Editor's note: The following catalogue essay was republished in Resource Library on May 14, 2012 with permission of the Portland Museum of Art. The catalogue was published in connection with the exhibition From Portland to Paris: Mildred Burrage's Years in France, on exhibit at the Portland Museum of Art through July 15, 2012. If you have questions or comments regarding the essay or would like to obtain a catalogue, please contact the Portland Museum of Art directly through either this phone number or web address:



 

The Making of an Artist: Mildred G. Burrage's Early Years

by Earle G. Shettleworth, Jr.

 

Mildred Giddings Burrage was born in Portland on May 18, 1890, the daughter of Henry Sweetser Burrage and Ernestine Maie Giddings Burrage. She lived with her parents, her younger sister Madeleine, and her older  stepbrothers Champlin and Thomas at 64 Thomas Street in Portland's West End for the first fourteen years of her life.

Mildred Burrage's parents were remarkable individuals. Born in Fitchburg, Massachusetts, in 1837, Henry Burrage graduated from Brown University in 1861 and spent the next year studying for the ministry before enlisting as a private in the 36th Massachusetts Volunteer Infantry. Between 1862 and 1865 he rose to the rank of major. After the Civil War Burrage resumed his theological studies in preparation for his first and only pastorate at the Baptist Church in Waterville, Maine, from 1869 to 1873. That year he married Caroline T. Champlin, the daughter of Colby College president James T. Champlin. Their brief marriage, ended by her death in 1875, produced two sons, Champlin Burrage and Thomas J. Burrage.

In 1873 Henry Burrage became the editor of Zion's Advocate, a weekly Baptist newspaper located in Portland; he would hold this position until 1905. The publication of Zion's Advocate was financed by Moses Giddings, a wealthy Bangor lumberman and a staunch supporter of Baptist causes in Maine. In 1881 Burrage married Giddings's daughter Ernestine, and they had three daughters, Margaret Ernestine, who died in 1888 at the age of five, and Mildred and Madeleine. Ernestine Burrage was an educated, cultured woman, who had studied art with Edward Simmons and painted throughout her life.

Henry Burrage's historical pursuits and Ernestine Burrage's artistic interests would have a profound effect on their daughter Mildred. Henry's passion was to research and write about Maine history, especially the period of seventeenth-century exploration and settlement. Through his membership in the Maine Historical Society, he developed friendships with James P. Baxter and other prominent historians. His active involvement in the state's veterans' organizations led to close associations with generals Joshua L. Chamberlain and Selden Connor, both of whom had also served as governor. Burrage also joined the Portland Society of Art shortly after its founding in 1882.

Mildred Burrage grew up knowing her father's circle of influential friends and their fascination with the past. One of Mildred's early memories, at age six, was watching her father and Joshua Chamberlain engaged in an intense conversation during a train ride from Brunswick to Portland. Nine years later, on July 6, 1905, she and her father sat together on the platform at the dedication of the tablet commemorating the English explorer Captain George Waymouth in Thomaston. The event was also attended by Chamberlain and by James P. Baxter and his son Percival P. Baxter, later governor of Maine. Mildred recalled, "I was fifteen and enjoyed myself greatly -- a first grown-up affair!"[1]

Equally significant was Ernestine Burrage's recognition and encouragement of Mildred's artistic talent. Ernestine was her daughter's first teacher, passing on what she had learned from Edward Simmons. Then Ernestine "planned wonderful things" for Mildred by engaging instructors for her.[2] Her first drawing lessons were from "a lady descended from John Hancock who had me draw one of his chairs, and cut off a piece of the red brocade to go with my drawing!"[3]

At the age of twelve Mildred Burrage began her studies with Alice H. Howes, a Farmington native who had moved to Portland's West End in 1902 to live with her widowed mother. Miss Howes was an accomplished artist who had studied with such noted painters as Frank Benson and William Merritt Chase and had spent two years in Germany, where her training included drawing life-sized figures in charcoal. Mildred took lessons from Howes between 1902 and 1904. Later she wrote of the experience:

