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Discovery in the Attic: The Lost Work of Provincetown Artist Edith Lake Wilkinson

In 1924, someone packed a truck with the life work of Edith Lake Wilkinson – her woodblocks, prints, sketches and paintings. And then someone packed Edith Lake Wilkinson off to an insane asylum in Baltimore, Md.

Edith spent the remaining 30 years of her life in mental institutions. Her trunkful of artwork would sit in an attic in Wheeling, W.Va., where her nephew, her only close surviving relative, still lived.

Edith Lake Wilkinson at 20

Years after her death, her great-niece solved at least part of the riddle of what happened to Edith Lake Wilkinson. And she brought her artwork back into the public eye, even as the art world rediscovered Edith’s contemporaries, known as the Provincetown Printers.

And, as it turned out, something else may have been taken from Edith Lake Wilkinson: credit for inventing the white line woodcut.

Edith Lake Wilkinson

Edith Lake Wilkinson was born in Wheeling, W.Va., on Aug. 23, 1868 into a middle-class family. She had one sister. In 1888, at the age of 19, she left for New York City, by herself, a journey that led, perhaps inevitably, to Provincetown.

Edith enrolled in the Art Students League, studying drawing and painting with some of the top teachers in the country. She then attended Columbia’s Teachers College in 1900, where she studied with Arthur Wesley Dow. She moved to Morningside Heights with a woman named Fannie Wilkinson, 13 years older than she. They traveled to Europe together; when they returned to New York, Edith went back to the Art Students League.

At least by 1914, and possibly earlier, she summered in the gay-friendly art colony of Provincetown. World War I had sent many European artists to Provincetown, where creative people flourished in the freewheeling, cosmopolitan atmosphere.

Provincetown at the time had three art schools, surely enough for everybody to partake in creative endeavors. And yet women artists had it harder than men. They could only sell art on Sunday, and they found it much harder to get recognized as artists.

The Monongahela, white line woodcut by Blanche Lazell

Provincetown Printers

Edith fell in with a group that called themselves the Provincetown Printers. They practiced a technique known as the white line woodcut. For decades, art critics attributed the invention of the white line woodcut to a Provincetown artist named B.J.O. Nordfeldt.

Like European artists, the Provincetown printmakers embraced the Japanese woodblock prints known as ukiyo-e, or “pictures of the floating world.” The technique involved a separate woodblock for each color, a laborious and time-consuming process. Nordfeldt supposedly simplified the technique by etching designs onto one woodblock with a v-shaped tool that gouges a line between the shapes of the design. Then the artist attaches a piece of paper to the block, and colors in each area of the design separately. The artist then lays the paper down on the block and rubs the back with a spoon until the ink transfers to the paper.

The Great Wave of Kanagawa by Hokusai, a ukiyo-e print

Kate Hanlon, who practices the white line woodcut technique in Newburyport, Mass., explained part of its appeal: Artists can make prints economically on the kitchen table. “You don’t need a press or a printing table,” she said in a zoom interview.

The white line woodcut also fit with the Provincetown Printers’ aesthetic sensibility, she said. It was flat, modernist, and it incorporated the handcraft ethos of the Arts and Crafts movement still in vogue.

“They respected the art,” Hanlon said.

Blanche Lazell, for example, one of the foremost white line woodcut artists, also hooked rugs. Other members of the Provincetown printers included Ethel Mars, Maude Squire, Mildred McMillen, Ada Gilmore, Agnes Weinrich and Juliette Nichols.

He Done Her Wrong

Provincetown changed the art of Edith Lake Wilkinson. Her work began to reflect the bright clear Cape Cod light. She moved to Boston, living at 337 Charles Street, presumably with Fannie.

Then on Feb. 15, 1922, her parents died suddenly, overcome by carbon monoxide poisoning while sitting in their West Virginia living room.

Her sister Jane had died, leaving one young son, Edward Vossler. A Wheeling attorney named George Rogers took over Edith’s financial affairs, doling out her monthly allowance. In a letter, Rogers suggested she and Fannie live in separate apartments because people needed time to themselves. He also discouraged her from moving to Provincetown.

Two years after her parents died, Edith Lake Wilkinson was committed to the Sheppard-Pratt Institute, a hospital for the mentally ill in Baltimore. Her diagnosis: paranoia.

Edith Lake Wilkinson may well have had reason to think someone was out to get her. Prosecutors charged George Rogers with embezzling from his clients.

Edith won her release from Sheppard-Pratt five months later, but soon returned. Her prints, her woodblocks, her sketches all got packed into a trunk and sent to her nephew. Fannie died in 1931, and in 1935 Edith returned to West Virginia – to the dirty, crowded Huntington State Hospital. She died on July 19, 1957.

Prints in the Attic

Edith’s nephew Eddie Vossler married a woman who had a brother. One day in the early 1960s Eddie’s brother-in-law’s family came to West Virginia for a visit. His sister-in-law, Polly Anderson, cajoled his wife, Betty, into exploring their attic. There they found the trunkful of Edith Lake Wilkinson’s artwork.

According to her daughter, Polly said, “My God, Betty, do you know what you have?” Betty let Polly take the paintings to her home in Northern California, where they formed the backdrop of her daughter Jane’s childhood.

Jane, like Edith, was gay, and, like Edith, moved to New York City as a young woman and studied art. She visited Provincetown to find out more about her great-aunt, but no one had heard about her.

