
Шаблон:External media Шаблон:New Woman (late 19th century) Шаблон:Authority control
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