[Miss Howes] taught me to draw from the cast. I didn't care what I drew. I just liked to draw, but she would not let me "burn wood," saying I was going to be "an artist." I think the most that can be said for drawing from the cast is that it is "a discipline" but I did not need one.[4]

In 1905 Henry Burrage ended his thirty-two-year career as a newspaper editor and began his appointment as chaplain of the National Home for Disabled Veteran Soldiers at Togus. During his seven-year tenure there, Burrage and his family lived in the chaplain's residence, a comfortable Queen Anne house on the grounds of the National Home. Burrage's background as a Civil War officer and as a Baptist minister qualified him to understand the needs of his aging fellow veterans, and he quickly won the respect of the staff and residents at Togus. In 1907 he was appointed the first State Historian, a position that provided him with the opportunity to publish his research on Maine history.

The National Home's close proximity to Augusta meant that Mildred and Madeleine Burrage attended school there. At the age of fifteen, in June 1905, Mildred graduated from Smith Grammar School, reading an essay entitled "Prophecy" at her graduation exercises. The next fall she entered Cony High School, which she attended for three years. During this period, Ernestine Burrage continued to support her daughter's art instruction. Between 1905 and 1908 Mildred Burrage took lessons from at least two artists, whom she described as follows:

There came along a fascinating lady who taught water color painting outdoors, & my mother let me have her precious paint box. I next had a teacher who had been at the Art Student's League. You see I was "shown how," & I was thought to be "a gifted child."[5]

The next step in the education of this "gifted child" of Henry and Ernestine Burrage was Miss Wheeler's School in Providence. The school was directed by Mary Colman Wheeler, a native of Concord, Massachusetts, who grew up knowing Ralph Waldo Emerson, Henry David Thoreau, Nathaniel Hawthorne, and the Alcott family. After teaching in Concord and Providence and studying painting in Europe, Miss Wheeler settled in Providence in 1882 and opened her school for girls in 1889. While she offered a broad curriculum, she personally taught courses that combined art history with art appreciation and stressed studying pictures through the school's extensive photograph collection as well as by personal observation in museums and exhibitions. Of equal importance were the studio courses offered in drawing, painting, and crafts.

Mildred Burrage's connection to Miss Wheeler's School probably was made by her father, a Brown University graduate who served as a trustee of the college from 1889 to 1901 and was then appointed a fellow of the school. Henry Burrage's visits to his alma mater would have brought him into contact with Brown's librarian, Harry Lyman Koopman, whose daughter Mary was a student at Miss Wheeler's School and would become one of Mildred's closest friends.

Mildred Burrage entered Miss Wheeler's School at the age of eighteen in the fall of 1908. While she studied Ethics, Religion, English, and German, her primary focus was placed on the two courses in the history of Italian and French art taught by Miss Wheeler and on the studio classes in drawing and painting. During her first year Mildred wrote to her parents that she was "working as hard as I have been here -- standing up to paint all the a.m. and recitations, working all the afternoon and evening -- study till quarter past nine."[6] However, she embraced the challenge of her Wheeler education, stating that "there never was such a lucky girl as I am, and oh, I am trying so hard."[7]

The individual instruction in sketching that Mildred received from Miss Brewster, her drawing teacher, was complemented by her studio work with Eben F. Comins, a portrait and landscape painter who was schooled in Boston, Paris, and at Harvard with Denman Ross. The classroom and the studio were supplemented by field trips to sketch and painten plein airas well as to visit the Boston Museum of Fine Arts and to attend the exhibitions of such noted artists as the American Impressionist Childe Hassam and the Spanish painter Joaquín Sorolla. Mildred Burrage was no stranger to the old Museum of Fine Arts on Copley Square, having been taken there as a child by her parents, who, as she recalled, "loved pictures."[8] At eight or nine years old, Mildred was captivated at the museum by "a magnificent Turner, 'The Flying Temeraire' I think it is called, which I have never forgotten."[9]

Between 1907 and 1913 Mary Colman Wheeler's commitment to art education assumed a broader dimension in the summer program in Giverny, France, that she offered to promising art students. This small rural village forty-five miles northwest of Paris had become home to the French Impressionist artist Claude Monet in 1883. During the late 1880s painters such as Willard Metcalf, Theodore Robinson, and Theodore Butler formed the first generation of an American art colony there.

