Friday, July 18, 2014

What I did on my Summer Vacation


If you would be so kind as to indulge me, I would like to share some of the photographs I took on my magical trip to Italy, Norway, and England this past month. I am, after all, a female artist/photographer working in the West!

There was a method to our country selections...both my mother's parents are from central Italy in mountain towns northeast of Naples, my husband, Howard, has family on his father's side from the Gudbrandsalen valley in Norway, and his delightful cousin and her husband, stupendous tour guides both, live in lovely Cornwall, England.

Our intention was to continue to chip away at the "bucket list" of countries we want to visit and to plan for the next journey to catch some of the sights that we simply could not see in the time we allotted for each place. There is NEVER enough time to cover all of it, of course, but we managed to fill our heads with the most divine sights in New York, Rome, Pompeii, Paestum, Venice, Murano, Oslo, Flam and fjords, Newquay, and Port Isaac, the town that is the mythical Port Wenn in one of our favorite BBC offerings, Doc Martin. Our brains are now, full.

We flew from Los Angeles to New York and spent one night, hoping to ease into the anticipated, radical time change. We walked around Manhattan and enjoyed sights such as the Chrysler building, and hung out in Central Park for most of a perfect day, blessed with sunshine, low temperatures, and NO humidity.

We arrived in Rome the following morning and immediately hit the streets. Our pensione was located right in the ancient section of Rome, adjacent to the Markets and Column of Trajan, the Colosseum, the Forum, Arches of Constantine and Titus, and a short walk to the Pantheon and the Trevi Fountain! This was the type of view from any of the seven hills of Rome.


 As an Art Historian who has been teaching the history of art for 14 years, standing in ancient Rome, especially inside the Colosseum and the Pantheon, was more moving than I can describe! To touch the buildings and to feel the spirit of those ancestors who lived 2,000 years ago offered a connection to history that I had never before felt, even though I had grown up in and around Washington, D.C., a place where the foundation of our nation and so many of our own historical sites and events are located.


The sheer enormity of the structures all over the city of Rome, both ancient and not-so-ancient, was staggering. We were left with mouths open just trying to make sense of the accomplishments of the Romans, their planning, and feats of technology that allowed them to create such massive temples, forums, and gathering places. They must have both intimidated and overwhelmed the "common" citizen then, as they do now.

One of my favorite buildings, the Pantheon (temple to all gods), is just magnificent. It is the best preserved building from the ancient Roman period which housed statues of the pagan gods. Commissioned by Marcus Agrippa during the rein of Augustus, it was rebuilt by the emperor Hadrian in about CE 126. It has survived, unlike other ancient Roman structures, as it was converted into a Roman Catholic church during the Seventh Century.
The Pantheon entombs the remains of the early Renaissance painter, Raphael, and includes a bust of the artist, as well as the remains of his fiance, who unfortunately died before their marriage.

We managed to see the Circus Maximus where chariot races occurred and the Baths of Caracalla (Emperor of Rome from CE 211-217), both located near the ancient Appian Way, a short metro ride from our pensione. Again, the sheer magnitude of the baths was mind-boggling!

The ruins are incredibly well-preserved and include an array of mosaics that are still partially intact. The baths were easily able to accommodate up to 1,600 bathers who moved between three pools: frigidarium (cold), tepidarium (warm) and calderium (hot). Adjacent to the frigidarium were two massive zones called the Palaestra; gymnastic areas open to the sky. The Natatio, at the back of the building, held an Olympic-sized pool for recreational swimming. Along with the aforementioned, gardens and a library were included on the grounds. The baths are precurssors of modern gyms that provide their members places to socialize and to work out.


Our pensione, a small, family-run hotel, was located on the Via Cavour, which was a metro stop and a very busy thoroughfare that leads right down to the Forum. Entrance from the street through a gate, however, led to a lovely, private, courtyard and our room was at the back looking over a small lane. It was very much a city neighborhood with shops and restaurants along the lane. People stopped to chat with their neighbors and shop owners, and we hung out at the window just watching the activity during our occasional "down time."

Since we live in Southern California, and even in times of no drought get very little rain, we loved the afternoon thunderstorms that rolled through the city each day. I bought the typical five Euro tourist umbrella that turns inside out as soon as the wind picks up (and it did), but it served me well through the entire trip, and I left it in its entirety in Cornwall.

Rome is indeed a place to which we want to return. There is still so much to see!

Next stop: Pompeii and Paestum.

