![]() ![]() Stebbins, Jr., Virginia Anderson, and Kimberly Orcutt, ed., American Paintings at Harvard, Volume Two, Paintings, Drawings, Pastels and Stained Glass by Artists Born 1826-1856, Harvard Art Museums and Yale University Press (U.S.) (Cambridge, MA and New Haven, CT, 2008), p. To request a higher resolution file of this image, please submit an online request. Stebbins Jr.Įuropean and American Harvard Art Museums encourage the use of images found on this website for personal, noncommercial use, including educational and scholarly purposes. Harvard Art Museums/Fogg Museum, Gift of Theodore E. Stebbins Jr., Brookline, MA, 1981, gift to the Harvard University Art Museums, 2004 ![]() Oliver Ingraham Lay (1845-1890), Stratford, CT, bequest to his grandson, George C. Watercolor and gouache on gray-green wove paper View this object's location on our interactive map ![]() Level 3, Room 3600, University Research Gallery She first was an oil painter and later took up watercolor painting. She painted small aspects of nature: flowers, birds, and other plants in their natural settings. The sky takes up almost two-thirds of the work.įidelia Bridges, American (Salem, Mass. Fidelia Bridges (May 19, either 1834 or 18351923) was one of the minute population of successful female artists in the 19th century and early 20th century. A watercolor wash on the horizon suggests distant trees. Behind them is an open field of soft green, suggesting another daisy cluster in the distance on the right and other different wildflowers dotting the meadow. The taller stems’ height is about three-quarter of the length of the work, a few shorter stems lean in towards center. The flowers have yellow petals with brown center, and thin tapered green leaves growing along their stems. Her talents gained her recognition and membership in the National Academy of Design in 1873 and in the American Watercolor Society in 1874.A cluster of tall wispy daisies grow upward from lower left, reaching into a light blue cloudless sky. She was able to produce works that were visually lyrical-so much so that she was asked to illustrate books of poetry. Switching from oil to watercolor, she found a medium that worked well for her. As her art developed, she focused more on detailed renditions of flowers and birds. How would you describe the color used in this painting? Do you think that the color choice is about mood or about the realistic color of the flowers themselves?ĭoes Bridges give us any clues about the setting in which this flower appears? Why would the artist give us such a nondescript background? What are the benefits of this choice? What are the limitations?īridges was interested in painting nature. What do you notice about the size of the object in relation to the overall composition? The object dominates the painting: In some still lifes, the scale of the object is the same as the object in real life. ![]() They advocated for the close study of the natural world and called for paintings that replicated nature in exacting detail. The movement began in 1848 when a group of seven young painters and poets in England banded together against what they felt was an artificial and mannered approach to painting taught at London's Royal Academy of Arts. The Pre-Raphaelite approach, with its focus on detail, was a major influence on Bridges’ art. What decisions has the artist made about depicting this object? How did the artist paint the objects so that they look so real? What objects do you see in this painting? How would you describe the objects you see? ![]()
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