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Katherine Linn Sage, usually known as Kay Sage, was an American Surrealist artist and poet active between 1936 and 1963. A member of the Golden Age and Post-War periods of Surrealism, she is mostly recognized for her artistic works, which typically contain themes of an architectural nature.
Henriette Wyeth Hurd was an American artist noted for her portraits and still life paintings. The eldest daughter of illustrator N.C. Wyeth, she studied painting with her father and brother Andrew Wyeth at their home and studio in Chadds Ford, Pennsylvania.
Isabel Bishop was an American painter and graphic artist. Bishop studied under Kenneth Hayes Miller at the Art Students League of New York, where she would later become an instructor. She was most notable for her scenes of everyday life in Manhattan, as a member of the loosely-defined ‘Fourteenth Street School’ of artists, grouped in that precinct. Union Square features prominently in her work, which mainly depicts female figures. Bishop’s paintings won the American Academy of Arts and Letters Award, among other distinctions.
Susan Hannah Eakins was an American painter and photographer. Her works were first shown at the Pennsylvania Academy of the Fine Arts, where she was a student. She won the Mary Smith Prize there in 1879 and the Charles Toppan prize in 1882.
Kenneth Hayes Miller was an American painter, printmaker, and teacher.
Edward Laning (1906–1981) was an American painter.
Mary Cecil Allen was an Australian artist, writer and lecturer. She lived most of her adult life in America, where she was known as Cecil Allen. Allen initially painted landscapes and portraits in her early career, but changed to modernist styles including cubism from the 1930s. In 1927 Allen lectured at New York City venues including the Metropolitan Museum, Columbia University and other institutions. She was sponsored by the Carnegie Corporation. Allen wrote two books of art criticism, The Mirror of the Passing World (1928) and Painters of the Modern Mind (1929), based on her lectures.
Mary Shepard Greene Blumenschein (1869–1958) was an American artist, illustrator and jewelry designer.
Anna Woodward (1868–1935) was an American painter who was born in Pittsburgh, Pennsylvania in 1868. She studied painting at the Académie Julian in Paris with Tony Robert-Fleury, Jules Joseph Lefebvre, and William-Adolphe Bouguereau, and also with George Hitchcock in Holland. By 1918, she moved to Hawaii from Paris with a studio near Waikiki. She was influenced by the impressionist movement, creating landscape portraits. During the 1920s and 1930s she produced illustrations and paintings for Paradise of the Pacific. Woodward died in Honolulu in 1935.
Emil Fuchs was an Austrian–American sculptor, medallist, painter, and author who worked in Vienna, London and New York. He painted portraits of Queen Victoria and Edward VII and was fashionable among London high society in the early 20th century.
Grace Henry HRHA was a Scottish landscape artist, who spent a large part of her career painting in Ireland.
Eugenie McEvoy (1879-1975) was an American artist known for her landscapes, flowers, portraits, and, particularly, the painting, Taxi! Taxi! (1928) which depicts a busy city street as seen from the back seat of a taxicab. She also performed in a sharpshooting act on the vaudeville stage, ran a kennel for breeding show dogs, served as manager and technical director of theatrical production companies, operated a large resort property in the Catskill region of New York, and worked with her husband in a piano restoration business.
Jolán Gross-Bettelheim was a Hungarian artist who lived and worked in the United States from 1925 to 1956, before returning to Hungary.
Ellen Emmet Rand was a painter and illustrator. She specialized in portraits, painting over 500 works during her career including portraits of President Franklin D. Roosevelt, artist Augustus Saint-Gaudens, and her cousins Henry James and William James. Rand studied at the Cowles Art School in Boston and the Art Students League in New York City and produced illustrations for Vogue Magazine and Harper's Weekly before traveling to England and then France to study with sculptor Frederick William MacMonnies. The William Benton Museum of Art at the University of Connecticut owns the largest collection of her painted works and the University of Connecticut, as well as the Archives of American Art within the Smithsonian Institution both have collections of her papers, photographs, and drawings.
Grace Thorp Gemberling was an American artist known for the broad range of her subjects in paintings having a pronounced psychological as well as aesthetic impact. One critic said they conveyed a mood that was "ethereal, bold and engaged." Another said her work showed "a disciplined hand and a romantic eye" together with "a magical color sense." Known for her control of detail and successful handling of line and blocks of color, she was said to paint in a modernist style that stayed clear of abstraction and was remembered by a teacher and fellow artist as "the finest woman painter in Philadelphia during the 20s and 30s."
Gladys Nelson Smith was an American painter.
Felicia Meyer (1912–1978) was an American painter known for her landscapes, city scenes, and portraits. Her style was realist. She lived part of the year in Manhattan and part in southern Vermont and her paintings depict subjects from both locales. During the 1930s and 1940s her work appeared frequently in group exhibitions and she was given solo exhibitions intermittently between 1942 and 1974. Early in her career a New York critic called her paintings "coherent" and "deeply unified," and after her death the art historian, Lloyd Goodrich, wrote that "her landscapes, with their sense of nature's life, their freshness and delicacy, and their unostentatious skill, were pervaded with a lyrical poetry of a very personal kind."
Dorothy Eisner (1906–1984) was an American artist whose painting style evolved over many years from an early, quite personal, version of 1930s social realism, through a period of abstract expressionism, and culminating over the last twenty years of her life in a bright painterly style that critics saw as fluid, masterfully composed, and expressionistic. Throughout her long career Eisner maintained a consistency that a gallerist summarized as derived from European modernism but also grounded in American painting of her own generation and the generation before her. Born and raised in Manhattan, she traveled widely and is best known for the late work she made while staying in a summer home off the coast of Maine on Great Cranberry Island.
Dorothy Eaton was an American visual artist best known for rural subjects in a style that merged nineteenth-century regional folk art with mid-century American realism.
Nan Watson (1876–1966) was an American artist known for the flower paintings, portraits, and still lifes she made during the 1920s and 1930s. Showing frequently in group and solo exhibitions, she received praise for both the aesthetic and technical qualities of her work. Critics described her paintings as sincere, forthright, and direct and said they demonstrated good draftsmanship, harmonious composition, and fresh color values. In 1929, the art historian Lloyd Goodrich said, "One knows no other painter of flowers who captures so completely their delicate life without becoming in the least sentimental about it or lapsing into merely technical fireworks." In 1932, Edward Alden Jewell, the principal critic for the New York Times published a lengthy critique of one of her shows. In it, he wrote, "The field is thronged with artists who paint flowers; many of these artists are highly successful, though few are seen to arrive at the goal of superlative distinction. Among those who do attain this coveted goal, Nan Watson must certainly be numbered." At the same time, Margaret Breuning of the Evening Post wrote concerning the flower paintings, "It is the ability of the artist to give lyric transcription of natural forms in terms of design which imbues these canvases with their significance." Concerning Watson's portraits, Breuning noted a "surety of draftsmanship" and Watson's "fine perception that pierces to the essentials". Similarly, an unsigned review of 1928 said Watson succeeded in producing a "candor, directness, [and] fidelity to personal conceptions that one finds delightful in a world where there much conformity to standards of aesthetic performance from which the timid or the conventional may not deviate." This critic concluded, "Not only sensitive perception and technical skill are to be enjoyed in this engaging exhibition, but the revelation of personality that has gone into the making of each canvas."