When Miss Wheeler and her students came to Giverny in 1907, Butler had been joined by a second generation of Americans, who included Richard Miller, Frederick Frieseke, Guy Rose, and Karl Buehr. Mary Wheeler formed close friendships with these painters and their families and engaged some of them for instruction for herself and her students. The setting for Miss Wheeler's summer school was a long, low house consisting of two facing stucco buildings, divided by a shaded yard and surrounded by gardens. The property was adjacent to Monet's home and gardens, and Miss Wheeler advised her students to respect his privacy.

In the spring of 1909 Mary Wheeler invited Mildred Burrage to paint that summer at Giverny along with several of her classmates, among them her close friend Elizabeth Cramer of Chicago. Mildred's parents consented to the trip, and she wrote a euphoric letter of thanks, saying, "Please, please know that if I go I will get just as much out of it as I can, and work and work and paint and paint -- and I shall have to talk French too."[10]

On June 2, 1909, Mildred Burrage sailed with Miss Wheeler and her classmates from New York to France. After a week at sea, the group arrived in Cherbourg and traveled by train to Paris and then to Giverny. For the next three months Mildred would devote much of her time to improving herself as an artist, taking studio classes with models and still lifes in the morning and sketching and painting in the village and its surrounding countryside in the afternoon.

Mildred Burrage's every experience was described in articulate detail in the frequent letters that she sent to her family in Maine.[11] Initially, Mildred had planned to keep a diary of her French experiences, but she quickly abandoned that idea in favor of writing long narrative letters which her parents saved for her. She was also told by Miss Wheeler to confine writing letters and postcards to her family so that she would not be distracted from her studies by a wider correspondence. These communications home form the basis of our knowledge of the four European painting trips that Mildred made between 1909 and 1914.

When Mildred Burrage arrived in Giverny in June 1909, she was to study with Henry Hubbell, but during her first month there Hubbell was replaced by Richard Miller [fig. 7], who provided both instruction and criticism for the balance of the summer. Like Miss Wheeler, Mildred quickly formed friendships with Miller and his family as well as with Karl Anderson, Karl Buehr, Theodore Butler, Frederick Frieseke, Arthur Frost, Frederick MacMonnies, Lawton Parker, their wives, and their children. Mildred wrote that "this summer all the great American artists in Paris are here -- all men of great ability" and that it was "fun hobnobbing with the great."[12] In this close-knit artistic community, she received many invitations for lunch, dinner, parties, and dances. Entrance into this circle brought the benefits of stimulating conversations and frequent opportunities to examine the work of artists in their homes and studios. Referring to these experiences, Mildred commented that "you have no idea what an inspiration it is to see other people's pictures."[13] While Monet's son-in-law Theodore Butler, stepdaughter Marthe Hoschedé, and their children Lilli and Jimmie became Mildred's close friends during the summer of 1909, the great Impressionist himself remained a distant figure, observed walking in his gardens and rumored to have extraordinary pictures on his walls.

Only forty-five miles away by train, Paris was an education unto itself, and Miss Wheeler took her students there to view the city's architecture and to see its public museums and commercial galleries. In the summer of 1909, Mildred and her classmates visited Notre-Dame, the Sainte-Chapelle, the Panthéon, the Hôtel de Ville, and the Luxembourg Gardens. She was thrilled by the Louvre with its pageant of artistic treasures by Giotto, Botticelli, da Vinci, Ingres, and Corot. She particularly liked recent works in the Luxembourg Museum by Manet, Monet, Whistler, Rodin, and Saint-Gaudens. The Salon offered exhibits of contemporary paintings, sculptures, and architecture, as well as a special showing of one hundred portraits of women by eighteenth-century French and English artists. At the commercial gallery of Durand-Ruel, Mildred was fascinated by Monet's water lily paintings:

There were three rooms of the most marvelous pictures of work with lilies -- & reflections of the trees & sky -- painted at all times of the day & night. I never saw anything like them. He has a Japanese garden just across the street & they were done there. We did not wonder in the least that he has no time to see people. It really was worth coming to Europe to see them.[14]

