American Art Review month and year: January-February 98

author(s): Page Talbott and Patricia Tanis Sydney

title of American Art Review article: "The Philadelphia Ten: A Women's Artist Group"

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see: The Philadelphia Ten: A Women's Artist Group 1917-1945 (5/20/98)

The Philadelphia Ten, 1917-1945: A Women's Artist Group (6/9/99)

Amazon says about related book:

'The Philadelphia Ten: A Women's Artist Group 1917 1945' by Page Talbott (Author), Patricia Tanis Sydney (Author) 175 pages. (Hardcover) Publisher: American Art Review Press (Nov 1 1998). American Art Review Press (Nov 1 1998) ISBN-10: 1584420472. ISBN-13: 978-1584420477

and

'The Philadelphia Ten: A Women's Artist Group 1917 1945' (Hardcover) by Page Talbott (Author), Patricia Tanis Sydney (Author) Paperback: 175 pages. Publisher: Galleries at Moore (November 15, 1998). ISBN-10: 1584420006. ISBN-13: 978-1584420002

also see The Philadelphia Ten A Women's Artist Group 1917-1945 "Out of print and hard to find exhibition catalog. Paper back, 175 pages; 93 color plates; 65 black and white , end notes, bibliographic essay, exhibition history of the Philadelphia Ten, index of artists New condition. Still in the shrink wrap! From the Publisher: An exhibition of 247 paintings, all by women artists trained in Philadelphia, opened on February 17, 1917, at the Art Club of Philadelphia. Included were landscapes-views of Cape Cod, Bermuda, Venice, Arizona, Ravello, Taos, Ireland-accented by a few floral still lifes and an occasional portrait. This little-heralded opening was the first in a nearly thirty-year program by this group, now known as The Philadelphia Ten (although its fluctuating membership eventually included 30 women: 23 painters and 7 sculptors). Soon the group's exhibitions became annual events that critics and collectors could depend upon for consistently high standards and for variety of subject matter and style. The 1920s, the first full decade of the group's association, was a period notable for productive and self-sufficient women artists in every medium. No less dedicated to their art than Colette or Marianne Moore, The Philadelphia Ten were liberated before the term acquired its feminist meaning. Theirs were vigorous, unconventional lives. Many never married. Few had children. Self-promotion, aggressive marketing (the paintings and sculpture were made to be sold) and creative outreach were all components of their exhibitions. These women entrepreneurs showed their work-quite a lot of work (perhaps a total of 3000 pieces)-far and wide, and they made a good living from it. Their achievement provides a model for women in art: for the twenties, for the nineties, for the coming century. Some have suggested that The Philadelphia Ten was formed in response to the Eight of the Ashcan school, and others have proposed a similarity to The Ten from New York and Boston who seceded from the Society of American Artists. More likely, the women's intent was practical: to provide additional venues for their work under conditions that they could control, thereby enhancing their visibility locally and nationally. To that end, they certainly succeeded, receiving positive reviews from the east coast to Texas, Milwaukee, Memphis, and beyond, and attracting eager patrons wherever they went. With nearly 100 paintings and sculptures, the first retrospective of The Philadelphia Ten reproduces the scale and variety of style seen in the original exhibitions. Even more remarkable: it brings together-for the first time ever-representative work by all thirty members of the group. In 1924, critic Arline de Haas wrote that The Philadelphia Ten "stand out as among the foremost women in their line of expression and each one has so created her own atmosphere that her work is suggested with the mention of her name." It is the purpose of this exhibition that the mention of the names of these outstanding women artists should once again bring recognition and appreciation. Painters of the Philadelphia Ten Eleanor Abrams Katharine Marie Barker (Fussell) Theresa Bernstein Cora Smalley Brooks Maude Drein Bryant Isabel Branson Cartwright Constance Cochrane Mary-Russell Ferrell Colton Fern Isabel Coppedge Nancy Maybin Ferguson Arrah Lee Gaul Margaret Ralston Gest Sue May Wescott Gill (Edith) Lucile Howard Susette Schultz Keast Helen Kiner McCarthy Katharine Hood McCormick Marian T. MacIntosh Emma Fordyce MacRae M(ary) Elizabeth Price Elizabeth Wentworth Roberts Susan Gertrude Schell Edith Longstreth Wood Sculptors of the Philadelphia Ten Gladys Edgerley Bates Cornelia Van Auken Chapin Beatrice Fenton Harriet Whitney Frishmuth Genevieve Karr Hamlin Joan Hartley Mary Lawser"


recovery matrix composite score: 2

status:

-- assigned to Shana Herb Johannessen on 3/3/09
-- on 5/27 activity on AAR article abandoned since author could not recall ownership. Catalogue essay owned by AAR Press.


A special TFAO emphasis is building an archive of material, authored by scholars and other informed individuals, beneficial for the study of art history in the United States. As a public service, without charge to readers, TFAO annually publishes a number of scholarly texts relating to American representational art in its publication Resource Library.

American Art Review, ISSN 0092-1327, is published on paper and noted for its scholarly content by both senior authors and younger scholars. Tel 913.451.8801. The time period focus of American Art Review is from the Colonial era through 1970. The first issue of Volume 1 of the magazine was published in September, 1973. Publication was suspended with Volume 4 in November, 1978. Publication resumed with Volume V in the Summer of 1992 and continues to the present. In the 19th century there was a journal with a similar title, The American Art Review: A Journal Devoted to The Practice, Theory, History and Archaeology of Art edited by S.R. Koehler.

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