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Mary Nimmo Moran
Virginia Agnes Murphy
Phoebe D. Natt
Marie Guise Newcomb
Rhoda Holmes Nicholls
Eleanor Norcross
Elizabeth Nourse
Solitude
1880--etching exhibited
in Woman's Building,
1893 Exposition.
Old
Homestead 1889--
[National Museum of American Art, Smithsonian]
etching exhibited in Woman's Building,
1893 Exposition.
Home of the Muskrat 1885
--[Titled elsewhere Haunt of the Muskrat].
It is unclear if this is Hunt of the Muskrat which was exhibited
in the Woman's Building, 1893 Exposition
Between the Gloaming & the Mirk When the Rye Came Home 1883
--etching exhibited in Woman's Building, 1893 Exposition.
Point Isabel, Florida 1887--etching
exhibited in Woman's Building,
1893 Exposition.
Twilight, Easthampton 1880--etching in
Woman's Building, 1893 Exposition.
Forest --It is unclear if this is
Florida Forest which was
exhibited in the
Woman's Building, 1893 Exposition.
These etchings by Moran were also exhibited in the
Woman's Building at the 1893 Exposition:
Born in Scotland, Mary Nimmo Moran and her family emigrated to Pennsylvania after her mother died. In 1862 she married her neighbor, the famous landscape painter Thomas Moran who taught her drawing, painting, and etching. By the 1880s she was considered America's foremost etcher and became internationally famous when, on the basis of her etching The Goose Pond, she was elected into the Royal Society of Painters and Etchers in London. They did not know she was a woman and she remained the only woman member of that organization for years.
Daffodils--exhibited in the Illinois
Building, 1893 Exposition.
Bird's Nests among the Bitter Sweet
(image unavailable) exhibited in the
Illinois Building, 1893 Exposition.
Agnes Murphy was born in Indiana and studied art at the Chicago Art Institute under Frederick W. Freer. No other information is available online.
Paris Gardens--representative work.
Stringing Beads--
representative work.
Washer Women --
representative work.
Katherine (image unavailable)--
exhibited in the Board
Room,
Woman's Building, 1893 Exposition.
Phoebe Natt studied art with Thomas Eakins and Tony Robert-Fleury in Philadelphia at the Pennsylvania School of Fine Arts and in Paris and Florence. No other information is available online.
Bloodhound Head Study
--representative work.
Three
Beagle Pups Napping 1893
--representative work.
Played Out --representative work.
A Goodly Company
--representative work.
Browsing Sheep
--may or may not be the
work listed below that was exhibited
in the fine Arts Palace, 1893 Exposition.
Sheep in the Clearing
(image unavailable) exhibited in the
Fine Arts Palace, 1893 Exposition.
Marie Guise Newcomb was born in New Jersey and studied art in Paris with the animal painter Schenck at Écouen, returning later to live in New York. An animal rights supporter, she specialized in animal paintings (even studying Arab horses in Algeria) and exhibited in America and Paris before her early death at age thirty. "Newcomb" was her married name.
Self-Portrait 1880--
representative work.
Still Life--
representative work.
Man with Pipe--
representative work.
Summer Time Afternoon Tea
1889--representative work.
Two Women Chatting by a Fence
c. 1890--representative work.
Young Woman--
representative work.
The White Gloves--
representative work.
Still Life with Flowers--
representative work.
'La France' Roses--
representative work.
Indian after the Chase
--representative work.
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To Herbert
[brother]--
representative work.
Wash Day
--probably
the watercolor called
Washing Day that was
exhibited in the Fine Arts
Palace, 1893 Exposition.
Shinnecock Dunes--one of her several "dunes" works;
may or may not be
On the Dunes (image unavailable)--exhibited
in the Connecticut Room, Woman's
Building, 1893 Exposition
Venetian People
[from
Howell's Venetian Life]--
possibly from the same
series as the "Venetian"
work listed below.
A Dancer
-
representative work.
The Scarlet Letter--exhibited in Fine Arts Palace, 1893 Exposition.
Chrysanthemums (image unavailable)--exhibited in
the
Fine Arts Palace, 1893 Exposition.
A Venetian Courtyard (image unavailable)--exhibited
in the Rotunda,
Woman's Building, 1893 Exposition
Rhoda Holmes Nicholls, a vicar's daughter from Coventry, England, studied at the Bloomsbury School of Art and the Kensington Museum in London and in Italy where she was a member of an international group of artists called Circello Artistico and only the second woman ever to be elected to the Rome Watercolor Society. Her work was very popular, and she often exhibited in both England and America. After her marriage to an American artist (Burr Nicholls), she became an instructor at the Art Students League in New York and for William Merritt Chase's summer watercolor classes in Shinnecock, New York. She was one of the editors of Palette and Bench Magazine to which she also contributed articles on art and illustrations. Nicholls created illustrations for William Dean Howells' novel Venetian Life. When her painting was selected for a Paris exhibition and her husband's was not, he divorced her--an unfortunate circumstance that was held up as an object lesson to girls on how careers can ruin marriages.
Jeune Fille a la Robe Rouge
1890--representative work.
In My Studio (image unavailable)--exhibited
in the Fine Arts Palace,
1893 Exposition.
Eleanor Norcross was born in Fitchburg, Massachusetts where her father was the first mayor. She graduated from Wheaton Seminary. Her art studies began at the Art Student League in New York with William Merritt Chase, but she lived in Paris from 1880 to 1920, studying with Alfred Steven and often exhibiting. She retired to Fitchburg where she promoted art by donating her art collection and money to the founding of the Fitchburg Museum.
Self-Portrait 1892--
representative work.
On the Dyke at
Volendam 1892--
representative work.
Head of a Girl 1882--
representative work.
In the Church of Volendam
--representative work.
First Communion
--representative work.
Capuchin Monk--
representative work.
La Mere (A Mother)--
representative work.
Study--
representative work.
The Family Meal--exhibited in Fine
Arts Palace, 1893 Exposition.
Church of St. Francis of Assisi--
representative work.
Good Friday, Rome 1891--
exhibited in Fine Arts Palace,
1893 Exposition.
[Large painting showing the traditional
kissing of the cross on Good Friday.
Paletteof rich browns and blacks
relieved by deep blue and red.].
Peasant Women of
Borst 1891 [Cincinnati
Art Museum]--exhibited in
Cincinnati Room,
Woman's Building,
1893 Exposition. [Devout
villagers approaching the viewer.]
The Reader 1889 [my scan]
--exhibited
in Fine Arts
Palace, 1893 Exposition.
Pardon de Saint Francois d'Assise (image unavailable)
1890--exhibited in Cincinnati Room, Woman's
Building, 1893 Exposition. (See it on the wall of the
Cincinnati Room--far left, above china cabinet).
Elizabeth Nourse was born in Cincinnati where she began studying art at age 15 at the McMicken School of Design. She continued her studies at the New York Art Students League and, in 1887, in Paris at the Académie Julian. She became a successful painter of peasant themes, especially of peasant women engaged in humble acts of devotion or religious ritual or the fishermen's wives in Volendam, Holland waiting on dikes for the return of their menfolk. She traveled widely in search of regional folk themes, but Paris remained her home for the rest of her life.
Go to U.S. Women Painters, p. 10
Return to Women Painters Index
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Text written by K. L. Nichols
Painting, top of page: Marie Konstantinovna
Bashkirtseff,
In the Studio (1881).
Return to Nichols Home Page
Suggestions/Comments: knichols11@cox.net
Posted: 6-25-02; Updated: 5-10-20
