A to Z of American Women in the Visual Arts (Facts on File by Carol Kort, Liz Sonneborn

By Carol Kort, Liz Sonneborn

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In addition, Beaux was influenced by the flamboyant painter James Whistler, who believed that “art should be independent of all claptrap,” and by the controversial realist Thomas Eakins, who was soundly criticized for his radical teaching methods at the Philadelphia Academy of Fine Arts, particularly his use of a nude male model in a mixed class. From Eakins, Beaux learned to paint with brio. Beaux soon made her own controversial decision: not to marry or have children. Instead she opted to devote herself to her craft.

In 1974, a retrospective of her impressive body of work, executed during a lengthy and productive career, was held at the Pennsylvania Academy of the Fine Arts. Further Reading Beaux, Cecilia. Background with Figures. Boston: Houghton Mifflin, 1930. , and Elizabeth Baily. Cecilia Beaux: Portrait of an Artist. Philadelphia: Pennsylvania Academy of Fine Arts, 1974. Tappert, Tara Leigh. Cecilia Beaux and the Art of Portraiture. : Smithsonian Institution Press, 1995. Tufts, Eleanor. ” In North American Women Artists of the Twentieth Century, edited by Jules Heller and Nancy Heller, 55–56.

Quirky abstractions” as her “best and brightest” and noted that a new image has been added to the artist’s more BASCOM, RUTH HENSHAW MILES Goldwater, Marge, Roberta Smith, and Calvin Tomkins. Jennifer Bartlett. New York: Abbeville Press, 1990. Munro, Eleanor. Originals: American Women Artists. New York: Simon and Schuster, 2000. Russell, John. Jennifer Bartlett: In the Garden. New York: Harry N. Abrams, 1982. Saltz, Jerry. ” Village Voice, February 17–23, 1999, pp. 7–8. — C. K. ጦ BASCOM, RUTH HENSHAW MILES (Aunt Ruth) (1772–1848) Folk Artist Jennifer Bartlett, an innovative mixed-media painter, sculptor, and printmaker (Portrait by Timothy Greenfield-Sanders) familiar iconography of houses, trees, and domestic rites: playful monsters.

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