Thursday, June 5, 2014

Cor de Gravere: Dutch Portraitist and Landscape Painter

Cor de Gravere
1877-1955
A tenacious woman who was able to overcome almost unimaginable adversity and prevailed on her own terms, Cornelia de Gavere was born in Battavia, Java, East Indies in 1877. She was the daughter of Dr. Cornelius and Marchje (Berghuis) de Gavere, Dutch missionaries. Cor lost both parents and two brothers when she was just six years old. The young Cor was sent to Groningen, Holland with her sister to live with a stern aunt and uncle who took in the orphaned children. They promptly sent her sister off to boarding school, so childhood was a lonely time for Cor. Separated from her sister, she was sent off to boarding school as well. Her developing interest in art during these years was viewed with disfavor by her uncle. He prevailed upon her to take a position as an assistant pharmacist where she worked for a time in Amsterdam, although she continued to draw and paint whenever possible.
In 1907, at the age of 30, Cor committed to the study of art and she entered the Royal Academy of the Hague. She received a number of honors while attending school there. Upon completion, de Gavere moved to the small Dutch artist's colony at Blaricum to paint and she studied in paris for three years. During these years she established a lasting friendship with Wilhelmina Van Tonnigen, who gave her the motherly encouragement and support that she had missed in her early childhood. 

In the year 1911, de Gavere exhibited at the Annual Derby Exhibition and at the London Salon between 1912 and 1914. She also exhibited at the British Royal Academy. In addition, in 1914, Cor studied in Paris with Charles Guerin in his atelier, but as World War I raged, served with the Red Cross as a volunteer nurse in Paris.
Cor de Gravere
Santa Cruz Portrait
ca. n.d.
Oil on Canvas
24 x 30 inches
In 1920, at age 43, de Gavere immigrated to the United States with Van Tonnigen, her friend during the years study at the Dutch Academy, and two women were warmly welcomed by the local Dutch community in the Santa Cruz area in California. During the 1920s, de Gavere exhibited as one of the ''Santa Cruz Three'' with Rogers and Leonora Penniman. Beginning in 1928, when the shows were initiated, she exhibited frequently at the Santa Cruz Art League's statewide exhibitions. Her other exhibitions included those of the SFAA; California State Fair, Sacramento; West Coast Arts, Inc., Los Angeles; Oakland Art Gallery; GGIE; and Society for Sanity in Art, San Francisco.

Cor de Gravere
Twin Lakes Beach, Santa Cruz
ca. 1920s
Oil on canvas board
 10 x 12 inches
During her thirty-five year residency in Santa Cruz, de Gavere worked as a librarian at both the Seabright and Garfield branch libraries, and was a founder of the Santa Cruz Art League. She painted nearly every day. Cor found a painting companion in Margaret Rogers, one of the guiding forces of the Santa Cruz Art League through the 1920s through the 1940s. The two artists made frequent excursions to paint locally and, on occasion, in the Sierra Nevada and elsewhere in the state. Most of her work resulted from trips with Rogers, although she also painted portraits. Her landscapes had titles like Turtleback Mountain; Mountain Meadow; Big Sur Cypress; Sierra Camp; The Three Graces; Blue Lupine Field; Pleasure Point, Moran Lake; Sierra Snow Bank; and Eucalyptus Meadow. 
Cor de Gravere
On the Ridge
ca. 1920s
Oil
14 x 19 inches

Cor de Gavere
California Oak
ca. n.d.
Oil on canvas
16 x 20 inches
An "everywoman," Cor wrote poetry, played music, and was active in local theater. Her work is represented in the collections of the Santa Cruz Historical Society and the Santa Cruz City Museum. Cornelia de Gavere died on June 25, 1955, while visiting family in The Hague, Netherlands.

Member: West Coast Arts; Berkeley Art League; Bay Region Art Association

Exhibited: Royal Academy (London), 1911; London Salon, 1912-14; SFAA, 1924; Oakland Art Gallery, 1928, 1934; Santa Cruz Art League, 1934; Society for Sanity in Art, CPLH, 1940; Santa Cruz Public Library, 1974 (retrospective).

