The Recrudescence of Madame Vic by Thomas A. Janvier. 1906
"В 1897 году Элизабет Шиппен Грин поступила на дневные и вечерние курсы Говарда Пайла в Дрекселе. О важности занятий с Пайлом свидетельствуют её благодарные слова, что он учил её не столько рисовать, сколько понимать жизнь. Здесь Элизабет познакомилась с Джесси Уиллкокс Смит (Jessie Willcox Smith) и Вайолет Окли (Violet Oakley). Эти две женщины стали ее друзьями на всю жизнь. В возрасте двадцати восьми лет она переезжает из дома своих родителей в студию, которую делит с Вайолет и Джесси; путешествует по Европе. Прекрасное начало её карьеры началось с Харперовского контракта и статьи 1902 года известного журналиста-искусствоведа Харрисона С. Морриса (Harrison S. Morris), провозгласившей Элизабет Шиппен Грин захватывающе-новым иллюстратором. Элизабет, кажется, была довольна. " (© 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 Mistress of the House Beang a Series of Pictures by Elizabeth Shippen Green. August, 1905
Rebecca Mary's Bereavement by Annie Hamilton Donnell. 1905
Article Seven by Annie Hamilton Donnell. 1905
The Return of Rebecca Mary by Annie Hamilton Donnell. 1905
The Recrudescence of Madame Vic by Thomas A. Janvier. 1906
Tiphaine La Fée by Warick Deeping. 1906
The Promise by Annie Hamilton Donnell. 1906
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.