Jane became a filmmaker, and in 2015 made a documentary called Packed In A Truck: The Lost Art of Edith Lake Wilkinson. In the process of discovering her grea- aunt, she found a white line woodblock that Edith dated to 1913 — one year before the earliest white line woodcut by Nordfeldt

Rediscovery of Edith Lake Wilkinson

Anderson felt she owed it to her great-aunt to get her work back in the public eye. White line woodcuts had already made a comeback by the time the film premiered.

In the late 1970s, Print Review assigned a story about the Provincetown Printers to a writer named Bill Evaul. A few of the original members survived, and from them Evaul learned how to make a white line woodcut. He mastered the art himself, taught it and promoted the genre.

By the 1980s, museums and galleries revived the work of the Provincetown Printers. In 1983-84, the Smithsonian American Art Museum showed 75 Provincetown prints. And In 2004, the Museum of Fine Arts Boston held an exhibit of the art of Blanche Lazell.

Woodcut by Kate Hanlon

The work of Edith Lake Wilkinson, though, did not appear in those exhibits. Anderson’s documentary changed all that. In 2013, the Larkin Gallery in Provincetown held a one-woman show of her work. And in 2016, the Huntington Art Museum held A TALENT FORGOTTEN: The Art of Edith Lake Wilkinson.

And in 2016, Bakker Auctions held a show of eight women artists from Provincetown. In the catalogue, the auction house describes

This tragic example of the precarious standing of women in the early 20th century is also a classic story of the female artist disappearing into historic obscurity.

If you’re interested in the art of the white line woodcut, check out Kate Hanlon’s website: https://www.katehanlon.com/teaching.

Images: Monongahela By Source, Fair use, https://en.wikipedia.org/w/index.php?curid=34635675. Edith Lake Wilkinson By Unknown author – http://www.edithlakewilkinson.com/about/chronology, Public Domain, https://commons.wikimedia.org/w/index.php?curid=70173045. With thanks to Packed in a Trunk: The Lost Art of Edith Lake Wilkinson. This story was updated in 2022.

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WWI Camouflage School Taught How To Turn Warships Into Pop Art

In 1917, the U.S. government set up a camouflage school for women artists in Marshfield Hills, Mass. About five dozen women artists came to the month-long training camp to learn how to camouflage cars, locomotives and battleships. Their work would help save lives on the European front and in the shipping lanes of the Atlantic during World War I.

Painting of the Mauretania in razzle-dazzle

Camouflage was a very big deal during that war, though deception had been part of armed conflict since the Trojan Horse. But not until World War I did camouflage become an official branch of warfare. Architects, artists, cabinetmakers, stage designers, carpenters, ironworkers, chemists – and women artists — brought camouflage to a new level.

The so-called camoufleurs designed uniforms that disguised soldiers as rocks, as sky, as ice. They painted designs on guns and covered them with camouflaged nets to hide them from aerial surveillance. And they tried to make artillery emplacements invisible to the enemy.

Camouflage perhaps reached its apogee with razzle-dazzle battleships, a technique the women were to learn at the Marshfield camouflage school. They painted bold geometric designs onto 1,250 US. battleships, no two alike, to confuse the German U-boats about where to aim torpedoes.

RMS Mauretania painted in dazzle. Photo courtesy Library of Congress.

The fantastic razzle-dazzle designs inspired none other than Picasso to claim the Cubist school of art invented the technique. Artists from the camouflage school left their mark on New England in ways that can still be seen.

Roots of the Camouflage School

A Dublin, N.H., painter better known for his angels made key advances in the science of camouflage. Abbott Handerson Thayer, an ardent outdoorsman, studied animals’ protective coloring. He and his son Gerald in 1909 wrote and illustrated an influential book called Concealing Coloration in the Animal Kingdom. The book discussed disruptive patterning (they called it ‘razzle-dazzle’), which breaks up an animal’s outlines. The Thayers also wrote about masquerade, as when a creature mimics something in its environment. And they described countershading, such as the white undersides of animals that make them seem less round and less solid.

Illustration from the Thayers’ book, showing a concealed ruffed grouse.

Abbott Thayer and his friend, fellow Dublin artist George de Forest Brush, proposed camouflaging ships during the Spanish-American War. They failed to interest the military. Theodore Roosevelt later mocked Thayer’s theories about camouflage, calling him ‘a poor lunatic goose.’

But Thayer’s ideas about camouflage reached across the Atlantic. For a time, it seemed, every country adapted his ideas about the strange art of Yankee origin — except for the United States.

Norman Wilkinson, a British artist who served in the Royal Navy Reserves, read the Thayers’ book. During World War I, he served on submarine patrol. When German U-boats began sinking British ships with abandon, Wilkinson suggested using razzle-dazzle camouflage to confuse the Germans.

Razzle dazzle design for a British warship. Courtesy National Archives.

In the summer of 1917, Wilkinson took charge of a special Dazzle Section for the Royal Academy of Art. In a year or so, the Dazzle Section painted about 2,300 battleships in bright abstract patterns. (To see templates for the designs, click here. They’re fascinating.)

Norman Wilkinson painting of a battleship painted in a dazzle design, 1918.

The French had also formed a special camouflage unit in 1915, and called its artists camoufleurs. They, too, painted thousands of battleships in dazzle patterns. And in In Australia and New Zealand, women made camouflage nets to disguise guns from the enemy’s aerial photographers.

Back in the USA

Before the U.S. entered the war in April 1917, a younger generation of U.S. artists began to promote the art of camouflage. They formed the New York Camouflage Society, a group that included Gerald Thayer, Thayer’s cousin Barry Faulkner, Brush’s son Gerome and Homer Saint-Gaudens, son of the Cornish, N.H., sculptor Augustus Saint-Gaudens.