__________________________________________
Sources
Santa Cruz Public Libraries, Cor de Gavere, Artist. 1877-1955, Nikki Silva, 1984, http://www.santacruzpl.org/history/articles/222/, retrieved June 4, 2014.
Trotter Galleries, Biography Cornelia de Gavere, Artist. 1877-1955, http://www.trottergalleries.com/artistbio.asp?at=CorneliadeGavere&InvNo=, retrieved June 5, 2014.
California View Fine Arts, Cor de Gavere, http://www.californiaviewfinearts.com/c_d_gavere.htm, retrieved June 5, 2014.
An Encyclopedia of Women Artists of the American West, Phil Kovinick and Marion Yoshiki Kovinick, University of Texas Press, Austin, 1998.
WWWAA; Benezit; Johnson &. Greutzner; Petteys; Moure; Hughes; Cor de Gavere; Hethcock; Rogers; Santa Cruz Sentinel-News, 18 Feb 1931, 9 Jan 1949, 2,4 Jun 1951, 18 Nov 1951, 4 Nov 1952, 1 Feb 1953, 1 Jul 1955, 5 Jul 1955, 28 Mar 1971, 4 Aug 1974;11 Aug 1974; Calif State Library card (1925).

Tuesday, May 27, 2014

Anna Belle Crocker: Artist and Director of the Portland Art Museum

Anna Belle Crocker
Self Portrait
ca. 1926
Oil on panel
Portland Art Museum
While the first non-native, professional artists were men who arrived in the Pacific Northwest to accompany geographic surveys such as the United States Exploring Expedition of 1842, female artists put down roots and settled. They taught art classes, started art clubs and established a number of the art institutions that are still an integral part of the cultural community of Portland and the region.

Art practice and education were two of the few professions deemed appropriate and were available to women before World War II and, as a result, women generally outnumbered men in those fields. According to Jack Cleaver, curator of collections at the Oregon Historical Society, women had a "tremendous impact..." on the early development of the Oregon art community in three specific areas: "They dominated art exhibits at the Oregon State Fair, various Portland fairs, and county fairs during the nineteenth century. Also during that period, art teachers in Oregon were nearly all female, and, with the exception of the Portland Art Club, women were well represented in early art organizations. 

Anna Belle Crocker (1898-1961) was an artist who worked as both a portraitist and genre painter, that is a painter of scenes of everyday life. Crocker was director of the Portland Art Museum and principal of its art school, which is now the Pacific Northwest College of Art, from the years 1909 until 1936. At that point, courses in museum administration and connoisseurship were nonexistent, so Crocker educated herself by spending time at the Metropolitan Museum in New York, followed by a five-month tour of museums and galleries in England, France, Italy and Greece, where she conducted interviews and studied hundreds of works of art.    

During her lengthy tenure at the Portland Art Museum, Crocker not only continued an ambitious exhibition schedule, she expanded the museum’s permanent collections and helped to oversee the design and construction of the Ayer wing of the present museum building. “In the 110-year history of the Portland Art Museum,” observes art historian Prudence F. Roberts, “few people have exerted as much quiet influence as Anna B. Crocker.” In addition, she founded the docent program which supported her quest to make the museum an educational experience by training knowledgeable tour guides for school visits and for the general public.


Anna Belle Crocker
Leta M. Kennedy
ca. 1917-1918
Oil on board
Portland Art Museum
A dedicated artist, Crocker continued to study and was a member of the Portland Sketch Club in which she specialized in portraits and still-lifes. On at least two occasions, in 1904 and 1908, Crocker took time off from her job to study at the Art Students League in New York with Frank Vincent DuMond, whom she had met in Portland, and with Arthur Wesley Dow, whose theories influenced the work of artist Georgia O’Keeffe.

Marcel Duchamp
Nude Descending a Staircase
ca. 1912
Philadelphia Museum of Art

Crocker sought out and exhibited original works by both local and regional artists, and established ties with other institutions willing to share their collections of European and American prints and paintings. One of her most notable successes was to arrange the loan of Marcel Duchamp’s Nude Descending a Staircase, No. 2 (1912), the most controversial painting of the 1913 Armory Show held in New York. Duchamp’s painting was exhibited in Portland later that year, along with works on paper by Paul Cézanne, Henri Matisse, Pablo Picasso, and other members of the European and American avant-garde. In her memoirs, Crocker compared seeing the “new” art for the first time to a “ray of daylight let into a shaded room.”    
When Anna Belle Crocker retired in 1936, she had spent 27 years at the helm of the museum and its school. Crocker was praised for her “intellectual integrity, her constant and courageous pressure to attain her ideas, her religious devotion to art, and her ability to use small facilities for great ends.”   
Anna Belle Crocker
Ruth and Jean Reed
ca. 1920
Watercolor on Paper
Portland Art Museum
______________________________________
Sources
Women City Builders, Honoring Women's Civic Contributions to Portland, Sandra Hoff, 2003, http://wcb.ws.pdx.edu/?p=105, retrieved May 28, 2014.
Portland Art Museum, Online Collections, Anna Belle Crocker, http://www.portlandartmuseum.us/mwebcgi/mweb.exe?request=keyword;keyword=anna%20belle%20crocker#, retrieved May 28, 2014.
Independent Spirits, Women Painters of the American West, 1890-1945, Patricia Trenton, ed., University of California Press, 1995, p 107-108.
The Oregon Encyclopedia, a Project of the Oregon Historical Society, http://www.oregonencyclopedia.org/articles/portland_art_association/#.U4Tew6Pn_cs

