Elizabeth Nourse: Russia

"La Petite Soeur" by Elizabeth Nourse

"In January 1889 Elizabeth took a trip without Louise to Russia with her friend Tolla Certowicz, a sculpture student at the Academie Julian. The two women journeyed to the Certowicz estate near Kiev by way of Warsaw and were six days en route. Elizabeth wrote a vivid account of this adventure to her twin sister, Adelaide:

'At length we reached the last station, and there we found the sleighs which had been waiting for hours. There were three of them - four horses each, one for us, one for the baggage, and one carrying an immense torch, close to the ground, to drive off the wolves and to show the way.

I shall never forget my first arctic night; at least it answered all the purposes of an arctic night. . . . The scene was ravishing, I was perfectly delighted, forgetting all my woes, my hunger, my fatigue, the cold - everything - for there was something intoxicating in that long night's ride. 

The drivers were so picturesque, the sleighs, the prancing horses, with their hundreds of bells, and then the beautiful blue sky above us, glittering with stars, and the snow, snow covering everything.

I was anxious to see some wolves, but probably the torch kept them off. However, it was better not to have been eaten up, although I would rather have liked to be able to describe it afterwards. I was sincerely glad when we had to cross some water, which was considered rather dangerous, and when we lost our way, my joy was complete . . . and when we arrived here the servants all came out to meet us and kissed our hands.'

Elizabeth spent six weeks in the Ukraine and made many sketches and some watercolors there, but she found it impossible to paint the peasants because it was not customary for the landowners to go into their cottages and she herself could not communicate with them. She therefore took some peasant costumes back to Paris and in 1895 fashioned an interior in her studio to resemble a Russian cottage, blocked the light to simulate its small, high windows, and painted 'Les fileuses russes.'"

To be continued

 

(Excerpts from "Cincinnati Societaire" by Mary Alice Heekin Burke in "Elizabeth Nourse, 1859-1938: A Salon Career.")

Elizabeth Nourse: Barbizon

"Head of a Breton Woman (Jeune fille de Plougastel)"
by Elizabeth Nourse

"In Elizabeth Nourse's continuing struggles to support herself and her sister, Louise was an indispensable assistant. Not only was she a frugal housekeeper but an astute business manager and secretary who took care of all shipping arrangements to the hundreds of exhibitions that Elizabeth entered over the years and handled all related financial details. As a result, Elizabeth was left completely free to devote herself to her work. A rapid painter, she always had a number of works on exhibition at the same time. It should be noted that all of the exhibitions she entered were juried. It was thus a testimony to her stature as an artist that her work was concurrently shown all over Europe and the United States.

Nourse's first trip outside Paris that summer was in the nature of a pilgrimage, to visit the village of Barbizon, locale of Jean-Francois Millet, the French artist she most admired and emulated. Deeply attracted to Millet's subject matter and to his simplicity in portraying it, she must have studied his work with care at his retrospective exhibition in Paris earlier that year, for her very first sketch upon arriving in Barbizon was of the cottage in which Millet had lived and worked. She sought out the woman who had been Millet's model for 'The Angelus' and made a fine character sketch of her, inscribed 'La mere Adele' and even bought the cloak the woman had worn when she posed for Millet, as well as a spinning wheel. Her admiration for the French painter was apparently well known to her friends, several of whom gave her reproductions of his paintings for birthday and Christmas gifts.

Louis wrote glowing descriptions to her sister Adelaide of the summer in Barbizon where, she said, Everywhere you look you see a Millet picture.' The sisters were delighted to be in the countryside, which moved Louise to exclaim, 'Oh, the beautiful country, la Belle France! We have found it at last.'"

To be continued

(Excerpts from "Cincinnati Societaire" by Mary Alice Heekin Burke in "Elizabeth Nourse, 1859-1938: A Salon Career.")

Elizabeth Nourse: The Paris Salon

"La Mere" by Elizabeth Nourse

"After only three months of study at the Academie Julian, Nourse was advised by her teachers to leave and work alone because they found her drawing excellent and felt that too much academic training might interfere with the development of her original style. She immediately set to work on 'La Mere,' her first Salon entry, and went to Jean-Jacques Henner and Carolus-Duran for criticism. The painting was not only accepted by the jury of the Societe Nationale des Artistes Francais, but was hung 'on the line,' a signal honor for a new exhibitor. She signed 'La Mere,' 'E. Nourse,' as she did all her early work, because she apparently thought it would be more favorably received if the public did not know she was a woman. In 1891 she began to sign her full name, 'Elizabeth Nourse,' on her Salon entries and this became her standard signature by 1904, except for small canvases on which she must have felt her full name would be obtrusive.

