Woman's Art Club of New York

Last updated

The Woman's Art Club of New York was founded in New York City in 1889 and provided a means for social interaction and marketing of women's works of art. The club accepted members from the United States and abroad. In 1913, the group changed its name to the National Association of Women Painters and Sculptors. The current name for the group is the National Association of Women Artists , which was adopted in 1941.

Contents

History

Woman's Art Club of New York Exhibition Catalogue of 1893 Woman's Art Club of New York Exhibition Catalogue of 1893.jpg
Woman's Art Club of New York Exhibition Catalogue of 1893
Mary Cassatt, Maternal Caress, 1891, dry point etching. Mary Cassatt presented "a set of those colored dry-point etchings of a pronounced Japanese kind in which she indulges and which look so much like colored lithographs..." of women and children to the 1892 exhibition. Mary Cassatt, Maternal Caress, 1891, dry point etching.jpg
Mary Cassatt, Maternal Caress, 1891, dry point etching. Mary Cassatt presented "a set of those colored dry-point etchings of a pronounced Japanese kind in which she indulges and which look so much like colored lithographs..." of women and children to the 1892 exhibition.

The club was founded by the artists Anita C. Ashley, Adele Frances Bedell, Elizabeth S. Cheever, Edith Mitchill Prellwitz, and Grace Fitz-Randolph in Fritz-Randolph's studio on Washington Square in New York on January 31, 1889. [2] The purpose was for "social intercourse among art lovers, for exhibition and to further art interests." [3] More specifically, it aimed to provide a way in which women's works of art could be marketed that were otherwise limited to women at the time. [1]

The group held annual art exhibitions in which members could submit one art work for the exhibition. Any additional works were reviewed by the selection jury. Its members included non-exhibiting and exhibiting members. [3] The Woman's Art Club accepted members and exhibition contributions from women in the United States and abroad. For instance, Mary Cassatt, who lived in Paris, exhibited her works. [1]

In 1892 there were about 300 works of art submitted, including watercolors, oils paintings, etchings, pastels and crayons. [1]

Executive Committee members were elected at its November annual meeting. [3] It was located at 9-Tenth Street. [1]

In 1913, its name was changed to the National Association of Women Painters and Sculptors. [4] It adopted the name National Association of Women Artists in 1941. [5]

Members

Some of its members were:

See also

Other turn of the century New York art organizations that exhibited women's work

Related Research Articles

<span class="mw-page-title-main">Minerva J. Chapman</span> American painter

Minerva Josephine Chapman (1858–1947) was an American painter. She was known for her work in miniature portraiture, landscape, and still life.

<span class="mw-page-title-main">Jane Peterson</span> American painter

Jane Peterson (1876–1965) was an American Impressionist and Expressionist painter. Her works use broad swaths of vibrant colors to combine an interest in light and in the depiction of spontaneous moments. She painted still lives, beach scenes along the Massachusetts coast, and scenes from her extensive travels. Her works are housed in museums such as the Metropolitan Museum of Art, the Museum of the City of New York, the National Museum of Women in the Arts and the Hirshhorn Museum in Washington D.C., and the Pennsylvania Academy of the Fine Arts and the Philadelphia Museum of Art in Philadelphia, Pennsylvania. She was a fellow of the National Academy of Design and taught at the Art Students League from 1913 to 1919. During her lifetime, Peterson was featured in more than 80 one-woman exhibitions.

<span class="mw-page-title-main">Rhoda Holmes Nicholls</span> American painter (1854–1930)

Rhoda Holmes Nicholls was an English-American watercolor and oil painter, born in Coventry, England. She studied art in England and Italy, and her work was viewed and praised at the time by the queens of both countries. A body of work was created in South Africa by Nicholls of Port Elizabeth area's scenery, wildlife and architecture. She lived there on her brothers' 25,000-acre ostrich farm for one year.