They offered their services to the War Department. As usual, the War Department didn’t have much interest. But by the end of July, a military mission sent to Europe recommended the Army Corps of Engineers create a 260-man “camouflage park.” In September, the first recruits reported to camp in Washington, D.C. By December, the camoufleurs had their own section, Company A of the 40th Engineers.

Camouflaging artillery in World War I.

They shipped off to France on January 4, 1918. Barry Faulkner spent the rest of the war in France, camouflaging artillery and machine gun positions.

Upon his return to the States, Faulkner painted murals, most notably the ‘Faulkner Murals,’ which adorn the rotunda of the National Archives. He also painted murals in the Senate Chamber in the New Hampshire Statehouse, Hartford’s Bushnell Center for the Performing Arts, and the old John Hancock building in Boston.

Dazzled by the Faulkner Murals at the National Archives.

Camouflage School

When the male camoufleurs went off to war, the ladies took over at home.

On Dec. 3, 1917, newspapers picked up a wire service report that reported about the camouflage school.

“An appeal has been issued to women artists urging them to enroll in a camp for the training of women camouflage workers,” it said. Seventy-five women had already joined and as many as four a day were signing up. Camouflage school would last as long as six months. Before they arrived, the women were urged to practice at home by painting sailcloth with house paint.

As the men before them did, some of the women migrated south to New York City from New England. In 1918, the Army formed the American Women’s Reserve Camouflage Corps.

The women worked on camouflage uniforms, trying them out in Van Cortlandt Park and Kykuit, a Rockefeller estate, just north of New York City. Disguised as rocks and trees, they often fooled visitors. One police officer told a journalist in 1918, he knew they were there, “but ye can’t see thim till they move.”

Now you see her…

Now you don’t.

The military soon learned of the public attraction for razzle-dazzle camouflage. Women went to work painting crazy patterns on tanks, ambulance and trucks for parades and other wartime events.

One of those women, Edith Barry, grew up in a wealthy New Jersey family but summered in Kennebunkport. Before the war, she studied painting and sculpture at the Art Students League in New York and abroad, in Paris, Rome, Austria and Spain.

Edith Barry, self-portrait.

Razzle-Dazzle

Barry painted portraits and landscapes, at least until 1918 when she started painting razzle-dazzle camouflage onto military vehicles in New York City. She belonged to a group of camoufleurs who painted bold abstract patterns onto a replica battleship in Union Square.

Women artists painting a replica warship in Union Square. Photo courtesy National Archives.

The ship attracted a great deal of public attention. That, after all, was the point of the exercise as the razzle-dazzle ship served as a recruiting station.

The razzle-dazzle battleships also enjoyed popularity among critics, who compared them with crazy quilts at a county fair, a Russian toy shop gone mad and a flock of sea-going Easter eggs. Those critics failed to understand the purpose of the razzle-dazzle: to deceive the eyes about the speed and direction of the ship.

Since then, scientists have tried to ascertain whether the razzle-dazzle camouflage really protected battleships.

The Brick Store Museum..

At war’s end, Edith Barry resumed her art and her world travels. She painted a mural in the Kennebunk post office in 1939 as part of the Treasury Department’s Section of Painting and Sculpture. Also during the Great Depression she inherited a historic brick building in Kennebunk. She turned it into the Brick Store Museum in 1936. Dedicated to the history of the Kennebunks, it was one of the few museums founded during the Depression.

With thanks to the Camoupedia blog and Camoupedia, by Roy Behrens.

Images: Edith Barry portrait: By Source (WP:NFCC#4), Fair use, https://en.wikipedia.org/w/index.php?curid=54578744; Brick Store Museum, By John Phelan – Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=18018629. This story was updated in 2023.

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Six More Artist Homes In New England

The creative spirit that moves people to sculpt and paint also tends to inspire an interesting artist home. Lucrative commissions in the days before the income tax meant some artists could live in country estates befitting a Gilded Age gentleman.

New England has quite a few artist homes now listed on the National Register of Historic Places.

We bring you six artist homes, one in each New England state. They all open to the public, at least seasonally.

Weir Farm

J Alden Weir studio. You can also visit the artist home on the Wilton farm.

Weir Farm, the home of J. Alden Weir, was a magnet for American artists such as John Twachtman, John Singer Sargent and Albert Pinkham Ryder. It probably helped that the farm was only 20 miles from the Cos Cob art colony in Greenwich.

There are two stories about how J. Alden Weir ended up owning the Weir Farm in Wilton, Conn. One is that Weir had a Manet painting that a collector wanted so badly he offered Weir $10 and his farm for it. According to the other, his wife’s family owned the farm.

As an art student in Paris, J. Alden Weir hated the new school of painting known as French Impressionism, until he didn’t. Eventually he became one of the most beloved American impressionist.

He was born in 1852, the 14^th of 16 children, the son of Robert Walker Weir, who taught drawing at the Military Academy at West Point.

Weir befriended many other painters, eventually co-founding The Ten, a group of artists unhappy with the conservative U.S. art establishment.

Nocturne: Queensboro Bridge by J. Alden Weir. Courtesy Hirshhorn Museum and Sculpture Garden.

Weir’s paintings are on display in major museums including the Metropolitan Museum of Art, the Phillips Collection, the Smithsonian Museum of American Art and the Wadsworth Athenaeum. The 60-acre grounds of Weir Farm National Historic Site open every day of the year to visitors. The farm also has an ongoing artist-in-residence program. Look for Weir Farm on the back of quarters issued in 2020.