Monday, May 19, 2014

Elizabeth Ayer: Pioneer Seattle Architect

Elizabeth Ayer
ca. 1939
Courtesy University of Washington,
Special Collections
On this journey to bring to your attention the hundreds of female artists that have been largely forgotten, or never known by most people, I do not want to neglect the architects. Elizabeth Ayer is an important woman of whom you should be aware.
Ayer's family arrived in the Washington Territory in 1852-among the earliest Anglo settlers. Her father was a lawyer and judge, her mother, an artist. Her interest in mathematics and art led Elizabeth to pursue architecture at the University of Washington, where she became the first female graduate of the University's architecture program. She received her degree in 1921, and in 1930 became the first female architect registered within the state of Washington. In the residential area, Ayer was instrumental in the synthesis of traditional Colonial forms such as double hung sash windows and a classically detailed cornice, with an irregular, boxy composition.

While Ayer’s career is linked primarily with architect Edwin J. Ivey, she worked for Andrew Willetzen in Seattle, for the architectural firm of Cross & Cross, and for Grosvenor Atterbury in New York. In addition, Ayer was interested in European architecture and twice during the 1920s, she spent a year abroad to tour and to study.

In 1927, Elizabeth Ayer began to collaborate with Ivey on a number of high profile commissions for Seattle’s social  and economic elite. Ivey provided Ayer with critical support and the guidance that would shape her approach to domestic architecture. In 1924, she was principal architect for at least one residence built in The Highlands (a gated community on Puget Sound) for C. W. Stimson. The design for these homes was traditional, predominantly Colonial Revival (with features such as the aforementioned double hung sash windows). The Langdon C. Henry residence (1927-1928), located in The Highlands, is a textbook example of the revivalist aesthetics driving domestic architectural design in the 1920s, especially in the more exclusive neighborhoods.


Langdon C. Henry residence,
The Highlands, ca. 1927-28.Courtesy University of Washington,
Special Collections
Ayer continued to employ her trademark period revival facades.  However, rear elevations and the interior spaces of her projects had a recognizable modernist flavor and often featured expanses of glass, modern materials and open floor plans.  Notable projects include the Davis House (1950) on Mercer Island; the Douds House (1951), which was featured in the book, Practical Houses for Contemporary Living; the Linden House (1962) on Bainbridge Island; and the Forland House (1963) in Seattle.
Robert F. Linden residence
Ayer and Lamping,
Bainbridge Island, 1962Courtesy University of Washington,
 Special Collections
William E. Forland residence,
Ayer and Lamping
Seattle, 1961-63,
Courtesy Shaping Seattle Architecture, Ochsner
In 1940, Ivey was killed in an automobile accident. After his death, Ayer took over the firm with Roland Lamping, another employee and graduate of the University of Washington. They continued the practice, but abandoned large-scale residential designs in favor of smaller residential and commercial projects. In 1942, they suspended the practice for the duration of World War II and Ayer worked as an Architect in the U.S. Engineers Office. She restarted the practice after 1945. Some time during the 1950s, the firm name was changed to Ayer & Lamping.
Elizabeth Ayer retired in 1970 after fifty years of successful architectural practice. She moved to Lacey, Washington, where she served on the Planning Commission through 1980. Ayer died in Lacey in 1987.
Elizabeth Ayer
Hawthorne K. Dent residence, Seattle, Washingto,
Architectural Drawing-West elevation and window details
ca. 1936
______________________________________
Sources
1. HistoryLink.org, The Free Online Encyclopedia of Washington State History, Ayer, Elizabeth (1897-1987), Architect, http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=1721, retrieved May 19, 2014.
2. Washington State Department of Archeology and Historic Preservation, Elizabeth Ayer (1897-1987),  http://www.dahp.wa.gov/learn-and-research/architect-biographies/elizabeth-ayer, retrieved May 19, 2014.
3. University Libraries, University of Washington Digital Collections, http://digitalcollections.lib.washington.edu/cdm/singleitem/collection/ac/id/1198/rec/4, retrieved May 19, 2014.


