Ophelia By 𝑷𝒂𝒔𝒄𝒂𝒍 𝑨𝒅𝒐𝒍𝒑𝒉𝒆 𝑱𝒆𝒂𝒏 𝑫𝒂𝒈𝒏𝒂𝒏-𝑩𝒐𝒖𝒗𝒆𝒓𝒆𝒕, 1900.

Members toasted the old and new buildings Saturday as the Y moves to a new location on Colby Avenue.

By Armand Cabrera Walter Hunt Everett was born on August 20 1880. He spent his childhood on a farm in Haddonfield, New Jersey. In his teens he attended The Pennsylvania School of Industrial Art. Sometime later he attended the Drexel Institute and studied under Howard Pyle. He began getting professional work in his early twenties. Everett worked for The Saturday Evening Post, Scribner’s Monthly, Women’s Home Companion, McCall’s, Collier’s,Ladies Home Journal, and illustrated a number of books. He provided color frontispieces for the eighteen volume set of The Works of Louise Muhlbach. Everett also taught briefly at the Spring Garden Institute and The School of Industrial Art from 1911 to 1915 but quit when he felt teaching was too confining. Everett’s early work shows the influence of Pyle and other successful illustrators of the day like E.A. Abbey. The designs while strong are simple and the color is subdued. As he matured his work became more personal. He developed an intricate sense of design and color and he incorporated more figures in his work. His later work becomes more focused on flat planes of painted color and even more sophisticated designs. His brushwork is bold and free but never sloppy or haphazard. Although he was in demand as an illustrator through the 1920’s and early 1930’s, his temperamental nature and perfectionism caused him to miss deadlines. In a fit one day he burned most of his life’s work and very few originals survive. He was married briefly but his wife left him when he continually failed to pay bills and rent on time. He ended up moving in with a brother in Pennsylvania sometime in the 1930’s and spent the end of his life painting for the pure joy it gave him. Walter Hunt Everett died in 1946 at the age of 66. Bibliography Walter Everett Forgotten Master Step by Step Graphics Volume 4 Number 1 Benjamin and Jane Sperry Eisenstat 200 Years of American Illustration Henry C. Pitz The Illustrator in America (3 volumes) 1900-1960, 1880-1980, 1860-2000 Walt Read I want to thank Kev Ferarra for some of the Everett pictures and information in this article. Other Articles on the web about Walter Everett http://www.schoonoverstudios.com/howard-pyle-a-students/pyle-students-bios.html?start=22 http://illustrationart.blogspot.com/2008/07/walter-everett-1880-1946.html http://todaysinspiration.blogspot.com/2011/11/walter-h-everett-man-preoccupied-with.html http://gregnewbold.blogspot.com/2011/11/more-walter-everett.html