Weir Farm National Historic Site, 735 Nod Hill Rd, Wilton, Conn.

Winslow Homer Studio

Where Winslow Homer painted and lived.

Winslow Homer, one of the greatest U.S. artists of the 19^th century, left the bright lights of New York City for Prout’s Neck, Maine. Then in his mid-40s, he moved partly to be near his family, partly to work in solitude and partly to paint the sea.

His family owned an estate on Prout’s Neck, and Homer moved into the carriage house. He painted the sea in Maine, traveling to the Caribbean during the winter and sometimes to the Adirondacks.

Though he also painted in oil, Winslow Homer knew he’d done something transcendent with his watercolors.

‘You will see, in the future I will live by my watercolors,” Homer once said. He hung some of his exquisite watercolors on the walls of the rental cottages. Now they’re in museums or private collections.

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Salt Kettle, Bermuda, by Winslow Homer. Courtesy National Gallery of Art.

Maine architect John Calvin Stevens transformed the carriage house into a studio and designed the Winslow Homer house. He took as payment a painting, Afternoon Fog. The Portland Museum of Art bought the studio in 2006, restored it and now offers tours in the summer months.

Winslow Homer Studio, 5 Winslow Homer Rd., Scarborough, Maine

Chesterwood

The house that Daniel Chester French built in Stockbridge, Mass.

Daniel Chester French, like his contemporary Augustus Saint-Gaudens, was no starving artist. He won lucrative commissions, including one for the Lincoln Memorial, and could afford a summer artist home — an estate, really, called Chesterwood.

He bought the Stockbridge, Mass., farm in 1896, and had a studio built on the property. Then in 1901, he rebuilt the farmhouse. For the rest of his life he divided his time between New York and Stockbridge, but used his Chesterwood estate as his primary workspace.

Born in Exeter, N.H., his family moved to Concord, Mass., when he was xxx. His father befriended Ralph Waldo Emerson and Louisa May Alcott. Young Daniel took art lessons from Louisa May Alcott’s little sister, May. She encouraged him to study art.

artist-home-lincoln-memorialartist-home-lincoln-memorial

The Lincoln Memorial, courtesy National Park Service.

He launched his career by winning the commission to design the Minute Man statue in Concord.

Other works include The John Harvard Monument, Harvard Yard, Cambridge, Mass. Commodore George H. Perkins monument at the New Hampshire State House

The statue of General Joseph Hooker in front of the Massachusetts Statehouse.

The National Trust for Historic Preservation now runs the home as a museum and sculpture garden.

Chesterwood opens weekends in May.

Chesterwood, 4 Williamsville Rd, Stockbridge, Mass.

Saint-Gaudens National Park

Augustus Saint-Gaudens home in Cornish, N.H.

Augustus Saint-Gaudens was the center of the Cornish colony, which included about 100 artists, writers and politicians from about 1895 to the end of World War I. It stretched from Windsor, Vt., to Plainfield, N.H. President Woodrow Wilson rented a summer White House there, among such artistic luminaries as Ethel Barrymore, Frederic Remington, Daniel Chester French, Isadora Duncan, Maxwell Perkins and Maxfield Parrish.

Saint-Gaudens, born in Ireland, emigrated with his family to New York City in 1848 as a baby. Apprenticed as a cameo cutter, he eventually won lucrative commissions for public statues. Some of his most famous work includes an equestrian statue of William Tecumseh Sherman in Central Park, a statue of Abraham Lincoln in Chicago’s Lincoln Park and the gold double eagle $20 coin.

The Robert Gould Shaw Memorial, on Boston Common.

His masterpiece, the Robert Gould Shaw Memorial, took him 14 years to create. The bronze bas relief commemorates the African-American 54^th Massachusetts Volunteer Infantry Regiment and its leader, Robert Gould Shaw, who died in battle. Since 1897 years it has stood across from the Massachusetts Statehouse on Boston Common.

Today Saint-Gaudens artist home, studio and gardens belongs to the National Park Service as the Saint-Gaudens National Historic Park. The park service has some of his sculpture on display, as well as reproductions of some of his masterpiece.

Saint-Gaudens National Park, 139 Saint Gaudens Rd., Cornish, N.H.

Gilbert Stuart Birthplace

Gilbert Stuart Birthplace, an artist home and snuff mill.

The Gilbert Stuart birthplace is unusual for an artist home, mostly because it’s also a snuff mill.

Gilbert Stuart’s father, Gilbert Stewart, was a Scottish immigrant who worked in the first snuff mill in America. His mother, Elizabeth Anthony Stewart, belonged to a prominent Middletown, R.I., family that owned large tracts of land. The house-and mill had stood in Saunderstown, R.I., for five years when Stuart was born in 1755. Stuart only lived there for six years because his family moved to Newport.

Gilbert Stuart showed early promise and studied painting in England, where he made a name for himself at 26 with his painting The Skater. His work commanded high prices in England, but he spent money carelessly and almost ended up in debtor’s prison.

The Athenaeum, by Gilbert Stuart

His most famous work, the portrait of George Washington, has appeared on the U.S. dollar for more than a century. He painted many famous people of the day, including John and Abigail Adams.

He died in 1828, leaving his wife and daughters so poor they couldn’t afford a gravesite. They buried him in an unmarked grave in the Old South Burying Ground.

