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Emerging from the Shadows, Vol. I: A Survey of Women Artists Working in California, 1860-1960 (Emering from the Shadows), by Maurine St. G
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This is volume 1: A-D, of a four-volume set. The complete four-volume set presents the careers of 320 women artists working in California, with more than 2,000 images, over the course of a century. Their work encompasses a broad range of styles―from the realism of the nineteenth century to the modernism of the twentieth―and of media, including painting, sculpture, drawing, illustration and print-making. While some of the profiled artists are already well known, others have been previously ignored or largely forgotten. Yet all had serious careers as artists: they studied, exhibited, and won awards. These women were trailblazers, each one essential to the momentum of a movement that opened the door for heartfelt expression and equality. Much of the information and many of the images in the book have never before been published. Artists are presented alphabetically; also included are additional primary sources that put the artists’ work in context.
- Sales Rank: #200234 in Books
- Published on: 2015-12-28
- Original language: English
- Number of items: 1
- Dimensions: 12.10" h x 1.40" w x 9.30" l, .0 pounds
- Binding: Hardcover
- 336 pages
Review
“The set is exquisitely illustrated and printed in a well-designed four volume format that will hold up to heavy use in a reference or personal collection. Very well priced for the quality of the intellectual content and presentation of visual information. This title is essential for all academic libraries and public libraries with strong collections in art, women’s history, and history of the western United States.” (ARLISNA.org, Rebecca Kohn, Associate Librarian, San Jose State University Library)
“It’s not often that you get a publication so broad in reach, so inclusive and so immaculately researched that it can change an art market for good.” (American Fine Art Magazine)
“...the lack of female art at modern-day exhibits on the West Coast, inspired [Maurine St. Gauden’s] encyclopedias. She wanted to show the long history of excellence in female-made art, and prove that women could paint more than just ‘still lifes, children, puppies, kittens, and ducklings, and a random landscape.’” (Alexandra Villarreal, Staff Writer, The Philadelphia Inquirer)
“This publication is to be celebrated, as it celebrates women artists who worked in California and brings them out of the shadows and puts them together in one place for easy discovery and research.” (Maine Antique Digest)
About the Author
Maurine St. Gaudens, a historian, scholar, and proponent of the arts, has dedicated herself to the pursuit and recognition of artists. She is a fine arts conservator and has curated numerous exhibitions.
Most helpful customer reviews
4 of 4 people found the following review helpful.
Amazing accomplishment.....
By B L Bang
These books are stunning....with broad appeal to art lovers, collectors. curators and libraries. Maurine St. Gaudens has achieved a new milestone in women’s art research with these four volumes. The vast number of images includes photographs of the artists and their work, signatures and personal ephemera. Their stories are fascinating and leave you wanting more. The details add to the essence of the tales; the inclusion of holiday cards sent by the artists enhances the reality of their life and times. You can open to any page and become immediately engulfed in an artist’s life:
There are the Bruton sisters: Esther, Helen and Margaret, each following her own path, but with a strong familial artistic streak. They shared a studio in California, studied together in New York and Paris, and traveled throughout the Southwest. In 1939 the sisters received a joint commission for Peacemakers, an 144 x 57 ft. mural for the Golden Gate International Exposition. They eventually moved to northern California and set up their respective studios where they worked for the remainder of their lives.
Ruth Asawa survived the prejudices of being of Japanese descent in World War II, being interned in a camp in Arkansas and the hostility after the war which prevented her from obtaining the college degree she was entitled to in Milwaukee. It was arranged for her to attend Black Mountain College in North Carolina where her instructors included Josef Albers, Merce Cunningham and Buckminster Fuller. This environment gave her the confidence to pursue a career as as artist. Ruth and her husband Albert Lanier moved to San Francisco and raised six children. Her work is on exhibit in the new Whitney Museum in New York.
Lucretia Le Bourgeois Van Horn had a life that lends itself to a full length film. Born into wealth and privilege her childhood was devastated by tragedies. She went to France after art study in New York and became the first woman to win their highest prize in 1904. Returning to the states she met Douglas MacArthur, then an aide to President Theodore Roosevelt. She resisted his proposals and later married another military aide to the President. In the 1920s she met Diego Rivera who had a significant impact on her work. Her work evolved through the turmoil of her life.
The evolution of Emerging from the Shadows began with the author’s recognition of the obscurity of most of these women of talent. This compelling story of how they continued their passion for their work throughout their lives through education, marriages, motherhood, travels, and careers. The diversity of the works shown extends its appeal to readers, collectors, and researchers.
Although the author includes some artists of recognition such as E. Charlton Fortune, Agnes Pelton, and Mabel Alvarez, her persistence in following the more unrecognized women sheds new light on these creative artists. (I personally hope this will open a portal to some further research on some of these women. Some are so intriguing they would warrant a book.)
In Volume IV there is the mystery of Paula Zen. St. Gaudens admits to her quest to find out more information in the future. The mystery is contagious......I want to know more.
Every library needs these books and these volumes would make an exceptional gift for the art lover in your life.
2 of 2 people found the following review helpful.
Invaluable books. They will pay for themselves many times over!
By G. Killpack
At last! A comprehensive compendium full of information and tight, concise writing. Emerging From The Shadows has filled a niche that has long been ignored...and there are FOUR gorgeous volumes.
Well organized reference material, history, and photos have made this book an invaluable asset to any library, and it has truly brought into the light women artists who have been languishing in the shadows. I will be spending hours and hours with these books!
1 of 1 people found the following review helpful.
If I could only give it six stars
By Vern G. Swanson
When I first heard of Maurine St. Gaudens’ set of books Emerging from the Shadows, I figured there would be plenty of the biographies, lists of the artists and illustrations. I pretty much knew the how the book would turnout. All I wrote was true, but then when I held the magnum opus in my hand everything I had written seemed feeble and lackluster. I was astounded by the rich color plates on each artist--- and they came by waves in the hundreds. Eugene Delacroix once wrote, “The first virtue of any work of art, that it be a feast for the eyes.” A thousand words cannot grasp what a fine color reproduction can say; anymore than an illustration can compare with the original. Each of the four volumes was chocker-block full of lavish feasts for the eyes.
Maurine’s friend and assistant, Traci MacFarlane Fieldsted and I, carefully thumbed each page of the book ogling thousands of illustrations and gleaning from them the strength of narrative of this artist and the frightening expressive power of that artist. In such a broad survey of artists, for the first time in art history, one had enough visuals to ascertain the relevance of one artist against another. Aesthetic judgments were possible; because there were plenty of carefully selected images by each artist to do so. Broad and thin does not apply here. I daresay that I walked away from these bounteous volumes not only knowing about these selected artists; but with a greater expertise on women in the arts and California art of the period in general.
I have a sneaking suspicion that Maurine is going to continue her examination of California art by women artists; it is just too deep and wonderful of a school of art not too. So in three years we hope to have volume five in my hands and maybe by that time I will have learned most of what these four volumes has to teach and inspire me.
Vern G. Swanson, Ph.D.
Director Emeritus
Springville Museum of Art
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