Wednesday, May 7, 2014

Helen Hyde: American Artist, Asian Identity

Helen Hyde
1868-1919
Helen Hyde embodies the art movement known as japonism: the artistic, historic, and ethnographic study of Japanese art. Hyde was raised in San Francisco and began her art education with artist-teachers in The City. As a child, she was exposed to Asian culture there and copied the beautiful and delicate Japanese prints. Hyde joined the Sketch Club and was a developing watercolorist while she studied at the California School of Design. Helen also spent time honing her craft in New York, at the Art Students League from 1888 until 1889, after which she traveled to Berlin and Paris to continue her art studies. Felix Regamey, one of Hyde's French instructors, was instrumental in exposing her to Asian art through his extensive Japanese art and artifact collection and, under his tutelage, she became part of the japonism movement.

While she lived and studied in Paris, Hyde most likely saw the 1893 exhibition of Mary Cassatt's color etchings which were inspired by the Japanese use of color, content, and perspective. By 1894, Hyde had returned to California and began to sketch likenesses of women and children in San Francisco's Chinatown. Through the Sketch Club, Hyde met, and became friends with another artist, Josephene Hyde (no relation) who was an etcher. Together they attempted color etchings, and in 1899, the two women settled in Japan to learn that country's painting techniques.

Helen Hyde
Baby Talk
 ca.1908.
Color woodcut
11 3/8 x 18 1/4 inches.
Josephene returned to America, while Helen spent the next fifteen years working in her Tokyo studio situated in an old temple. In Japan, Hyde learned the Japanese woodblock printing techniques from masters such as Emil Orlik, a European artist living in Japan. Hyde lived in Japan from 1903 through 1913 and refined color woodblock printing to a fine art.

Helen Hyde
An April Evening
ca.1910
Color woodcut
3 5/8 x 4 7/8 inches

Hyde studied for two years with the last of the Kano school artists, Kano Tomanobu, and learned the Japanese style of painting. She became skilled at the creation of woodblock prints and was invited to execute a kakemono, is a Japanese scroll painting mounted usually with silk fabric edges on a flexible backing, at an annual spring exhibition in Tokyo.


Helen Hyde
Going to the Fair
ca.1910
Color woodcut
7 3/4 x 19 inches
Because of the extensive collection of letters and prints saved by both Hyde and her relatives, an examination of her life provides a window into the experiences of an American woman who selected her subject matter and was faithful to the development and representation of her subject and style. Her women-centered artwork was filled with figures who were mothers or workers. She did not explore the prevailing Japanese women depicted by many male artists during the latter nineteenth century: the Geisha.

Hyde belonged to the Tokyo Woman's Club, at the time, however, the club did not admit Japanese women to membership. Japanese women were slowly gaining public recognition and acceptance to the Tokyo Art Institute. Hyde makes no mention of Japanese women artists or friends in her letter to her family. Hyde created a charming, pre-industrial world in her prints and preferred the traditional Japanese dress to the increasing popularity of Western clothing the was worn by many.


Helen Hyde
New Year's Day in Tokyo
ca.1914
Color woodcut
3/8 x 17 5/8 inches
Helen Hyde produced seventy-one color woodcut designs during her time in Japan which resulted in as many as 16,000 prints. She was a respected member of the art community and worked with a number of well-known and well-regarded artists and craftsmen there. Thanks to the care of her personal effects and artwork by her family, Hyde's prints are found in museums and her letters and printmaking tools are preserved in the California Historical Society.

Helen Hyde
The Furious Dragon
ca.1914
Color woodcut
 5 7/8 x 6 1/2 inches
Helen Hyde had been battling cancer for several years and by 1914, she became discouraged because she tired so easily and found it difficult to work. She returned home to the United States and died five years later. in Pasadena, California. 
 
Hyde's popularity has enjoyed a resurgence. Her prints are still sold at public galleries, and a vast collection of her works are included in the archives of the Library of Congress in Washington, D.C. Hyde's works can be seen at the Smithsonian American Art Museum in Washington, D.C as well. Two of her award-winning works are A Monarch of Japan and Baby Talk. In 1901, A Monarch of Japan took first place in the Nihon Kaiga Kyokai exhibition and the piece is now located at the Smithsonian American Art Museum. In 1909, Baby Talk received a Gold Medal at the Alaska-Yukon-Pacific Exhibition and it is now housed at the Smithsonian American Art Museum.      