Continuing the intermittent theme on the New York "Ashcan School." See also William Glackens, Robert Henri, and George Luks (in the index). The next artist I'm featuring is Everett Shinn. Self-Portrait 1901 pastel on paper Everett Shinn (1876 – 1953) was born in Woodstown, New Jersey, a large Quaker community. His parents were rural farmers. Shinn left Woodstown at the age of fourteen and enrolled at a technical institution known as the Spring Garden Institute in Philadelphia from 1888-1890. The school specialised in the teaching of mechanical drawing and architecture and was also attended by fellow member of “The Eight,” John Sloan. Following his education, Shinn spent a year working at the Thackery Gas Fixture Works designing light fixtures. After being fired for doodling in the margins of his plans, his former employer urged him to go into a more creative field, citing the newspaper and magazine industries as examples. He began his work for the Philadelphia Press in 1893 as an illustrator. Many, including Shinn, consider this the true beginning of his art career. In later years, Shinn would express his great dismay over the development of photography as the major source of pictorials in newspapers because it eventually largely replaced his form of art. He continually moved from paper to paper for the rest of his illustrating career, receiving a pay increase with each move. The attention to detail necessary for his newspaper illustrations is reflected in his style and later paintings, especially those of urban nature. Shinn has said of his experience at the Philadelphia Press: "In the Art Department of the Philadelphia Press on wobbling, ink-stained drawing boards William J. Glackens, George Luks, Everett Shin and John Sloan went to school, a school now lamentably extinct…a school that trained memory and quick perception." It was during Shinn's time in Philadelphia that artists John Sloan and Joseph Laub established the Charcoal Club as an alternative art school. The group, whose members were members of "The Eight" such as Henri, Sloan, Glackens, Luks and Shinn, reached a peak membership of 38 and sketched nudes and did critiques of each others work. The club is often thought of as the establishing point of the Philadelphia group, later known as ‘The Eight’. In 1897, Shinn was offered a higher paying job as an illustrator for the New York newspaper, The World. He moved there and was joined shortly there after by his wife, Flossie, and by other members of the Charcoal Club. Shinn enjoyed living in the city and observing the eccentric daily hustle and bustle exemplified by living in New York. Much of Shinn's life and opinions were reflected in his work. His life in New York was a major subject in many of his paintings. Shinn often depicted scenes of drama and violence, rallying for social change and urban understanding. Coinciding with the dramatic themes found throughout his work, theatre was also a major subject in Shinn's pastels. In 1899, he quit the newspaper business and began working for Ainslee's Magazine, a magazine that also employed his wife, who was by that time a very successful illustrator and who brought in a good deal of the household income. Shinn also started displaying his work publicly in 1899 with mixed reactions. In 1900, he and Flossie travelled to Europe for him study and prepare to produce another exhibit. The trip greatly influenced his art in years to come during his visit, he saw European art that was focused on theatrical portrayals, as well as impressionist works. He suffered many losses during the Great Depression and sold very few paintings during that time. Between 1910 and 1937, Shinn held only one exhibition of paintings at Knoedler's in 1920. Between 1937 and his death in 1953, Shinn received several awards commending his innovative paintings and participated in several exhibitions. He died of lung cancer in 1953. This is part 1 of a 3-part post on the works of Everett Shinn: 1898 Snow Storm, Madison Square, New York pencil and pastel 57.8 x 65.7 cm c1898 New York Harbour pastel 21.6 x 33.7 cm 1899 Street Scene at a Fire printed illustration 16 x 18 cm 1899 Chinese Restaurant gouache on paper 21.6 x 33.7 cm 1899 Horse-drawn Bus pastel on paper 55.2 x 74.9 cm 1899 Madison Square and the Dewey Arch, Cross Streets of New York pastel, watercolour and gouache on board 74.3 x 46.3 cm 1899 Magazine Poster 1899 The Fight ink and watercolour on paper 21 x 33.7 cm 1899 Winter on 21st Street, New York pastel on grey paper 51.8 x 61.9 cm c1899 Fifth Avenue mixed media on paper 51 x 41 cm 1900 Back Row, Follies Bergere pastel on paper 52 x 69 cm 1900 Fleishman's Bread Line pastel and watercolour on paper 21.6 x 34.3 cm 1900 Print from Harper's Weekly magazine 35 x 23 cm 1900 Progress of the Work on the Underground Railroad printed illustration from Harper's Weekly 17 x 22 cm c1900-05 Sullivan Street oil on canvas 20.3 x 25.4 cm c1900 All Night Café pastel, watercolour and graphite on paper 25 x 33.8 cm 1901 Broadway, Late in the Afternoon printed illustration from Century magazine 15 x 19 cm 1901 Cabs on the Fifth Avenue Side of Madison Square printed illustration from Century magazine 15 x 19 cm 1901 The Docks, New York City pastel on paper 39.4 x 55.9 cm 1902 Spanish Music Hall 1902 The Hippodrome, London oil on canvas 66.9 x 89.4 cm 1902 The Singer oil on canvas 66.7 x 44.1 cm 1902-06 Keith's Union Square oil on canvas 51.6 x 61.6 cm 1903 34th Street pastel on paper 22.9 x 33 cm 1903 Girl in Bathtub pastel on paper 40.6 x 35.6 cm 1903 In the Loge oil and pastel on canvas 64.8 x 43.5 cm 1903 Steps Between Houses Paris Street pastel on paper 53 x 71 cm 1903 Theatre Scene oil on canvas 55.9 x 63.2 cm 1903 Window Shopping pastel on paper 36.2 x 45.72 cm 1904 Eviction ( Lower East Side ) gouache on paper 21.3 x 33.3 cm 1904 Matinée Crowd, Manhattan pastel and gouache on illustration board 46.4 x 27.9 cm 1904 The Tightrope Walker pastel on board 30.5 x 33 cm 1904 The White Ballet oil on canvas 74.9 x 93.3 cm 1905 Concert Stage oil on canvas 41.9 x 50.8 cm 1905 Outdoor Stage, France oil on canvas 62.9 x 54.6 cm 1905 Saturday Night watercolour and pastel on paper 45.1 x 60.3 cm c1905-06 Rehearsal of the Ballet oil on canvas 45 x 67 cm 1906 A French Music Hall oil on canvas 61 x 74.9 cm

Ophelia By 𝑷𝒂𝒔𝒄𝒂𝒍 𝑨𝒅𝒐𝒍𝒑𝒉𝒆 𝑱𝒆𝒂𝒏 𝑫𝒂𝒈𝒏𝒂𝒏-𝑩𝒐𝒖𝒗𝒆𝒓𝒆𝒕, 1900.