Gilbert Stuart Birthplace, 815 Gilbert Stuart Rd, Saunderstown, R.I.

Rokeby

An artist home for several painters, Rachael Robinson Elmer and her parents.

Rokeby, the artist home we chose in Vermont, was also a prominent stop on the underground railroad.

Rachael Robinson Elmer was born at Rokeby in Ferrisburgh, Vt., the granddaughter of Quaker abolitionists, on July 28, 1878.

Her father, Rowland Robinson, was an author and illustrator, and her mother, Anna Stevens Robinson, was a painter. They encouraged her interest in art, and let teenaged Rachael study art in New York City for three summers. She fell in love with New York City as a young girl and moved there after graduating from Goddard College. Rachael continued to take art classes, and Childe Hassam taught her to paint scenes of city life.

artist-home-rachael-robinson-elmer-trinity

Trinity Church and Wall Street by Rachael Robinson Elmer.

Rachael succeeded as a commercial artist and married an older man named Robert Elmer. She painted 12 “Art Lover’s New York” postcards showing famous scenes around the city and published them in 1914. They sold like wildfire, and other artists began producing impressionistic postcards. She was said to have changed postcards forever.

She died in 1919 in the flu pandemic of 1918 at the age of 40.

Today Rokeby is a historic farm property and museum that includes a 1780s farmstead, eight agricultural outbuildings with permanent exhibits, and hiking trails that cover more than 50 acres

Rokeby, 4334 U.S. Route 7 in Ferrisburgh, Vt.

End Notes

If you enjoyed this story, you may also want to read about an artist home you can sleep in n each New England state here.

Artist Home images: Weir Farm studio By Noroton – Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=4960283; Winslow Homer studio By User:Magicpiano – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=28919316; Chesterwood by I, Daderot, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=2414120; Augustus Saint-Gaudens artist home, By Ser Amantio di Nicolao – Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=35171636; Robert Gould Shaw Memorial By Carptrash at the English language Wikipedia, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=27154774; Gilbert Stuart birthplace By Gibbystuart – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=40114851; Rokeby By Mfwills – Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=11310696.

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Maxfield Parrish, A Mechanic Who Painted Fantastically

The landscape of Vermont and New Hampshire inspired Maxfield Parrish in 1922 to create the lush, romantic painting Daybreak.

Daybreak became the most popular art print of the 20^th century. One in four U.S. households owned a print of the neoclassical landscape with two beautiful nymphs in the foreground.

Daybreak, by Maxfield Parrish

Parrish’s spectacularly imaginative art made him famous and allowed him to live comfortably with his family in the Cornish Art Colony. There he entertained President Woodrow Wilson, actress Ethel Barrymore and journalist Walter Lippman. Norman Rockwell idolized him from across the Connecticut River in Vermont. Calendars he illustrated as advertisements sold by the millions. And a shade of cobalt blue was even named after him.

Maxfield Parrish

Maxfield Parrish didn’t understand his own popularity — or at least claimed not to.

“I am hopelessly commonplace, I don’t know what people see in me!” he once said.

His methodical, almost mechanical, way of painting produced brilliant effects of color and light. He adapted the new process printing technique to methods used by the old masters. He started with a monochrome underpainting and then layered on transparent glazes. And between each layer, he applied varnish.

“This method is very simple, very ancient, very laborious, and by no means original with me,” he said. He called himself ‘a mechanic who paints.’

Maxfield Parrish

Ecstasy

Maxfield Parrish was born July 25, 1870, in Philadelphia, to artist Stephen Parrish and Elizabeth Bancroft Parrish. His parents named him Frederick, but he later adopted his maternal grandmother’s maiden name.

From childhood he wanted to be an artist, and his parents encouraged him. When he turned 10, his father took him on a tour of European art museums. They sketched together in Europe and in New Hampshire, Massachusetts and Philadelphia.

After graduating from the Pennsylvania College of Arts, he and his father shared a studio in the Annisquam village of Gloucester, Mass.

He studied art for another year at the Drexel Institute of Art, Science and Industry, then embarked on a wildly successful career.

Golden Age

During the Golden Age of American illustration, artists produced a prodigious amount of fresh, exciting pictures for books and magazines. There was little difference between commercial and fine art during the period, roughly lasting from 1880-1920. It was triggered by innovations in mass color printing and led by such Brandywine artists as Howard Pyle and N.C. Wyeth.

Successful illustrators achieved celebrity in their day, their names household words.

Maxfield Parrish belonged to that group. He illustrated greeting cards, advertisements and children’s books, including Arabian Nights and Poems of Childhood. His work arrived in the mailboxes of millions of homes, appearing on the cover of Harper’s Bazaar, Colliers and Scribners Magazine. His paintings for full-color calendars for Edison-Mazda Lamps sold in the hundreds of thousands, sometimes the millions. People often framed them at the end of the year.

By 1910, he was so successful he was earning more than $100,000 a year in a time when a home could be bought for $2,000.

Cornish

Maxfield Parrish as a young man.

Maxfield Parrish was only 28 in 1898 when he and his new wife, Lydia Austin, could afford to build a house in Plainfield, N.H.

Plainfield belonged to the Cornish Art Colony, and his father .had already moved there. He urged the young couple to join him. Maxfield Parrish built a house across the river from his father and called it The Oaks. He lived there until his death on March 30, 1966.