<span class="mw-page-title-main">Emma Lampert Cooper</span> American painter

Emma Lampert Cooper was a painter from Rochester, New York, described as "a painter of exceptional ability". She studied in Rochester, New York; New York City under William Merritt Chase, Paris at the Académie Delécluse and in the Netherlands under Hein Kever. Cooper won awards at several World's Expositions, taught art and was an art director. She met her husband, Colin Campbell Cooper in the Netherlands and the two traveled, painted and exhibited their works together.

Ruth Van Sickle Ford was an American painter, art teacher, and owner of the Chicago Academy of Fine Arts. She credited artists George Bellows, who influenced her interest in social realism, and John Carlson, who founded the School of Landscape Painting in Woodstock, New York, with helping her to develop her talent. She traveled and made paintings in the United States, Caribbean and South America. An award-winner, her works are in many permanent public and private collections. A book has been written about her entitled Warm Light, Cool Shadows: The Life and Art of Ruth Van Sickle Ford.

Eda Nemoede Casterton was an American painter known specifically for her portrait miniatures in watercolor, pastels and oil. She exhibited works at the Paris Salon and the San Francisco Panama–Pacific International Exposition of 1915, among others. Her works are at the Smithsonian American Art Museum and the Brooklyn Museum.

<span class="mw-page-title-main">American Watercolor Society</span> American artists non-profit organization

The American Watercolor Society, founded in 1866, is a nonprofit membership organization devoted to the advancement of watercolor painting in the United States.

<span class="mw-page-title-main">Paul Dougherty (artist)</span> American painter

Paul Hampden Dougherty was an American marine painter. Dougherty was recognized for his American Impressionism paintings of the coasts of Maine and Cornwall in the years after the turn of the 20th century. His work has been described as bold and masculine, and he was best known for his many paintings of breakers crashing against rocky coasts and mountain landscapes. Dougherty also painted still lifes, created prints and sculpted.

<span class="mw-page-title-main">Jennie Augusta Brownscombe</span> American painter (1850–1936)

Jennie Augusta Brownscombe was an American painter, designer, etcher, commercial artist, and illustrator. Brownscombe studied art for years in the United States and in Paris. She was a founding member, student and teacher at the Art Students League of New York. She made genre paintings, including revolutionary and colonial American history, most notably The First Thanksgiving held at Pilgrim Hall in Plymouth, Massachusetts. She sold the reproduction rights to more than 100 paintings, and images of her work have appeared on prints, calendars and greeting cards. Her works are in many public collections and museums. In 1899 she was described by New York World as "one of America's best artists."

The National Association of Women Artists, Inc. (NAWA) is a United States organization, founded in 1889 to gain recognition for professional women fine artists in an era when that field was strongly male-oriented. It sponsors exhibitions, awards and prizes, and organizes lectures and special events.

<span class="mw-page-title-main">Claude Raguet Hirst</span> American painter

Claude Raguet Hirst was an American painter of still lifes. She was the only woman of her era to gain acclaim using the trompe-l'œil technique.

<span class="mw-page-title-main">Ruth Payne Burgess</span> American painter

Ruth Payne Burgess,, was a naturalistic painter of portraits, still lifes, and genre work.

<span class="mw-page-title-main">Amanda Brewster Sewell</span> American painter

Lydia Amanda Brewster Sewell was a 19th-century American painter of portraits and genre scenes. Lydia Amanda Brewster studied art in the United States and in Paris before marrying her husband, fellow artist Robert Van Vorst Sewell. She won a bronze medal for her mural Arcadia at The World's Columbian Exposition in 1893. She continued to win medals at expositions and was the first woman to win a major prize at the National Academy of Design, where she was made an Associate Academian in 1903. She was vice president of the Woman's Art Club of New York by 1906. Her works are in several public collections.

<span class="mw-page-title-main">Jessie Arms Botke</span>

Jessie Hazel Arms Botke was an Illinois and California painter noted for her bird images and use of gold leaf highlights.

Carol H. Beck (1859-1908) was an American historical painter, critic and writer.