__________________________________________
Sources
Conrad Graeber, Fine Art: Helen Hyde, http://www.conradgraeber.com/Hyde.html, retrieved 5/714.
Yesterday and Tomorrow: California Women Artists, edited by Sylvia Moore, Midmarch Arts Press, New York, 1989, 93.
Women Artists of the American West, edited by Susan Ressler, McFarland and Company, Inc., 2003, 245-246.
Women Artists of the American West, Helen Hyde Printmaker, Joan M. Jenson, http://www.cla.purdue.edu/waaw/jensen/hyde.html, 1998, retrieved 5/8/14.
Artelino, Japanese Prints, Helen Hyde, http://www.artelino.com/articles/helen-hyde.asp, retrieved 5/8/14.

Wednesday, April 23, 2014

Emma Belle Freeman: Early Photographer of Native Ameicans

Emma Belle Richart Freeman
1880-1928
Self-Portrait
ca. 1913
Eureka, California
Living in northern California in the first decade of the Twentieth Century, Emma B. Freeman existed under a dual handicap - she was both a strong woman and an artist. Her success and recognition were even more significant when we consider the prevalence of male-domination over women in society during that time, and the general attitude that women belonged strictly in the home. Artists working in the remote area miles north of San Francisco, even artwork created by men, were largely ignored by the outside world. These factors may account for Emma's relative obscurity to this day.

Born in Nebraska,  Emma lived on a farm with her parents until she moved to Denver as a young adult, where she found work as a ribbon clerk. There, she met and married Edwin Freeman in 1902, and couple relocated to San Francisco where they opened a stationery and art supplies store in the heart of the city. During their time in San Francisco, Freeman studied painting with renowned Northern California artist Giuseppe Cadenasso. Unfortunately, like so many others, the store was destroyed by the 1906 earthquake, and the Freemans chose to relocate to Eureka, a remote region 275 miles north of San Francisco.The couple opened the Freeman Art Company which specialized in art supplies and a variety of other items. By 1910, they were also involved in commercial photography.

Freeman was a free spirit with an independent voice and vibrant character. Between 1910 and 1920 she produced her Northern California series of Indian portraits. Freeman often intermixed native costume - such as Yurok dance regalia and Navajo blankets - to create romantically conceived ideals of the "Noble" Indian. She frequently hand-colored her photographs and added allegorical details to enhance her compositions. Though sometimes shunned for her Bohemian lifestyle, Freeman did much to improve public sympathy for the Native American in Northern California. In 1915, for example, her principal model, Bertha Thompson (Princess Ah-Tra-Ah-Saun), was selected to head the parade at the Panama Pacific International Exposition, which was held in San Francisco. Her romanticized photographs and the influence of Pictorialism, idealized the Native Americans and thrust them into heroic roles. Ultimately her art and her strength lay in the manner in which she combined the best elements of both. Without wealth and the status it provided, Freeman had to negotiate a way to make art and a living. She, along with other forward thinking women of her time, created a path where none existed for those of future generations.
Emma Belle Richart Freeman
Romance
ca. 1900-1910
Northern California Series
As a whole, Freeman's observations of Native Americans were romantic dreams...a spiritual concept of nature as the common source of perfection. Mankind, especially the Native American, appeared in this idyllic paradise in roles of heroic splendor. By 1913, the popular idea of "nature" had begun to assume a new meaning to whole generations of young people who had never participated in the early settlers' struggle to colonize the West. Her "Northern California Series" intended to picture Native Americans with dignity and to grant them a place of honor, albeit through an idyllic lens.
Emma Belle Richart Freeman
Romance
ca. 1900-1910
Northern California Series
Freeman pursued an art form that combined drawing, painting and photography, one in which the artist's own hand was evident throughout. Her popular Indian portraits were exhibited at the Panama Pacific Exposition, and were chronicled in various industry journals like Camera Craft and popular magazines such as the Illustrated Review. One of her photographs was presented to President Warren G. Harding and hung prominently in the White House.


In 1915, a romantic encounter between Emma and a visiting dignitary led to scandal and ultimately to the divorce of the Freemans. She continued work, however, and to shoot beyond portraiture. During World War I, Freeman photographed a United States submarine that had run aground on a beach near Eureka. The cruiser Milwaukee, dispatched to the scene to aid in the rescue was lost to the heavy surf as well. Freeman was there to capture every detail of the disaster and rushed her photos to San Francisco where they appeared on the front page of the San Francisco Chronicle, which noted: "Every day since the Milwaukee went ashore, Mrs. Freeman has been  on the job with her camera. She has taken more than 200 photographs of the scene, most of them under trying conditions of fog and wind and weather."  Freeman waded through water and rats in the hold of the vessel as she boarded the water-logged cruiser in search of great photographs. In recognition for her documentary work, she was appointed the "official government photographer" for all matters relating to the disaster and salvage operations.