The Cornish Art Colony flourished from 1895 to about 1925. Led by August Saint-Gaudens, it included artists, sculptors, writers, politicians and entertainers. They lived in the towns of Plainfield and Cornish in New Hampshire, and across the Connecticut River in Windsor, Vt. Residents included President Woodrow Wilson, artist Frederic Remington, dancer Isadora Duncan, actress Marie Dressler, sculptor Daniel Chester French and literary editor Maxwell Perkins.

The Lantern Bearers, 1908

In 1922 Maxfield Parrish finished what he called ‘the great painting’: Daybreak. He used three models: Kitty Owen, William Jennings Bryan’s granddaughter; his daughter Jean; and Susan Lewin, his young nanny.

The painting achieved staggering success. Still in print, Daybreak outsold Andy Warhol’s Campbell’s Soup Cans and Da Vinci’s Last Supper.

Parrish eventually moved out of The Oaks and into the studio with Susan Lewin. His wife began to take long trips with their four children. The arrangement scandalized Plainfield, but Parrish and Lewin claimed to have only a Platonic friendship.

Meanwhile the public demanded more images of lissome nymphs and androgynous youths in sumptuous landscapes and fantastical scenes. And so Maxfield Parrish obligingly churned them out.

No More Girls on Rocks

In 1931, Maxfield Parrish told The Associated Press, “I’m done with girls on rocks.” He abandoned illustration for landscape painting, which was more satisfying, but less lucrative.

He hadn’t finished with Susan Lewin, though. Their arrangement continued for 55 years until Lydia Parrish died in 1960. Maxfield Parrish was 90, Susan Lewin was 71, and they could finally marry. He declined, and she left him to marry someone else.

The Mill Pond

Parrish continued to paint landscapes and murals until his death. His clients included the Vanderbilts, Whitneys, Astors, Du Ponts and Hearsts. In 2006, actor Mel Gibson’s wife Robyn bought Daybreak at Christie’s for $7.6 million.

The ‘mechanic who paints’ had an abiding love for machinery. He built a shop beneath his studio and filled it with machines. With them, he created model scenes, props and lighting effects for his paintings. One of his sons, Stephen, became an airline mechanic. Another son, Maxfield Parrish, Jr., helped create the self-developing camera at Edwin Land’s Polaroid Corporation. Daughter Jean became an artist.

Daybreak continues to influence popular culture. Variations were used on a Moody Blues’ album cover, in a Michael Jackson music video, a Bloom County cartoon collection and the movie poster for The Princess Bride.

Parrish around 1920.

A Maxfield Parrish enthusiast bought The Oaks. He then rebuilt it after it burned. It was put up for sale in its entirety for $1.15 million in 2017.

You can visit the center of the Cornish Art Colony, St. Gaudens National Historic Site, a National Park Service site.

This story about Maxfield Parrish was updated in 2023.

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The Antis: Women Who Fought Against the Vote

In the late 19^th century, women known as antis began to organize against women who wanted the right to vote.

A cartoon making the antis argument. Courtesy Library of Congress.

The antis viewed suffragists as angry killjoys who wanted to intrude on politics, the proper realm of men. They argued women didn’t need the vote because men could conduct government for both sexes. Further, they contended, the vote alone assssscouldn’t fix any injustice women suffered.

Maine native Kate Douglas Wiggin, who wrote Rebecca of Sunnybrook Farm, supported the antis. She told a group of women in 1912 she would have ‘woman strong enough to keep just a trifle in the background, for the limelight never makes anything grow.’

As extraordinary as it seems today, the antis got plenty of support from women.

Who Were The Antis?

Suffragists started their first national organization in 1869. It would take the antis another 42 years to form theirs. They called themselves the National Association Opposed to Woman Suffrage, or NAOWS. They passed out pamphlets that preached, ‘you do not need a ballot to clean out your sink.’ One pamphlet included household hints such as cleaning ink spots with sour milk — along with advice to ‘not waste time, energy and money’ on voting.

Other anti-suffrage propaganda pictured men caring for babies and doing household chores while women went off to vote.

The antis had many reasons for opposing the vote. Some with wealth and social prestige feared the vote would dislodge them from their comfortable positions.

Others viewed the suffragists as dangerous radicals associated with birth control, free love and the labor movement.

Some women became antis because they feared electoral politics would erode their ability to do good works. The Progressive Era, for example, got its name from women who tried to solve social problems in clubs, hospitals and settlement houses. They supported prison reform, shorter work days, an end to child labor and improved sanitation and diet.

The antis national organization. Courtesy Library of Congress.

Josephine Jewell Dodge

Josephine Jewell Dodge had wealth and prestige, but she also spent several decades promoting day care centers for working mothers. Dodge was born in 1855 in Hartford to Marshall Jewell, a prominent Connecticut politician who headed the Republican National Committee. She married Arthur Murray Dodge, son of wealthy Congressman William E. Dodge, in 1875.

After rising to prominence for her activism, Josephine Jewell Dodge turned her attention to fighting woman’s suffrage. In 1911, members of the National Association Opposed to Woman Suffrage elected her their first president.

As an anti, she faced accusations that she was a political cats’ paw. The suffragists, who mostly supported temperance, claimed she carried water for the liquor interests.

The suffragists, of course, met the same kind of allegation. The antis charged the suffragists fronted for corrupt male organizations like Tammany Hall.

Both sides used ridicule as a weapon. And as head of NAOWS, Josephine Jewell Dodge confronted the same kind of ridicule the suffragists endured.

Ladies Riot

In 1915, a newspaper reported the antis and the suffragists nearly rioted at a meeting before the National Democratic Committee in Washington, D.C. Josephine Jewell Dodge gave a speech that affronted the suffragists.