<span class="mw-page-title-main">Louise Upton Brumback</span> American artist and art activist (1867–1929)

Louise Upton Brumback was an American artist and art activist known principally for her landscapes and marine scenes. Her paintings won praise from the critics and art collectors of her time. Writing at the height of her career, a newspaper critic praised her "firmness of character, quick vision, and directness of purpose." She said these traits "proved a solid rock upon which to build up an independent art expression which soon showed to men painters that they had a formidable rival." As art activist, she supported and led organizations devoted to supporting the work of under-appreciated painters, particularly women.

Adelaide Deming was an American painter, associated for much of her life with Litchfield, Connecticut. She was the 1908 winner of the Beal Prize for her watercolor Moon Shadows.

<span class="mw-page-title-main">Agnes Dean Abbatt</span> American painter

Agnes Dean Abbatt of New York was a painter of floral still lifes, landscapes, and coastal scenes. She was the second woman elected to the American Watercolor Society.

The New England Watercolor Society, originally named the Boston Watercolor Society, is an artist-run organization formed to promote and exhibit work by watercolor painters. It was also at one time known as the Boston Society of Watercolor Painters. It is headquartered in Plymouth, Massachusetts.

<span class="mw-page-title-main">Emily Maria Scott</span> American painter

Emily Maria Scott was an American artist. The New York Watercolor Club, and the Pen and Brush Club were formed in her studio. She was also a writer of magazine articles. She served as president of the National Association of Women Painters and Sculptors, vice president New York Water Color Club, and was a member of the Pen and Brush Club, the American Water Color Society, the New York Women's Art Club, and the National Arts Club."

References

  1. 1 2 3 4 5 6 "The Woman's Art Club" (PDF). The New York Times. February 26, 1892. Retrieved February 28, 2012.
  2. "Liana Moonie". National Association of Women Artists. Retrieved 13 July 2018.
  3. 1 2 3 4 Club Women of New York. Mail and Express Company. 1906. p.  97.
  4. American Art Directory. R.R. Bowker. 1918. p.  202. ISBN   9780835212502.
  5. "History". NAWA. Retrieved 13 August 2012.
  6. American Art Directory. R.R. Bowker. 1905. p.  230. ISBN   9780835212502.
  7. Rochester Art Club. Biographies of Founders. Rochester Art Club. Retrieved February 7, 2014.
  8. John William Leonard; William Frederick Mohr; Frank R. Holmes. Who's who in New York City and State . L.R. Hamersly Company; 1907. p. 329
  9. John Howard Brown. Lamb's Biographical Dictionary of the United States: Chubb-Erich . James H. Lamb Company; 1900. p. 217.
  10. "Woman's Art Club, Eighteenth Annual Exhibition in Manhattan Shows Marked Individuality and Freshness of View". Brooklyn Daily Eagle. Brooklyn, New York. 1910-05-01. p. 8.
  11. Who's Who in Illinois. Chicago: Larkin, Roosevelt & Larkin, Ltd. 1947. p. 390.
  12. Neal, Christine Crafts (Spring–Summer 2002). "Claude Raguet Hirst: Her [Still] Life Story". Woman's Art Journal. 23 (1): 11–16. doi:10.2307/1358962. JSTOR   1358962.
  13. City Art Museum of St. Louis (1914). Special Exhibition Catalogue. p. 53.
  14. George Washington Cable (1896). The Symposium: A Monthly Literary Magazine. J.W. Cable. p. 97.
  15. American Art Annual. MacMillan Company. 1903. p. 373.
  16. "Arts at Home and Abroad - The California Coast" . The New York Times . February 1, 1914. p. M-15. Retrieved 2020-07-08.
  17. Cannon, Jennie Vennerström; Edwards, Robert W. (2012). Jennie V. Cannon: The Untold History of the Carmel and Berkeley Art Colonies (PDF). Vol. 1. Oakland, CA: East Bay Heritage Project. pp. 665–666.