By Nancy Whipple Grinnell
Maud Howe Elliott (1854–1948), the daughter of Julia Ward Howe, was once a Pulitzer Prize–winning author and a tireless supporter of the humanities, relatively in her followed urban of Newport, Rhode Island. An paintings historian and the writer of over twenty works of fiction and nonfiction, together with numerous articles and brief tales, Elliott could be top recognized for co-writing a biography of her mother—a significant determine within the political and cultural global of recent England, a woman’s suffrage chief, and a number one revolutionary political voice. Elliott sought to reinforce neighborhood and nearby lifestyles through founding the artwork organization of Newport in 1912 (now the Newport artwork Museum), which she observed because the end result of her life’s work.
Nancy Whipple Grinnell has written an informative and encouraging biography that might attract a extensive neighborhood readership, eventually securing Elliott’s position within the pantheon of yankee cultural benefactors.
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Extra resources for Carrying the Torch: Maud Howe Elliott and the American Renaissance
In fact, Maud was once mistaken for Lily Langtry in New York. This cult of beauty prevailed in the art world as well, where the PreRaphaelites were challenging the ruling order of the Royal Academy. ” James McNeill Whistler was one of the stars of the opening, the others being Sir Edward Burne-Jones and Sir George Watts. Whistler, who Maud was to recall as “a vain fop, dressed to kill,” exhibited his tonalist “arrangements” and “nocturnes,” while Burne-Jones transcended the earlier Pre-Raphaelite concerns with detailed, glowing surfaces to create more moody, romantic paintings.
She visited the foundry where the bronze sculptures of her late brother-in-law, Crawford, were cast, as well as the work of American sculptors Emma Stebbins, Harriet Hosmer, Randolph Rogers, and Joseph Mozier. ” Even her friend, the illustrious sculptor and leader of the American art colony in Rome, William Wetmore Story, did not escape her discerning eye; after visiting his studio Howe found him “greatly improved, but not yet a great original artist. ”7 Howe was most appreciative of the painting of her friend William Morris Hunt of Boston and Newport, who at the time of her visit was in Europe.
Family friend and sculptor William Wetmore Story, also the art commissioner for the United States, was highly critical of the American government’s performance at this event. In Maud’s later Chapter Three 35 lectures on American art she sympathized with Story’s concerns, stating that the sum allotted to the department of fine arts was “ridiculously inadequate,” that sculpture was prohibited, that the total number of artworks in oil and watercolor was 143 and lacked examples of Gilbert Stuart, Washington Allston, and William Morris Hunt, among others.