Mildred Burrage's exposure to the art and architecture of Paris, Versailles, Fontainebleau, and Rouen left her convinced of the value of the education she was receiving from Miss Wheeler. In August 1909 she commented, "I never, never would let any girl come to Europe who had not the history of French and Italian art."[15] As Mildred Burrage prepared to return to America in September 1909, she received her final criticism from Richard Miller, who praised her for being his most improved pupil of the summer and called her recent work "professional."[16] Pleased as she was with this encouragement from "the best teacher in Paris," she maintained her perspective by saying: "It is the hardest thing in the world to paint decently. If people don't think artists work, they had better come to Giverny."[17]

In September, Mildred returned to New York and traveled to Providence to begin her second year of studies at Miss Wheeler's School, where she was joined by her sister Madeleine, who enrolled as a first-year student. The following spring of 1910 Mildred graduated from the school and was invited by Miss Wheeler for a second summer of painting at Giverny. There she found herself again immersed in the magical world of the Giverny art colony. She renewed her ties with those artists and their families in residence that season: the Buehrs, Butlers, Friesekes, Frosts, Millers, Parkers, and Roses. Her instruction continued under the supervision of Richard Miller, whom she called "such a wonder."[18] In July, Harriet Monroe of Chicago visited Giverny, and Mildred met this influential figure in American poetry.

That summer Mildred Burrage continued to expand her knowledge of art by attending exhibitions in Paris. At the Palais Royal she saw new sculptures by Rodin, and at the Petit Palais she viewed paintings by contemporary artists, including Richard Miller. But the most interesting pictures were to be found in the commercial galleries. Georges Petit offered four rooms of recent paintings of Venice and the Midi. Bernheim displayed works by Cézanne and Gauguin, and Drouet featured Gauguin as well. Durand-Ruel showed Monet, Manet, Degas, Renoir, and "all the Impressionists."[19]

Of her enthusiasm for Paris itself, Mildred wrote, "And all the French high life ladies, prancing about, and tons of automobiles dashing up and down -- and the general excitement of its being really Paris gives you thrills indeed!"[20] She supplemented her explorations of the city with trips to Rouen, Gisors, and Chartres. While she expressed her fascination for the narrow streets, old houses, and magnificent churches of Rouen, she was equally enthused by an aviation meet there in which she witnessed flights by monoplanes and biplanes.

Midway through Mildred Burrage's stay in Giverny, Mary Wheeler's drawing teacher, Miss Brewster, resigned, and Miss Wheeler offered Mildred the position with the provision that she would continue her training in France through the spring of 1911 and begin teaching in Providence that fall. Miss Wheeler was pleased with Mildred's ability as a [21] Miss Wheeler outlined her proposal in a letter to Mildred's mother. After several exchanges of letters between Mildred and her parents, the decision was made to accept Miss Wheeler's offer.

When her stay in Giverny ended in September 1910, Mildred Burrage traveled to Tours to visit old houses and churches there as well as châteaux in the surrounding countryside. On October 15 she moved into her room at the American Art Students Club at 4 rue de Chevreuse in Paris, near the Luxembourg Gardens, where she would live for the next eight months. Her instruction and criticism from Richard Miller continued at Miller's Paris studio. At the same time Mildred enrolled in classes taught by Lucien Simon at the Académie de la Grande Chaumière and Henri Caro-Delvaille at the Académie Colarossi. She also took advantage of the art collections at the Louvre and the Luxembourg Palace as well as the contemporary works shown at the Salon, including paintings by Henri Matisse and German art, pottery, and crafts. Her visits to commercial galleries included a showing of Monet's paintings of Giverny at Durand-Ruel and the opening of Theodore Butler's exhibit at Bernheim's, where she met "a nice looking old gentleman," Carolus-Duran, the director of the French Academy in Rome.[22]

