Maxfield Parrish

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Maxfield Parrish (1870 – March 30, 1966), an American painter and illustrator who lived in the first half of the twentieth century.

He is best known for his saturated hues and stylized neo-classical imagery.

His career spanned fifty years and was extremely popular: his painting Daybreak (1922) is the most popular art print of the twentieth century.

Early life and education

Maxfield Parrish was born in Philadelphia, Pennsylvania, to painter and embroidery enthusiast Stephen Parrish and Elizabeth Bancroft. Frederick Parrish was his given name, but he later adopted Maxfield, his paternal grandmother's maiden name, as his middle name, then as his company name. He was raised in a Quaker family. 111 As an infant, he began drawing for his own amusement, and his parents supported him. His parents went to Europe from 1884 to 1886, where he toured England, Italy, and France. Dr. Claude Leopold studied at the Paris school of Dr. Claude Bruton. Kornemann, a German musician who played Kornemann.

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He attended Haverford School and then studied architecture at Haverford College, which began in 1888. He studied at the Pennsylvania Academy of Fine Arts from 1892 to 1895 to develop his art education, including artists Robert Vonnoh and Thomas Pollock Anshutz. 111 Parrish left the program and moved to Annisquam, Massachusetts, where he and his father shared a painting studio. He attended the Drexel Institute of Art, Science, & Industry, where he studied with Howard Pyle a year later, with his father's encouragement.

Personal life

Parrish met Lydia Ambler Austin, a drawing instructor, while studying at Drexel. The pair were married on June 1, 1895 and moved to Philadelphia. They will continue to have four children together. Parrish and his family migrated to Cornish, New Hampshire, in 1898, where they later named their home "The Oaks" in honor. 111 The home and an adjacent studio were surrounded by stunning landscapes that inspired Parrish's drawings.

Parrish suffered with tuberculosis for a long time as a child. 105 He learned how to mix oils and glazes to produce vibrant colors.

Parrish painted in Saranac Lake, New York, and Castle Hot Springs, Arizona, helping him to recover his health from 1900 to 1902.

Jean, Parrish's youngest child, posed for Ecstasy right before leaving for Smith College. Jean was the first child to follow her parents' occupations.

Parrish suffers from arthritis. In the late 1950s, he accepted his last job. His arthritis had barred him from painting by 1960. His last years were spent in a wheelchair. He died on March 30, 1966 in Plainfield, New Hampshire, at the age of 95.

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Career

Parrish entered into an artistic career that lasted for more than half a century, and which helped shape the Golden Age of illustration and American visual arts. During his career, he produced almost 900 pieces of art including calendars, greeting cards, and magazine covers. Parrish's early works were mostly in black and white.

In 1885, his work was on the Easter edition of Harper’s Bazaar. He also did work for other magazines like Scribner's Magazine. One of his posters for The Century Magazine was published in Les Maîtres de l'Affiche.He also illustrated a children's book in 1897, Mother Goose in Prose written by L. Frank Baum. By 1900, Parrish was already a member of the Society of American Artists. In 1903, he traveled to Europe again to visit Italy.

Parrish took many commissions for commercial art until the 1920s. Parrish's commercial art included many prestigious projects, among which were Eugene Field's Poems of Childhood in 1904, and such traditional works as Arabian Nights in 1909. Books illustrated by Parrish are featured in A Wonder Book and Tanglewood Tales in 1910, The Golden Treasury of Songs and Lyrics in 1911, and The Knave of Hearts in 1925.

Parrish was earning over $100,000 per year by 1910, when homes could be bought for $2,000.

In 1910 Parrish received a commission to create 18 panels to go into the Girls Dining Room of the Curtis Publishing Company building, then under construction at 6th and Walnut in Philadelphia. It would take him six years to finish the monumental project. In 1914, before the murals were completed, Curtis commissioned Parrish to design a 15-by-49-foot (4.6 m × 14.9 m) mural for the building lobby. Tiffany Studios constructed a favrile glass mosaic mural titled The Dream Garden, which is now a part of Pennsylvania Academy of the Fine Arts collection.

Parrish worked with popular magazines throughout the 1910s and 1920s, including Hearst's and Life. He also created advertising for companies like Wanamaker's, Edison-Mazda Lamps, Colgate and Oneida Cutlery. Parrish worked with Collier's from 1904 to 1913. He received a contract to deal with them exclusively for six years. He also painted advertisements for D.M. Ferry Seed Company in 1916 and 1923, which helped him gain recognition in the eye of the public. His most well-known art work is Daybreak which was produced in 1923. It features female figures in a landscape scene. The painting also has undertones of Parrish blue. In the 1920s, however, Parrish turned away from illustration and concentrated on painting.

In his forties, Parrish began working on large murals instead of just focusing on children's books. His works of art often featured androgynous nudes in fantastical settings. He made his living from posters and calendars featuring his works. Beginning in 1904, Susan Lewin (1889-1978) posed for many works, and became Parrish's longtime assistant. From 1918 to 1934, Parrish worked on calendar illustrations for General Electric.

In 1931, Parrish declared to the Associated Press, "I'm done with girls on rocks", and opted instead to focus on landscapes. By 1935, Parrish exclusively painted landscapes. Though never as popular as his earlier works, he profited from them. He would often build scale models of the imaginary landscapes he wished to paint, using various lighting setups before deciding on a preferred view, which he would photograph as a basis for the painting (see for example, The Millpond). He lived in Plainfield, New Hampshire, near the Cornish Art Colony, and painted until he was 91 years old. He was also an avid machinist, and often referred to himself as "a mechanic who loved to paint".: 34

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