|Maxfield Parrish - Masquerade oil on board 1922|
High Museum of Art, Atlanta
|Girl on a Swing oil on paper|
The Metropolitan Museum of Art
|The Storm oil on canvas 1907|
The Addison Gallery
But Parrish would gain his greatest success as a colorist, perfecting a layering technique in painting that lent itself to stunningly vivid lithographic reproduction; this paved the way to his becoming the most popular artist in America - his 1925 Daybreak was said to be present in one-quarter of all homes - and creating a style that remains iconic today.
|A Good Mixer oil on artist board 1924|
This painting was owned - and imitated - by Norman Rockwell
Guest Curator Megan Holloway Fort intelligently organized the show in a cycle, beginning with a fine landscape painting by Parrish's father, and concluding with several landscapes that represent Maxfield's later-in-life commitment to fine art rather than illustration. Along the way, she includes a good variety of examples of Parrish's working photographs, drawings, props, and cutouts, providing an intriguing lesson about a craftsman so meticulous that he regularly machined metal and wooden forms to use as source material for photographs he shot and developed himself as guides to his paintings.
|Ecstasy Mazda Lamps calendar lithograph 1930|
So, after achieving the financial success he sought, Parrish dedicated himself to painting landscapes; and the ones presented here are just marvelous. I found myself craning in to scrutinize every detail - the closer I got, the more there was to see, masterfully materialized in color, texture, and line. In the end, it was very difficult to leave this immensely satisfying show.
|Potpourri oil on stretched paper 1905|