“Charges of bribery hurled against Mrs. Dodge met with tears, then a haughty rejoinder — altogether like a men’s political affair except for the smoke,” reported the Washington Herald.

A ‘Western woman’ shook a handful of suffrage leaflets ‘under the nose of the very dignified anti,’ reported the Herald. She shouted that Josephine Jewell Dodge received $75 for delivering her speech.

“Mrs. Dodge flushed angrily and tears filled her eyes,” reported the Herald. “Then she replied in her haughtiest manner:

“As a woman of independent means I not only have never received a cent for my services, but I have financed the work of many others.”

State Chapters of Antis

The antis, just as the suffragists had, began their organizing in Massachusetts, though much later than the suffragists.

An anti-suffrage cartoon showing how the vote would backfire. Courtesy Library of Congress.

In 1895, the Massachusetts Association Opposed to the Further Extension of Suffrage to Women was founded by such Brahmins as Mrs. J. Eliot Cabot, Cornelia Baylis Lowell and Kate Gannett Wells. They attracted nearly 37,000 members by 1915 and had a headquarters on Boylston Street in Boston.

By 1910, the antis spread to other states, including Connecticut.

Mrs. Grace G. Markham, founded the Connecticut Association Opposed to Woman Suffrage. It had branches in 161 cities and towns.

Mrs. Markham warned the ‘suffs’ had joined the Reds and wanted to incite class and race hatred.

The fight over woman’s suffrage divided many Connecticut communities, including a prominent artist colony.

In 1914, about 50 suffragists organized the Equal Franchise League in Old Lyme.

Two years earlier, 16 ladies, including art colony founder Florence Griswold, formed Old Lyme’s group of antis. Within a year the antis filled Town Hall for a speaker who denounced the suffragists. Alice Hill Chittendon explained ‘some of the undesirable results of equal suffrage already discovered.’

In January 1919, Mrs. Hermon Hubbard wrote a blistering letter to the New London Day, excoriating the newspaper for supporting the suffrage movement. She called it ‘the most radical and socialistic movement of the day.’ Six months later, she wrote a follow-up letter arguing women should stay home minding their children, ‘not running in the streets.’

New Hampshire Antis

A typical antis argument against the vote.

How did antis respond in 1920 when Tennessee approved the 19^th Amendment, reaching the threshold required to give women the vote?

Some antis refused to vote. But the diary of an Exeter, N.H., teenager shows a typical progression from anti to voter.

New Hampshire antis organized a state chapter of NAOWS, and Exeter formed its own chapter. Effie Tufts, an ardent anti, took her 16-year-old daughter Helen to hear two antis speak at Town Hall in 1913.

Helen reported in her diary that the meeting was ‘very good,’ and she had decided, “I’m an anti.”

In 1919, Helen’s father, state Sen. James Tufts, voted against the 19^th Amendment .

“Father fought it, spoke etc, but N.H. passed the suffrage amendment 18 to 10,” wrote Helen Tufts. “Worse Luck!”

She changed her tune in 1920, when at 23 she could vote for the first time.

“Mrs. Illsley came at — and took Mother and me down to VOTE!!! My first X ever put on a ballot was for Father for State Senator.”

With thanks to the Exeter Historical Society and the Florence Griswold Museum. This story about the antis was updated in 2022.

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Six Autumn Paintings of New England (And How They Look Today)

New England’s fall foliage inspires so much imagery we were pretty sure we could find six autumn paintings of New England. Then we thought we could identify each location and find a current photo, with help from Google Maps, Wikipedia and our own archives.

Sure enough, we found a painting of an identifiable scene in each New England state – all beautiful, of course, and all of autumn. We even found photos of the subjects of some of the six autumn paintings from the artist’s vantage point.

Here then are six autumn paintings of New England, one for each state.

Old Lyme, Connecticut

Reflections of Old Lyme by Guy Wiggins

We naturally turned to the village of Old Lyme in New London to find an autumn landscape painting.

Old Lyme was the site of an artist colony, arguably the largest and most important in the United States for 20 years from about 1900. It started when Florence Griswold and her sister Adele fell on hard times, as had New London. The Griswold sisters began to rent rooms to boarders in their family’s old Georgian home. When New York artists learned about the picturesque seaside town, they flocked to Miss Florence’s art colony.

Guy Wiggins, who painted Reflections of Old Lyme, was one of the youngest members of the Old Lyme art colony. He painted with his father, Carleton Wiggins, also a landscape artist. Guy Wiggins was better known for his paintings of New York skyscrapers in winter.

The painting was in the archives of the Caldwell Gallery in Hudson, N.Y.

Today, the Old Lyme Art Colony lives on as the Florence Griswold Museum (open from May through October), and Old Lyme has regained its prosperity.

Old Lyme today, courtesy Google Maps.

Mount Katahdin

Mount Katahdin by Marsden Hartley

Marsden Hartley, born in 1877 in Lewiston, Maine, was a renowned Modernist artist who painted manly, rugged scenes of fishermen, mountains and rocky seashores. He often painted Mount Katahdin, Maine’s highest mountain in Baxter State Park.

He moved to New York to embrace Greenwich Village Bohemianism, then in 1901 began a pattern he would repeat throughout his life: He left New York for Maine for the first of many summers. Hartley would forever bounce between the city and the country, tiring of one, then the other. In 1937, after a long stint in Europe, he returned to Lewiston, declaring he wanted to become ‘the painter of Maine.’