During the summer of 1910 Miss Wheeler had encouraged Mildred Burrage to enter her work in exhibits in Paris and America. During the winter of 1910-11, she showed at the Hostel Sketch Exhibition, the American Art Students Club, the American Woman's Art Association, the International Art Union, and the Salon des Indépendants in Paris, and the Pennsylvania Academy of Fine Arts in Philadelphia. The acceptance of her Breton Woman by the Pennsylvania Academy was an affirming moment for this twenty-year-old artist and the parents who had fostered her artistic development. With a mixture of pride and amusement, she wrote to her family that "Mr. Miller was pleased because he said it spoke pretty well for the average work in his class -- that a mere student thing like mine should be taken."[23]

As Christmas 1910 approached, Mildred Burrage and her Wheeler classmate Mary F. Koopman received an invitation from Theodore Butler and his family to spend the holiday week in Giverny. The two young American women traveled by train from Paris to Vernon, where they were met by Monet's chauffeur and taken in the artist's automobile to the Hôtel Baudy in Giverny. Once settled, they joined the four Butlers and eleven others, including Monet's son Michael, for a Christmas Eve dinner. Monet and his wife were absent due to her illness. However, Madame Monet sent word that Mildred and Mary were welcome to visit the gardens during their stay, and a "thrilling adventure" ensued -- the opportunity to meet Claude Monet. In her January 3, 1911, letter to her family, Mildred described the experience which she and Mary Koopman shared with the painter's granddaughter Lilli Butler:

And then Madame Butler came out & said Lilli was to take us over to the water garden. Now when we were into the green house Monsieur Monet was walking about in the garden headed toward the water garden. So I thought, "Well, when they find it out we probably can't go." But Lilli walked brazenly along & we trembled on behind & he was in the water garden & we went in! And Monsieur Monet watched us come in to the water garden & instead of looking perfectly furious he looked perfectly overjoyed! And he took off his brown fur cap & bowed to us & we said, "Bonjour, Monsieur." Although I felt as if it would more fitting to bend the knee or kiss his hand or something. And I really couldn't believe it was really he. I think I almost admire him more for what he has done for modern painting than for his own work. He had on a dark overcoat & a grey suit & a blue shirt & a brown fur cap -- and he looked as fully entertained as if he knew just exactly how thrilled we were -- which of course he did! And we walked all around the inside of the water garden & when we passed Monsieur Monet again he smiled at us still more. I never knew such a nice smile.[24]

Returning to Paris after her Christmas holiday, Mildred Burrage continued her encounters with great figures of her time. A Saturday evening in January 1911 found her attending one of Gertrude Stein's salons, which she described as being held in "a great big studio -- just hung with Matisse pictures & pictures by Picasso & Renoir & Cézanne & Monet & some very modern sculpture . . . ."[25] Stein "looked about 35 -- very large & she wore a brown velvet kimono with sleeves . . . & she had more personality than any one I have seen for a long time."[26] That month Mildred watched two entrancing performances by Isadora Duncan. Likening Duncan to a Greek statue come alive, she characterized the famed dancer as "just pure art -- all its forms combined in one perfect production."[27] The young artist from Maine also secured an invitation to tea with Britain's leading suffragette, Mrs. Emmeline Pankhurst, whom she termed "a very nice lady with grey hair, 60 or 65, weary looking but my, with lots of go & zest to her."[28]

In March 1911, Mildred Burrage appeared in print for the first time in the World To-Day, a Chicago monthly magazine. Her article, "Arts and Artists at Giverny," described the American art colony at Giverny with accounts of each painter who made up the Giverny Group, the second generation of American Impressionists to work there. The article was illustrated with six of Mildred's photographs of the village. A century after its publication, her article remains an important document for this chapter in American art history.

After a year in France, Mildred Burrage looked forward to returning to Maine to spend the summer of 1911. In May 1911, she wrote to her family, "I will be so glad to get home. Paris is too lovely, but I am absolutely painted dry -- if you can use such an expression!"[29] In June she was reunited with her parents and her sister at Togus. A highlight of that summer was spending time with her father on Monhegan, where she painted the rugged features of that coastal island. In the fall she began her first and only year of teaching at Miss Wheeler's School.

