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arts:harriet_whitney_frishmuth

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arts:harriet_whitney_frishmuth [2009/01/15 09:59] – tomgeearts:harriet_whitney_frishmuth [2009/01/15 10:02] (current) – tomgee
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 Harriet Frishmuth scorned modern art and was quite outspoken on the subject, calling it "spiritless" (she was equally outspoken in her dislike of the word "sculptress"). She received a number of recognitions and honors over the course of her career: the St. Gaudens prize (while still a student), several awards from the National Academy of Design, a prize from the Grand Central Art Galleries, an honorable mention from the Golden Gate International Exposition and the Joan of Arc Silver Medal from the National Association of Women Painters and Sculptors. "The Vine" (1923), a larger-than-life-size bronze considered one of her finest pieces, is in the American wing of the Metropolitan Museum of Art. Harriet Frishmuth scorned modern art and was quite outspoken on the subject, calling it "spiritless" (she was equally outspoken in her dislike of the word "sculptress"). She received a number of recognitions and honors over the course of her career: the St. Gaudens prize (while still a student), several awards from the National Academy of Design, a prize from the Grand Central Art Galleries, an honorable mention from the Golden Gate International Exposition and the Joan of Arc Silver Medal from the National Association of Women Painters and Sculptors. "The Vine" (1923), a larger-than-life-size bronze considered one of her finest pieces, is in the American wing of the Metropolitan Museum of Art.
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 ==== Joy of the Waters ==== ==== Joy of the Waters ====
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 One of Harriet Frishmuth's first and most popular garden fountains, Joy of the Waters depicts, in dancelike movement, the figure's reaction to having her toes splashed with cold water. Frishmuth's skillful rendering of the female physique is especially evident in the subtle definition of the figure's muscles and ribs. The girl's springing, energetic step, joyful expression, and animated hair create an exuberant mood and suggest that she may be a water sprite. One of Harriet Frishmuth's first and most popular garden fountains, Joy of the Waters depicts, in dancelike movement, the figure's reaction to having her toes splashed with cold water. Frishmuth's skillful rendering of the female physique is especially evident in the subtle definition of the figure's muscles and ribs. The girl's springing, energetic step, joyful expression, and animated hair create an exuberant mood and suggest that she may be a water sprite.
  
-Frishmuth made two versions of Joy of the Waters: the 63 1/2-inch size, of which there were more than 60 bronze castings, including the Art Institute's, and a smaller, 46-inch fountain, created in 1920, of which there were more than 40 castings. The model for this 1917 bronze was a Belgian girl named Janette Ransome. When Frishmuth made the second version of the subject, she used her favorite model, the dancer Desha Delteil. Both bronzes were among Frishmuth's most popular works, especially during the 1920s, a period of heightened vogue in America for garden sculpture and fountains.+Frishmuth made two versions of Joy of the Waters: the 63 1/2-inch size, of which there were more than 60 bronze castings,and a smaller, 46-inch fountain, created in 1920, of which there were more than 40 castings. The model for this 1917 bronze was a Belgian girl named Janette Ransome. When Frishmuth made the second version of the subject, she used her favorite model, the dancer Desha Delteil. Both bronzes were among Frishmuth's most popular works, especially during the 1920s, a period of heightened vogue in America for garden sculpture and fountains.
  
 The beginning of the 20th century saw a number of women (among them Frishmuth, Anna Hyatt Huntington, and Gertrude Vanderbilt Whitney) successfully pursue careers as sculptors, a field that had traditionally been considered masculine. Born in Philadelphia, Frishmuth briefly studied with Rodin in Paris around 1900 from whom she said she learned two important things: The beginning of the 20th century saw a number of women (among them Frishmuth, Anna Hyatt Huntington, and Gertrude Vanderbilt Whitney) successfully pursue careers as sculptors, a field that had traditionally been considered masculine. Born in Philadelphia, Frishmuth briefly studied with Rodin in Paris around 1900 from whom she said she learned two important things:
arts/harriet_whitney_frishmuth.1232031558.txt.gz · Last modified: 2009/01/15 09:59 by tomgee