He made no money and almost abandoned art at the age of 29. Then he got a job as a handyman as a utopian community in Eliot, Maine, and continued to paint. He decided to continue as an artist after he put on a successful one-man show at the home of one of the community members.

Mount Katahdin

Marlborough Street, Boston

Frederick Childe Hassam, a New Englander through and through, painted many landscapes of the region throughout his life. Born in the Dorchester section of Boston in 1859, he was related to Nathaniel Hawthorne on his mother’s side.

Despite an uncle’s offer to send him to Harvard, Hassam dropped out of high school at 17 and got a job at Little, Brown & Co. He then worked as an engraver and an illustrator, until 1893 when he had his first solo exhibition of watercolors. The next year, his friend Celia Thaxter convinced him to stop calling himself ‘Fred’ and use his middle name instead. Hassam often painted the Isles of Shoals when he visited Thaxter at her salon there.

Starting in the mid-1890s, Hassam painted in Massachusetts in Gloucester and Provincetown, and at Connecticut art colonies in Cos Cob and Old Lyme.

He married Kathleen Maud Doane in 1882 and moved to Boston’s then-tony South End. Hassam began painting Boston cityscapes – an unorthodox choice at the time.

Later, Hassam painted cityscapes in Paris and New York. He died in 1935, and for years he was considered one of the abandoned geniuses of American Impressionism. He was rediscovered in the ‘60s and ‘70s, and his paintings sold for millions.

Marlborough Street in 2017

Mount Washington

Autumn in the Conway Meadows Looking Towards Mount Washington by Albert Bierstadt

More than 400 artists painted landscapes of the White Mountains of New Hampshire beginning at the turn of the 19th century. They wanted to promote the region and sell their paintings. It worked. Their dramatic images of a mountain wilderness attracted tourists from northeastern cities, especially in the summertime.

Albert Bierstadt was known for his paintings of the American West and considered a member of the Hudson River School. He was born in Germany in 1833, but his family moved to New Bedford in 1850. He studied art in Boston, and developed an interest in topography. It was natural for him to be drawn to Mount Washington, the tallest mountain on the East Coast.

Bierstadt studied painting in Germany for several years before returning to New Bedford. He painted Autumn in the Conway Meadows Looking Towards Mount Washington in 1858 just as he was getting noticed as an artist. The next year he headed west. There he was inspired to paint the large landscapes that gained him enormous popularity.

Mount Washington today. Not much has changed.

Sakonnet Point, R.I.

A Breezy Day: Sakonnet Point, Rhode Island, by Thomas Worthington Whittredge, courtesy Amon Carter Museum

The Great Hurricane of 1938 destroyed nearly all the buildings in the seaside village of Sakonnet Point in Little Compton, R.I.

Thomas Worthington Whittredge got there many years beforehand. Like his friend Albert Bierstadt, he was a member of the Hudson River School of Art. Like Bierstadt, he was famous for his paintings of the West.

Whittredge was born in 1820 in Ohio, and studied painting in Europe with Emmanuel Leutze. Leutze used Whittredge as a model for George Washington and his steersman in his iconic painting, Washington Crossing the Delaware.

Worthington Whittredge painted A Breezy Day–Sakonnet Point, Rhode Island, sometime around 1880. Four years later, Sakonnet Light was built. Preservationists made sure the historic lighthouse is still there.

Sakonnet Point. July 2012. Image courtesy Google Maps.

Bob Slater’s Hill, South Royalton, Vt.

Bob Slater’s Hill by Edward Hopper, courtesy Huntington Museum of Art

From the time he was 29 in 1912, Edward Hopper spent nearly every summer in New England until his death in 1967.

He is mostly associated with Cape Cod, Boston’s North Shore and New York City, but he spent some little-known time in and around South Royalton, Vt. He visited first in 1927 and then in the latter 1930s.

Hopper painted two dozen known works of Vermont, all watercolors and mostly ignored until rediscovered and assembled in an exhibit recently. Many of the scenes he painted then haven’t changed much.

Wagon Wheels Farm, July 2019. Image courtesy Google Maps.

There is actually a book and an entire blog devoted to Finding Edward Hopper in Vermont, both by Bonnie Tocher Clause. Of the painting Bob Slater’s Hill, she writes,

From the window of the upstairs guest room on Wagon Wheels Farm, Edward and Jo Hopper looked out over another South Royalton hill — Jigger Hill, or “Bob Slater’s Hill,” as Edward dubbed it. He recorded his fascination with the changing light and shadows in a watercolor, a striking study of contrasting views, near and far… In Bob Slater’s Hill and others of the Vermont watercolors, Hopper captured the particular shade of yellowish-green that’s a harbinger of fall in Vermont.

It isn’t clear to us which hill is “Bob Slater”s” or “Jigger” Hill. But today a historical marker stands in front of the old farm, with the message, “Tourists Accommodated 1937-1942.” It notes that the Hoppers stayed there, as well as Eleanor Roosevelt (not at the same time).

Image of Mount Katahdin By TJ aka Teej – Self-photographed, Public Domain, https://commons.wikimedia.org/w/index.php?curid=1091663. This story was updated in 2021.

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The Antis: Women Who Fought Against the Vote

Who Were The Antis?

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New Hampshire Antis

Six Autumn Paintings of New England (And How They Look Today)

Old Lyme, Connecticut

Mount Katahdin

Marlborough Street, Boston

Mount Washington

Sakonnet Point, R.I.

Bob Slater’s Hill, South Royalton, Vt.

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