Элизабет Шиппен Грин (Elizabeth Shippen Green) | 1909-1910 | Харперз мансли магэзин (Harper’s Monthly Magazine)

The Burning of Babel by Una L. Silberrad. 1909

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"С успешным продвижением по службе Хьюгера, перемещалась и пара — сначала в Провиденс, затем в Род-Айленд, потом в Бостон, обратно в Филадельфию и, наконец, в Нью-Йорк. Элизабет продолжала иллюстрировать — и даже больше, чем прежде. При втором переезде Эллиоттов в Филадельфию, куда Хьюгер был назначен директором того, что сейчас является Филадельфийским колледжем искусства (Philadelphia College of Art), они приобрели небольшой дом в Джермантауне (Germantown), который назвали "Литл Гарт" (причудливое название для "сада"). После смерти Хьюгера в Нью-Йорке в 1951 году, Элизабет вернулась в Филадельфию. Окружённая своими старыми друзьями, она умерла в 1954 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)

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The Children by Josephine Daskam Bacon. 1909

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Aurelie by Arthur Sherburne Hardy. 1909

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The Suitable Child by Norman Dunkan. 1909

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The Burning of Babel by Una L. Silberrad. 1909

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The Little Romance By Norman Duncan. 1910

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Her Eyes Are Doves by Harriet Prescott Spofford. 1910

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Rose of the Dawn by Elinor Macartney Lane. 1910

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A Credit to Densmore by Margarita Spalding Gerry. 1910

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The Real Birthday of Dorante by Arthur Sherburne Hardy. 1910

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The Shrine by Marie Manning. 1910

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Thomas Conover by Clare Benedict. 1910

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Элизабет Шиппен Грин (Elizabeth Shippen Green)

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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.

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Элизабет Шиппен Грин (Elizabeth Shippen Green) | 1906-1909 | Харперз мансли магэзин (Harper’s Monthly Magazine)

The Caged Cockatoo by Burges Johnson. 1906

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"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)

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The Little Silver Heart by Josephine Daskam Bacon. 1906

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The Adopted By Annie Hamilton Donnel. 1906

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The Mind of a Child by Edward S. Martin. 1906

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A Truant Mountebank by Chester Holbrook Brown. 1907

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The Children of the Barren by Grace Ellery Channing. 1907

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The Travelling Sisters by Mary E. Wilkins Freeman. 1908

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Another Way Home by Georg Schock. 1909

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The Wordly Miss Revelle by Gwendolen Overton. 1909

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Endymion Uncut by Arthur Stanwood Pier. 1909

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The Stolen Mirror by Richard Le Gallienne. 1909

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Элизабет Шиппен Грин (Elizabeth Shippen Green)

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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.

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Элизабет Шиппен Грин (Elizabeth Shippen Green) | 1905-1906 | Харперз мансли магэзин (Harper’s Monthly Magazine)

The Recrudescence of Madame Vic by Thomas A. Janvier. 1906

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"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)

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The Mistress of the House Beang a Series of Pictures by Elizabeth Shippen Green. August, 1905

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Rebecca Mary's Bereavement by Annie Hamilton Donnell. 1905

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Article Seven by Annie Hamilton Donnell. 1905

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The Return of Rebecca Mary by Annie Hamilton Donnell. 1905

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The Recrudescence of Madame Vic by Thomas A. Janvier. 1906

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Tiphaine La Fée by Warick Deeping. 1906

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The Promise by Annie Hamilton Donnell. 1906

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Элизабет Шиппен Грин (Elizabeth Shippen Green)

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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.

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