Rash's Surname Index
Notes for Frederick Maxfield PARRISH
PARRISH, Maxfield, artist, was born in Philadelphia, Pa., July 25, 1870; son of Stephen and Elizabeth (Bancroft) Parrish. He matriculated at Hayerford college in 1888, but left in 1891 to enter the Pennsylvania Academy of Fine Arts, where he remained until 1895, when he became a pupil of Howard Pyle at the Drexel Institute. He won almost immediate recognition as an artist, doing much work in text illustrations, posters and cover designs for Harper's, Scribner's, and the Century publications. He was married, June 1, 1895, to Lydia, daughter of Henry W. and Anne Austin of Woodstown, New Jersey. He was elected a member of the Society of American Artists in 1898, and received honorary mention upon recommendation of the judges at the Universal exposition, Paris, France, in 1900. Among his noteworthy work in book illustration may be mentioned Mother Goose in
Prose (1898); Kenneth Graham's Golden Age (1898), and Dream Days (1902); and twenty-five illustrations for Ray Stannard Baker's The Great Southwest. His more important pictures exhibited at the Philadelphia Academy of Fine Arts; the Society of American Artists and elsewhere, include: Bulletin Board (1895), and The Sandman (1895).
The Twentieth Century Biographical Dictionary of Notable Americans Maxfield Parrish was one of America's most beloved artists working
during the "Golden Age of American Illustration." He achieved
incredible artistic renown and critical acclaim during his lifetime and has
continued to interest new audiences ever since. His prolific body of
work has been reproduced in books, calendars, art prints,
advertisements, and magazines for generations. His paintings and murals
always utilized a unique juxtaposition of designed elements, luminescent
colors, photorealistic subjects and romantic images which combined to
captivate his viewers.
Maxfield Parrish so dominated the images America loved that in the
1920's one out of four homes had his world of make-believe hanging on
their walls. In a survey taken in 1925, van Gogh, Cezanne and Parrish
were thought to be the three greatest artists of all time. Consequently,
Maxfield Parrish was the single most popular American artist of the
early decades of the 20th century. The continuing demand for his art
prints today indicates America's fondness for his fantasy images.
The physically striking Maxfield Parrish was Frederick Parrish, the son
of the noted etcher Stephen Parrish and Elizabeth Bancroft Parrish.
Parrish's early years were filled with privilege and education. His father
was not only an inspiration to him as an artist, but he also exposed the
precocious lad to European museums and to classical art. Frederick
(later Parrish adopted his maternal grandmother's maiden name as his
Christian name), was particularly drawn to such contemporary English
artists as the Pre-Raphaelites, Rossetti, and Lord Leighton. Parrish
took an immediate interest in Leighton's art, his lifestyle, and theshaped
Parrish's artistic vision, and most certainly contributed to the creation of
his curious blend of naturalism, fantasy and romanticism.
After a brief and belabored period of studying architecture at Haverford
College, Parrish dropped out to study painting full time. Soon, he had
painted his first serious work, 'Moonrise', while he was living with his
father at a Gloucester, Massachusetts artist colony. Simultaneously he
enrolled at the Pennsylvania Academy of Fine Art. While at the
Academy, Parrish became familiar with the work of Howard Pyle and
audited Pyle's first classes in illustration at Drexel Institute. Parrish
quickly realized that the use of historic subject matter captured the
sentiments of the print audience, and he decided upon his career choice.
There was a great demand for talented illustrators as magazines
proliferated.
Another influential force in Parrish's academic career were the theories
advanced by the historian-illustrator, Jay Hambidge, who preached in a
series of lectures at Yale about a composition style which he called
"dynamic symmetry." This system offered artists a formula for
reproducing natural proportions in their works. It gave Parrish a taste
for the symmetry that was to later become such a major part of his art.
In fact, almost every one of his works is based upon this technique. It
became a system for him; first he did montage layouts which he would
then paint. The final execution was almost etching-like, precisely
articulated with romantic images emanating from his incredibly fertile
imagination. The colors appearing in Parrish's works were so bold that
even today cobalt blue is still referred to as "Parrish blue." These images
will stand forever, unique and strong blending into a fantasy world never
witnessed before or since.
After painting the mural of 'Old King Cole' in 1895 for the Mask and
Wig Club, a thespian society at the University of Pennsylvania, Parrish's
work began to be exhibited and published, and ultimately he became
the center of attention nationally. By the age of 25, Parrish was
commissioned to paint his first magazine cover for Harper's Bazaar.
Following quickly on the heels of that success, Parrish was inducted
into the Society of American Artists in 1897, based on the brilliance of
his seminal painting, The Sandman.
In successive years Maxfield Parrish garnered major commissions for
many national magazines and books, including a yearly calendar
contract with Edison Mazda (General Electric). His success attracted a
group of fellow artists and also admirers of his estate, called "The
Oaks," near Cornish, at Plainfield, New Hampshire. He personally
designed and built much of the building complex by himself with the help
of a local carpenter. By the 1900's there were many artists and
intellectuals in full-time residence at Cornish. The area had become an
artist colony in its own right and even attracted President Woodrow
Wilson to reside there during the summers.
In the years from 1904 to 1935 Parrish was never at a loss for work.
His fame grew and his commissions soared up to $2,000 per
illustration. This was a time when illustrators were celebrities. In 1922
Parrish completed a painting that was a pinnacle for him in many ways.
This painting entitled 'Daybreak' features his daughter Jean, an artist in
her own right, and Kitty Owen, the daughter of William Jennings Bryan.
It was laid out with dynamic symmetry, embodied classical elements,
and featured a mountainous "Parrishscape" in its background; in short,
'Daybreak' was quintessential Parrish. The ensuing art print of this
painting is thought to be the most widely sold art print in history.
From 1931 onwards Parrish painted landscapes for a calendar series as
well as for greeting cards and playing cards. In 1960 Parrish stopped
painting altogether after Susan Lewin, his model and companion of 55
years, married at the age of 70. Maxfield Parrish quietly passed away at
the age of 95 at "The Oaks" in 1966. He has lived to see his work
continually recognized and revered by successive generations
throughout the world.
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