Eleanor plaisted abbott biography of donald

American illustrator and painter

Elenore Plaisted Abbott (1875–1935) was an Indweller book illustrator, scenic designer, view painter. She illustrated early 20th-century editions of Grimm's Fairy Tales,Robinson Crusoe, and Kidnapped.

Several books were published as illustrated lump Elenore Plaisted Abbott and Helen Alden Knipe (later Carpenter).

Abbott was educated at three go schools in Philadelphia and Town and influenced by Howard Pyle. She was among a working group of New Women who hunted educational and professional opportunities perform women, including creating professional view associations like The Plastic Cudgel to promote their work.

She was married to fellow person in charge and lawyer C. Yarnall Abbott.

Early life and education

Elenore Plaisted was born in Lincoln, Maine. She studied art at position Philadelphia School of Design mix up with Women, Pennsylvania Academy of Threadlike Arts, and in Paris, Author at the Académie des Beaux-Arts, where her work was exhibited. Abbott moved back to City in 1899.

She was artificial significantly by Howard Pyle, subtract instructor at the Drexel Faculty. She said later in make public life that she created be involved with favorite pieces under his tutelage.

Career

Abbott, known for her book illustrations, was also a landscape put up with portrait painter and scenic designer, including work for Hedgerow Theatre's production of The Emperor Jones. She produced illustrations for Harper's Magazine, the Saturday Evening Post, and Scribner's magazines. Abbott built illustrations for books, such gorilla Robert Louis Stevenson's Treasure Island and Kidnapped, Johann David Wyss's Swiss Family Robinson, Louisa May well Alcott's Old Fashioned Girl, dispatch the Grimm's Fairy Tales.

Elenore Abbott loves her fairy tales, leading no

The Plastic Club est une organisation artistique située à Philadelphie, en Pennsylvanie. Fondé en 1897 et réservé aux femmes, The Plastic Club est l'un des plus anciens clubs d'art des États-Unis. Il est situé au pâté de maisons 200 de la rue Camac, la « Petite rue des clubs » qui était une destination culturelle au début des années 1900. Depuis 1991, le club compte également des hommes.

Histoire

The Plastic Club est fondé par l'éducatrice artistique Emily Sartain en tant qu'organisation artistique pour les femmes afin de promouvoir la collaboration et les œuvres de ses membres, en partie en réponse au Philadelphia Sketch Club, un club artistique exclusivement masculin. La première présidente est l'aquafortisteBlanche Dillaye. La devise du club est tirée du poème « L'Art » issu du recueil Émaux et camées de Théophile Gautier :

Tout passe. — L’art robuste

Seul a l’éternité :

Le buste

Survit à la cité

L'insigne du Plastic Club est conçue par Elisabeth Hallowell Saunders.

Le club propose des cours d'art, des événements sociaux et des expositions. Sa soirée masquée annuelle s'appelait « le Lapin ».

Les premières membres comprennent Elenore Plaisted Abbott, Paula Himmelsbach Balano, Cecilia Beaux, Fern Coppedge, Elizabeth Shippen Green, Charlotte Harding, Frances Tipton Hunter, Violet Oakley, Emily et Harriet Sartain, Jessie Willcox Smith et Alice Barber Stephens, dont beaucoup ont été étudiantes de Howard Pyle.Lors de l'exposition d'automne 1898, les œuvres des anciennes élèves de Pyle, Elizabeth Fearne Bonsall, Elizabeth Shippen Green, Jessie Willcox Smith, Charlotte Harding, Violet Oakley et Angela De Cora, sont mises en avant.

En 1918, le club participe à la fondation de la Philadelphia School of Occupational Therapy, reflétant le lien entre l'ergothérapie et le mouvement Arts and Cr

Works Cited

Armstrong, Regina. “Representative Women Illustrators: The Character Workers.” Critic July
1900: 43-54. Print.

---. “Representative Women Illustrators: The Child Interpreters.” Critic May 1900: 417-30. Print.
                                   
Bains, Ethel Franklin Betts. Letters to Richard Wayne Lykes. 30 Nov. 1946; 12 Dec. 1946. Ethel Franklin Betts (Bains) Folder, Students of Howard Pyle Files. Helen Farr Sloan Library & Archives, Delaware Art Museum, Wilmington, DE. 

Berger, Martin A. Man Made: Thomas Eakins and the Construction of Gilded Age Manhood. Berkeley: U of California P, 2000. Print.

“Black and White at the Plastic Club.” Evening Telegraph [Philadelphia] 29 Oct. 1898. Reel 2537, no frame number. Plastic Club Records, 1897-1972. Archives of American Art, Smithsonian Institution, Washington, DC.

Bogart, Michele H. Artists, Advertising and the Borders of Art. Chicago: U of Chicago P, 1995. Print.

Bok, Edward. “At Home with the Editor.” Ladies’ Home Journal Apr. 1893: 18. Print.

---. “At Home with the Editor.” Ladies’ Home Journal Oct. 1894: 14. Print.

Bright, Norma K. “Art in Illustration: The Achievements of a Group of Popular American
Artists.” Book News July 1905: 849-55. Print.

Brown, Ann Barton. Alice Barber Stephens: A Pioneer Woman Illustrator. Chadds Ford, PA:
Brandywine River Museum, 1984. Print.

Brown, Ethel Pennewill. Diaries. 1907-1914. Folder 8. Ethel Pennewill Brown (Leach) Files, Students of Howard Pyle Files. Helen Farr Sloan Library & Archives, Delaware Art Museum, Wilmington, DE.

Burns, Sarah. “The ‘Earnest, Untiring Worker’ and the Magician of the Brush: Gender
Politics in the Criticism of Cecilia

Excerpt from We Pointed Them North: Recollections of a Cowpuncher

Originally published in 1939

By E. C. "Teddy Blue" Abbott and Helena Huntington Smith

E.C. "Teddy Blue" Abbott was by all accounts a regular cowboy who had worked on the range in the 1870s and 1880s. Abbott was "discovered" by a journalist named Helena Huntington Smith, who had read an interview with Abbott in a Montana newspaper. She began to meet with him and soon became convinced that his stories needed to be documented. Working with the aging cowboy in 1937 and 1938, Smith wrote as quickly as Abbott talked, preserving the tone and excitement of his stories.

On December 17, 1860, Abbott was born in Norfolk, England. His family moved to the United States when he was a baby and settled near Lincoln, Nebraska, where his father became a farmer. Abbott's father, who he described as "overbearing and tyrannical," wanted Abbott to join him in working the farm, but the young man had other ideas. He was enthralled with the cowboys who passed through Lincoln and by the age of twelve had left school to look after his father's herd of cattle. Though he was not yet living the life of a cowboy, he knew that someday he would. The excerpt from Abbott's autobiography begins when he was fourteen and just about to start his career as a cowboy.

Things to remember while reading the excerpt from We Pointed Them North:

• Teddy Blue Abbott drove cattle on the Western Trail, which stretched from San Antonio, Texas, to Miles City, Montana, with important stops at Dodge City, Kansas, and Ogallala, Nebraska.
• Teddy Blue Abbott told his stories to Helena Huntington Smith when he was in his late seventies. Smith swore that he never mixed up his stories and that every fact she checked on turned out to be true.
• Like Nat Love, Abbott became a cowboy in his mid-teens.

Excerpt from We Pointed Them North

From 1874 to 1877 I was taking care of my father's cattle, and after