'La Mere' demonstrates how well Nourse understood the academic standards admired by the jurors of the Salon. First she painted an oil study of the mother's head, for which Louise carved a frame in the Pitman style. She then worked on the major painting, as she had on the study, with small brushstrokes and careful tonal gradations to give both works the finish that the more trditional French painters admired. The result displays her greatest strengths: solide draftsmanship and masterful handling of light and shadow as well as an emotional quality that never becomes sentimental.

For all its rich, dark color and academic finish, 'La Mere' was modern by nineteenth-century standards in its simplicity and realism. There are no anecdotal details and the oblique view of the figures is reminiscent of candid effects made popular by an earlier generation of French painters.

This was an auspicious beginning for the young Cincinnatian in Paris, but the next important step was to sell her work in order to support herself and Louise. Some seven years and exposure at five exhibitions, in Paris, London, Glasgow, Cincinnati and finally Washington D.C., were required before Nourse sold 'La Mere,' presumably for $300 by Parker Mann, an artist. in 1894. By 1914 was hanging in the Princeton study of Woodrow Wilson, then governor of New Jersey, along with Mrs. Wilson's own paintings."

To be continued

Excerpts from "Cincinnati Societaire" by Mary Alice Heekin Burke in "Elizabeth Nourse, 1859-1938: A Salon Career.")

Elizabeth Nourse: Paris

 

"La Fête de Grand-père (Grandfather's Birthday)"
by Elizabeth Nourse

"Like most American artists of her generation, Elizabeth Nourse dreamed of studying in one of the famous Paris ateliers. So to this end she and Louise studied French and saved money. By 1887 they had accumulated five thousand dollars from the sale of their art and from the residue of their father's estate. They stored their furniture because they planned to return, then sailed on the 'Westernland' from New York on July 20th. Elizabeth was then twenty-eight years old. 

During this journey Nourse kept a notebook in which she recorded her thoughts as they departed. 'Such a melancholy feeling! There is so much we will see and do before we come back - and then, will we ever come back?'

Arriving in Paris in late August, the sisters checked into a hotel for women on the Left Bank, and immediately set out to see the mural decorations in the city's churches and public buildings. The very first noted were Thomas Couture's in Saint Eustache, which she pronounced 'exquisite.' She also studied paintings by artists including Jules Bastien-Lepage, Paul Baudry, Leon Bonnat, Jules Breton, Julien Dupre, Jean-Paul Laurens, and Leon Lhermitte at the Musee du Luxembourg, unaware that she would be showing her work with paintings such as theirs in the 1888 spring Salon of the Societe Nationale des Artistes Francais.

The Nourses found an atelier at 8, rue de la Grande Chaumiere near the Luxembourg Gardens in the Latin Quarter, where most of the American artists lived. The rent for such a studio was 40 francs (about $8) for six weeks. She proceeded to enroll at the Academie Julian for women, where Gustave Boulanger and Jules Lefebvre were teachers. Rudolphe Julian, the director, had been the first to offer art training in Paris exclusively for women. He was so successful in this enterprise that by 1892 he was operating five different studios, three for women only. The latter offered rooms arranged to satisfy different sensibilities - one for drawing from the nude model, one for working from a draped model, and a third, with a separate entrance and staircase, for those who did not even wish to glimpse a nude model.

Nourse's studied drawing of a class model indicates that she chose the more exacting discipline of drawing from the nude. She also made two sketches of Lefebvre in his role as teacher at Julian's with these words issuing from his mouth: 'Not bad - not bad at all.'" [One wonders if this had been his comment to her!]

To be continued

 

(Excerpts from "Cincinnati Societaire" by Mary Alice Heekin Burke in "Elizabeth Nourse, 1859-1938: A Salon Career.")

Elizabeth Nourse: Supporting Herself through Art

"Emerson Pitman" (1885) by Elizabeth Nourse

"Elizabeth now had to confront the problem of supporting herself and her sister. She continued to earn money in a variety of ways, one of which was painting decorative oil panels for Cincinnati homes. Benn Pitman, her brother-in-law, probably secured many of these commissions for her as the interior of the unique Gothic structure he had recently designed and built for his home became the model for many local projects that followed. Pitman's house, inset with carved marble panels and stained glass, was located on a hill overlooking the Ohio River. On the exotic interior woodwork - cherry, black walnut, ebony, oak and rosewood - were carved superb original design based on local flora and fauna that remain in place today. Elizabeth painted the dining room walls and the panels set above the mantel, and made architectural drawings of the rooms and furniture so that Pitman could publicize these examples of his Ruskinian  formula for American designs and handicrafts.

At least one other of Nourse's decorative commissions survives. This panel, 'Flock of Geese,' was commissioned by Alice Pike Barney, a wealthy Cincinnatian who was one of the many interesting women to support the artist. Barney studied with Nourse, whom she commissioned to paint a portrait of her daughters, and encouraged by Nourse, went to Paris for further art study in 1887.

