The Caged Cockatoo by Burges Johnson. 1906
"К 1905 году Элизабет вместе с Вайолет и Джесси удобно расположились в "Когслеа", - их студии и доме, расположенном вдоль ручья Виссахикон в Джермантауне за пределами Филадельфии. Собственность принадлежала покровителям трио - мистеру и миссис Джордж Вудворд (George Woodward). Вскоре после их въезда, Вудворды представили трёх женщин молодому архитектору Хьюгеру Эллиотту (Huger Elliott), преподавшему в Университете Пенсильвании. Хьюгер и Элизабет увлеклись друг другом и через короткое время обручились. Однако Элизабет не соглашалась на брак до тех пор, пока её родители были живы. Она была их единственной опорой и не хотела обременять Хьюгера. Обвенчались они в 1911 году" (© Elzea, Rowland and Elizabeth H. Hawkes, eds. A Small School of Art: The Students of Howard Pyle. Wilmington: Delaware Art Museum, 1980. © Перевод мой)
The Little Silver Heart by Josephine Daskam Bacon. 1906
The Adopted By Annie Hamilton Donnel. 1906
The Mind of a Child by Edward S. Martin. 1906
A Truant Mountebank by Chester Holbrook Brown. 1907
The Children of the Barren by Grace Ellery Channing. 1907
The Travelling Sisters by Mary E. Wilkins Freeman. 1908
Another Way Home by Georg Schock. 1909
The Wordly Miss Revelle by Gwendolen Overton. 1909
Endymion Uncut by Arthur Stanwood Pier. 1909
The Stolen Mirror by Richard Le Gallienne. 1909
According to data published on the Norman Rockwell Museum website, Elizabeth Shippen Green (1871-1954) was born to a well-connected Philadelphia family. An ambitious student at the Philadelphia Academy of the Fine Arts under Thomas Eakins, Thomas Anschutz, and Robert Vonnoh, Green additionally took on coursework at the Drexel Institute with Howard Pyle. The instruction of these teachers links Green to acclaimed illustrator Maxfield Parrish, an artist whose work influenced Elizabeth Shippen Green. It was in Pyle’s class that she met her fellow artists Jessie Willcox Smith and Violet Oakley. These three women shared a studio space in downtown Philadelphia before moving to the old Red Rose Inn Estate in Villanova, where they lived and worked for many years. This unusually close group of successful female illustrators came to be known as the Red Rose Girls, named as such by Pyle himself. Their body of work is a cornerstone of the Golden Age of American illustration, a time when magazine publishing flourished. In 1901, Green signed a semi-exclusive contract with Harper’s Weekly. She was the first female staff member of Harper’s. I will add that Elizabeth was publishing before she was eighteen, making pen and ink drawings and illustrations for St. Nicholas Magazine, Woman's Home Companion, and The Saturday Evening Post. In the series of drawings that Harper's specially commissioned from her in 1905, she depicts a romanticized domestic life. More typically, however, in her work for Harper's, she portrayed adults in diverse dramatic situations. Critics praised her decorative style, original compositions, and subtle use of color.