By the spring of 1912 France again beckoned, and Mildred Burrage, accompanied by her sister Madeleine, sailed from Montreal to London in June. After a brief stay in London the sisters traveled to Paris and Giverny and from there joined Richard Miller and his family at Saint-Jean-du-Doigt in Brittany. In this picturesque rural town, Mildred continued her instruction with Miller, the painter she so admired. Madeleine reported in a post card to her mother that Mildred "is painting like all possessed."[30] uring this period she made two of her most memorable pictures, Souper à Deux, which she exhibited at the Fall Salon in Paris in 1912, and A November Day: Brittany, which won second prize in the International Art Union exhibit in November of that year. The Burrage sisters returned to America in December, just in time to spend the holidays with their parents, who had moved to Portland after Henry Burrage's retirement from Togus in June 1912.

Mildred Burrage divided the first nine months of 1913 between her family in Portland and painting in Cambridge and New York. During this period she exhibited her work at the Pennsylvania Academy of Fine Arts, the Portland Museum of Art, and the Art Institute of Chicago. While she had been trained in American Impressionism -- "broken color," as she called it -- she remained as open in America as she had been in Paris to learning about the emerging modern movements.[31]

In February 1913, Mildred Burrage attended the International Exhibition of Modern Painting in New York, popularly known as the Armory Show. Inspired by what is considered the most significant exhibition in the history of American art, she wrote an insightful article titled, "The Post Impressionists at Home," in which she observed that "it is as easy to find modern pictures in Paris as it is difficult in America." Although it was rejected for publication by the North American Review, this essay is an important statement for contemporary scholars about the early twentieth-century art scene in America and France. More successful in finding its way into print in the Boston Transcript was Mildred's review of the Boston Museum of Fine Art's exhibition of paintings by the French artist Paul Albert Besnard.[32]

In October 1913, Mildred Burrage, her mother Ernestine, and her sister Madeleine sailed to Italy. Henry Burrage remained in Portland with plans to meet his wife and younger daughter in England in the spring. Arriving in late October, the three Burrages visited Genoa, Sorrento, and Pompeii before settling into the Boston Hotel in Rome for the winter of 1913-14. They explored the landmarks of the Eternal City together, and Mildred found new subjects to paint.

By May 1914, Ernestine and Madeleine Burrage had joined Henry Burrage in London, where he was engaged in historical research for his book The Beginnings of Colonial Maine. At the same time Mildred Burrage had gone to Venice, where she spent the next two months sightseeing and painting in a studio on the island of Giudecca. "Venice is lovelier every day," she reported, "and I am enjoying it all so much."[33] At the end of June, she completed her Italian stay with brief stops in Padua and Milan before traveling to Giverny. Arriving there in early July to paint, she stayed with Dr. and Mrs. William B. Johnston. A graduate of Harvard and Johns Hopkins, Johnston practiced medicine, while pursuing his love for painting.

Early in August the First World War broke out in Europe. As a Civil War veteran, the seventy-seven-year-old Henry Burrage knew first-hand the perils of conflict, and he immediately left his research in London for France to bring Mildred back to the safety of England, as recounted by the Kennebec Journal:

He managed to get on board a troop train from Paris to Giverny after bribing the railroad agent, who at first refused to sell him a ticket. With his daughter he motored from Giverny to Dieppe, and was held up every few miles by French soldiers. At Boulogne he was obliged to show his passports no less than 10 times before he cleared the city limits.[34]

Reunited in England, the Burrage family lost no time in returning to America. Ernestine, Mildred, and Madeleine Burrage arrived back in Boston September 1. Henry Burrage stayed on in London to complete his research, returning in early October. Within five days of her return to America, the Boston Transcript published Mildred Burrage's review of the Biennial International Exhibition of Art in Venice. Headlined "Venice's Interrupted Art Exhibition," the article called the show "an important event in the world of art, which had a too-brief run before the war cut it short."[35] So too had the war cut short Mildred Burrage's five-year European experience, which had transformed her from a Maine schoolgirl into an accomplished young painter, who showed her work in major exhibitions and published articles containing her observations about art. She was the witness to, the participant in, and the chronicler of a dramatic time in European cultural history when the past was giving way to a new order. In her 1913 article on the Post- Impressionists, she predicted that "the art of the future will grow in greatness, in beauty, and in connection with life itself."[36] For Mildred Burrage, the years from 1909 to 1914 were the cornerstone of a long, extraordinary life devoted to pursuing new ways of expressing herself through art.