Emma Belle Richart Freeman
Stranding of USS Milwaukee
ca. January 13,  1917
Photograph-Department of the Navy -- Naval Historical Center
Washington Navy Yard, Washington, D.C.

In 1919, Freeman relocated her arts and novelty supply company to san Francisco and she set up in a newly remodeled three-story building. Freeman did art and advertising work there, along with selling art and Indian goods until 1923, when competition and an unscrupulous business partner led her into bankruptcy. Freeman moved to a smaller store and continued to work until her retirement in 1925. On Christmas Eve, 1927, Freeman had a debilitating stroke and finally passed away three months later, at age 48, in March of 1928.

The late photographic historian, Peter E. Palmquist, wrote of Mrs. Freeman, "Emma brought a unique vision to subject matter, for her approach to composition was heroic, her subject treatment allegorical, and her style painterly. Her surviving photographs clearly illustrate her training in the fine arts. Her groundbreaking efforts were made almost entirely on her own; in fact, her contemporaries in the region were purely traditional photographers. She alone enjoyed the reputation of 'artist with the camera'."   

Emma Belle Richart Freeman
Bartered Bride
ca. 1900-1910
Northern California Series

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Sources:
Emma Belle Freeeman, Photographer, http://www.historiccamera.com/cgi-bin/librarium2/pm.cgi?action=app_display&app=datasheet&app_id=2685&, retrieved April 22, 2014.
Women Artists of the American West, Women Photographers and the American Indian,
Peter E. Palmquist, retrieved April 22, 2014.
Women Artists of the American West, Susan Ressler, ed. McFarland & Company, Inc. North Carolina, 2003, p. 214-215.
Ask Art, Emma Belle Freeman, http://www.askart.com/AskART/index.aspx, retrieved April 23, 2014.
 

Thursday, April 10, 2014

Abby Williams Hill: Tacoma Painter and a Woman before her Time

Abby Williams Hill
ca. 1870s
I am so inspired by the story of Abby Rhoda Williams Hill (1861–1943) and I hope you are as well. Abby was a painter and an activist with a love of travel and learning. Her artwork provides a lasting vision of many of the iconic sights of the American West, and her papers paint a rich picture of American life between the Civil War and World War II. Hill was an intrepid explorer who loved to be in the wilderness, unhampered by societal codes of dress and behavior, She was a Progressive and firm advocate to the Congress of Mothers (today’s National Parent Teacher Association) and lobbied on behalf of disadvantaged children, African Americans, Native Americans, and other marginalized groups.

Abby Hill grew up in Grinnell, Iowa, with much encouragement in her art by her parents and received early art training from her aunt, a botanical watercolorist. She studied at the School of the Art Institute of Chicago in 1883, and then, at the Art Students League in New York under the tutelage of William Merritt Chase. After her marriage to Dr. Frank R. Hill in December of 1888 in Brooklyn, New York, the couple moved to Tacoma, Washington, just as Washington Territory became the 42nd state. They remained there and at nearby Vashon Island until 1910. While a resident there, Hill continued her art training in Munich (1895-97) with Herman Haase, and at the Corcoran Gallery School, Washington, D.C. in 1905 when she made the decision to pursue painting as a career.

Abby and Frank Hill
ca. N.D.
Hill was far from the typical Victorian woman. When her husband, Frank, demanded she wear a corset and bustle like other genteel housewives of the period, she negotiated. If he would agree to wear the uncomfortable undergarments for a day, and if, after that experience, he still expected her  to do so, she would acquiesce. A reasonable man, Dr. Hill agreed to the experiment and never again asked his wife to squeeze herself into an hourglass shape in the name of fashion.

During their time in Washington, Hill reared a family of four children. Her first child, son, Romayne Bradford, was born partially paralyzed, but with her love of the outdoors and belief that fresh air and exercise would be the tonic needed to help her son, she dedicated the next six years to his health. Over the ensuing years, the Hills adopted three more children (all girls) all of whom would accompany her on local camping trips and travels, typically without Frank.

Hills' independent spirit is difficult to appreciate during our time in which women have so much freedom and so many opportunities. The Victorian era dictated strict rules of behavior for women that Hill largely disregarded. She often headed into the wilderness to paint in remote places, usually accompanied by at least two of her children — which made traveling even more of a challenge. At her campsites, she kept a journal, describing her encounters with snakes, landslides, Indians on horseback, rain, wind and, at one point, such intense heat that she couldn't pick up her metal paint tubes without burning her fingers.