Elizabeth's sketchbooks of this period also contain many drawings of Austin and Walter Schmidt, sons of close friends, as babies, and Emerson Pitman, the second son born to Adlaide and Benn Pitman. In a strong but sensitive drawing of Emerson in charcoal and chalk with gouache highlights, she handles the media with an almost painterly touch as she molds the facial structure with bold contours and softly textured shadows. Her interest in painting infants and mothers and children, which she shared with Mary Cassatt, seems to have begun with the births of Walter and Emerson and continued throughout her career.

In 1885 Elizabeth returned to McMicken School of Design to take advantage of the school's first course (under Thomas Noble) to offer study from the nude to women. Together with her fellow classmates from four years earlier, Caroline Lord and Laura Fry, she studied in the life class for two years before she left to study in Paris."

To be continued

 

(Excerpts from "Cincinnati Societaire" by Mary Alice Heekin Burke in "Elizabeth Nourse, 1859-1938: A Salon Career.")

Elizabeth Nourse: New York

"Head of a Girl" by Elizabeth Nourse

"In 1882 several events took place that greatly affected Elizabeth Nourse's life. Her father's death on April 21 was followed by the death of her mother on August 27, the same month that her twin sister Adelaide married sixty-year-old Ben Pitman in Sandusky, Ohio. Elizabeth was fhus forced to separate from her twin, heretofore her devoted companion, the same year she lost both parents.

A fortunate circumstance for Elizabeth during her stay in Sandusky was her acquisition of a patron in the person of Mrs. John Harrison Hudson, a wealthy Ohioan who was herself a watercolorist. Having previously purchased twelve of Nourse's paintings at an exhibition in Cincinnati, Mrs. Hudson decided that summer to make it possible for the young artist to study for a few months in New York City.

She finally decided to study at the Art Students League in a life class with William Sartain, a Philadelphia artist who had studied with Leon Bonnat in Paris and who also taught Cecilia Beaux. She apparently stayed only one term, and one can only surmise that she did not find the class worthwhile because she never included this study in her official biographies. 

In enthusiastic letters to her sisters, Nourse described her visits to artists' studios in New York. On a visit to the studio of Edward Moran, she especially admired a Normandy peasant scene painted by his son Leon because it reminded her of a Millet. She delivered letters of introduction (probably written for her by John Twachtman) to William Merritt Chase and J. Alden Weir. 

Elizabeth returned to Cincinnati, probably in the early spring of 1883 to live with her sister Louise, who at this time assumed the role she was to play throughout the artist's life, that of surrogate mother, housekeeper, hostess, and full-time business manager. Louise was warm and outgoing - she enjoyed entertaining and kept in touch with innumerable friends and relatives, and she was tireless in promoting her sister's work. She earned some money by her carving, but her great contribution to the career of her shy, reserved sister was her unfailing moral and practical support. It is not known if Elizabeth ever saw Mrs. Hudson again, but she did remain in touch with her until the latter's death in 1910."

To be continued

(Excerpts from "Cincinnati 'Societaire' by Mary Alice Heekin Burke in "Elizabeth Nourse, 1859-1938: A Salon Career.") 

Elizabeth Nourse: Artistic Influences

"Woman with Harp"
by Elizabeth Nourse

"Elizabeth Nourse never studied with Frank Duveneck, Cincinnati's best-known nineteenth-century painter and teacher, but several of her close friends did and must have discussed his classes with her. Duveneck's influence among local artists was pervasive, and although there is no record that Nourse ever consulted with him, she obviously experimented with the bravura brushwork of his early canvases in her 'Old Man and Child' and 'Head of a Little Boy.' The layers of pigment with abrupt tonal contrasts on the faces and hands of these subjects is similar to those seen in Duveneck's 'Whistling Boy' of 1872, but Nourse set her figures against a light background and restrained her handling of the clothing.

There were other influences at this time as well. Cincinnati's Golden Age, so called because of the number of artists of national and international reputation at work in the city, lasted from about 1830-1900. During these years Cincinnati attracted professional artists because of the patronage it offered and art students because of its educational facilities. As a result Nourse experienced far more artistic stimulation from talented fellow students and from her environment than might be expected in a provincial American city of the time.

Although Elizabeth remained at McMicken another year to study sculpture, her decision to make a career as a painter seems to have been made by 1880. That was the year she found work as an illustrator of magazines and brochures. Additionally, she was offered a position as a teacher of drawing, but declined it in order to concentrate upon her painting. This indicates how determined she was to succeed as a professional artist and also gives evidence of her characteristic independence."

To be continued

(Excerpts from "Cincinnati 'Societaire' by Mary Alice Heekin Burke in "Elizabeth Nourse, 1859-1938: A Salon Career.")