 

Notes

1. Inscription by Mildred G. Burrage on the reverse of a photograph of the dedication of the Waymouth tablet, Thomaston, July 6, 1905. Collection of the Maine Historic Preservation Commission, Augusta, Maine.

2. Mildred G. Burrage to Dorothy Miller, Wiscasset, November 12, 1972. Mildred Giddings Burrage Collection at the Maine Historical Society, Portland, Maine.

3. Mildred G. Burrage, autobiographical statement, two pages, undated. MGB Collection, MHS.

4. Ibid.

5. Ibid.

6. Letter, Mildred G. Burrage to her parents, Providence, undated (1909). MGB Collection, MHS.

7. Ibid.

8. Mildred G. Burrage, autobiographical statement, two pages, undated. MGB Collection, MHS.

9. Ibid. This painting is Turner's Fighting Temeraire(1839), now in the collection of the National Gallery of Art, Washington, D.C.

10. Mildred G. Burrage, autobiographical statement, two pages, undated (1909). MGB Collection, MHS.

11. Approximately eighty letters as well as many postcards that Mildred G. Burrage wrote to her family from Europe between 1909 and 1914 survive in her collection at the Maine Historical Society, Portland, Maine. The author of this essay has transcribed them as part of the research that forms the basis for this exhibit. All letters and postcards are in the Mildred Giddings Burrage Collection, Coll. 2494, at the Maine Historical Society, Portland, Maine, and were written to her family in Maine, unless otherwise noted.

12. Letter, MGB to her family, Giverny, July 10, 1909.

13. Letter, MGB to her family, Giverny, June 25, 1909.

14. Letter, MGB to her family, June 11-13, 1909.

15. Letter, MGB to her family, August 2, 1909.

16. Letter, MGB to her family, September, 1909.

17. Letter, MGB to her family, Giverny, 1909.

18. Letter, MGB to her family, July 31, 1910.

19. Letter, MGB to her family, October 30, 1910.

20. Letter, MGB to her family, July 3, 1910.

21. Letter, MGB to her family, undated (late July-early August, 1910).

22. Letter, MGB to her family, Paris, November 13, 1910.

23. Letter, MGB to her family, Paris, January 9, 1911.

24. Letter, MGB to her family, Paris, January 3, 1911.

25. Letter, MGB to her family, Paris, undated (January, 1911).

26. Letter, MGB to her family, Paris, undated (January, 1911).

27. Letter, MGB to her family, Paris, January 23, 1911.

28. Ibid.

29. Letter, MGB to her family, undated (May 1911).

30. Postcard, MGB to Ernestine Burrage, Saint-Jean-du-Doigt, June 20, 1912.

31. Notes of interview with MGB by Earle G. Shettleworth, Jr.,January 30, 1970.

32. MGB, "Besnard, Guiffrey's Feature at the Art Museum," Boston Evening Transcript, January 11, 1911.

33. Postcard, MGB to Henry S. Burrage, Venice, May 5, 1914.

34. Kennebec Journal, Augusta, October 14, 1914.

35. MGB, "Venice's Interrupted Art Exhibition," Boston Evening Transcript, September 5, 1914.

36. MGB, "The Post Impressionists at Home," May 7, 1913. MGB Collection, MHS.


About the author

Earle G. Shettleworth, Jr. is the Sixth State Historian: (2004- ) for the State of Maine. To read his biography from the Maine Historic Preservation Commission website, please click here.

 

Resource Library editor's note:

The above text was republished in Resource Library on May 14, 2012 with permission of the Portland Museum of Art, which was granted to TFAO on May 11, 2012.

Resource Library wishes to extend appreciation to Kristen Levesque and Caitlin Brooke of the Portland Museum of Art for their help concerning permissions for republishing the above text.

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