Abby Williams Hill
Horseshoe Basin
ca. 1903
Oil on canvas
University of Puget Sound
In 1909, Dr. Hill suffered a mental breakdown that left him catatonic for weeks at a time. Forced to leave Tacoma due to her husband's recurring illness, diagnosed as Psychotic Depression, Hill moved the family to Laguna Beach, California, then a remote, burgeoning artist colony. Abby became a founding member of the Laguna Beach Art Association.

Dr. Hill became a patient at various hospitals and for years, Hill cared for him and surrendered much of her time dedicated to painting to help him recover. When he was released in 1924, she bought an automobile to allow the family to winter in Tucson Arizona, travel to the Deep South, and explore a number of locations in the West. Unfortunately, in 1931, Dr. Hill's illness forced him to return to the hospital in Southern California, so Abby settled in nearby San Diego to be available when her husband needed her.
Abby Williams Hill
Balsatic Rocks
ca. 1904
Oil on canvas
44 x 34 inches
The Athenaum
Abby Williams Hill
Grotto Playing
ca. 1906
Oil on canvas
17 x 22 inches
The Athenaum
Hill became a painter of the West in the 1890s. Her most widely displayed artwork was created during the first decade of the twentieth century when she was commissioned by both the Northern Pacific and Great Northern Railroads to produce a series of landscapes of the scenes along their routes. Abby was to create 22 oil on canvas pieces in 18 weeks while traveling on trains, handcars, stages, steamboats, and horses. In exchange for the use of her work, she was given four tickets, each worth one thousand miles. Hill would travel to the most remote locations to record the beauty of the west, and at the end of her journey, surrender her canvases and her rights to them to the railroads. In addition, as a woman traveling without male companionship, she was vulnerable to unwanted attention from men who made certain assumptions about her character. Hill braved the discomfort of heat and cold, trudged across snowfields, organized baggage and cared for her children, often brought along on her expeditions. Her assignments took her to such rugged locations as remote terrain in Washington, Idaho, Montana, and other areas west of the Cascades.

Abby Hill camping with her four children
Probably before 1910
During this period, Hill met and painted a number of Native Americans including the Flathead of Montana, the Nez Perce of Spalding, Idaho, the People of north-central Montana at Harlem, and the Yakima of Washington. She considered the Native Americans her friends and portrayed them with dignity and respect. She bartered with the Flathead to exchange English lessons for dancing lessons, and, with a list of grievances, wrote to Washington, D.C. on their behalf.
ca. n.d.
Oil on canvas
Missoula Art Museum
Chief White BullTa-tan-ka-sha
Minniconjou Sioux, Flathead Reservation, Montana
ca. 1905
Dakota-Lakota-Nakota Human Rights Advocacy Coalition
Following the death of her husband in 1938, Abby Hill became bedridden. She died in Laguna Beach  in 1943 five years later.

Hill's exhibitions included those of the Western Washington Industrial Exposition, Tacoma; World's Columbian Exposition, Chicago; Lewis and Clark Exposition, Portland, Oregon, Louisiana Purchase Exposition, St. Louis, Jamestown Centennial, Hampton Roads, Virginia; Alaska-Yukon-Pacific Exposition (two gold medals), Seattle; and Laguna Beach Art Association. The University of Puget Sound held an exhibition of her works in 1964.

Abby Williams Hill is represented in the collections of Ames College, Iowa, Grinnell College, Iowa, and a permanent collection of her works and papers is held by the University of Puget Sound.
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Sources
University of Puget Sound, Abby Williams Hill Collection, http://www.pugetsound.edu/academics/academic-resources/collins-memorial-library/archives/abby-williams-hill-collection/, retrieved April 7, 2014.
Abby Williams Hill: Unfettered in Life and Art, Shelia Farr, Seattle Times Art Critic, http://seattletimes.com/html/entertainment/2003797045_visart20.html, retrieved, April 7, 2014.
Chattermarks from North Cascade Institute, http://chattermarks.ncascades.org/?s=abby+Williams+Hill+in+the+North+cascades, retrieved April 8, 2014.
An Encyclopedia of Women Artists of the American West, Phil Kovnick and Marian Yoshiki-Kovnick, University of Texas Press, 1998.
Dakota-Lakota-Nakota Human Rights Advocacy Coalition, http://www.dlncoalition.org/dln_nation/chief_white_bull.htm, retrieved April 10, 2014.
National Parks and the Woman's Voice: A History, Polly Welts Kaufman, New Mexico Press, 2006.