Maxfield Parrish: The Masterworks
Category: Books,Arts & Photography,Graphic Design
Maxfield Parrish: The Masterworks Details
From Publishers Weekly The calendar art of Maxfield Parrish (1870-1966) and his covers for Collier's , Ladies' Home Journal and other magazines in the early decades of the century look increasingly campy now. Featuring 145 color plates and 30 photographs, this snazzy showcase of Parrish's art will please fans and collectors. Gilbert, founder and director of the Maxfield Parrish Museum in Plainfield, N.H., admires the ambitious scope of Parrish's murals Florentine Fete and The Pied Piper, the dazzling tonalities of his book illustrations, the magical flavor of his children's pictures, and the dignity and beauty of his paintings of the American Southwest. Also reproduced are prints, landscapes, ads and paintings of New England farms and houses. Gilbert devotes a chapter to Parrish's technique, reprints several of his witty letters and discusses his extramarital affair with live-in companion and model Susan Lewin. Copyright 1992 Reed Business Information, Inc. Read more
Reviews
This wonderful book divides Maxfield Parrish's (1870-1966) work into seven sections: book illustrations; Southwest; magazines; Edison Mazda calendars; murals; House of Art prints; and landscapes. The large 12x10½ inch page size enhances the images, many of which are in color. There is a four page color foldout of Parrish’s “Dream Garden”, the 100,000 piece Tiffany Favrile glass mosaic mural (15x49 feet) installed in Philadelphia’s Curtis Center. There is discussion about Susan Lewin, the model Parrish used in many of his works, including her representation in almost all of the 200 faces shown in the eighteen panels which make up “The Florentine Fete” murals. There is discussion and some photos of “The Oaks” where Parrish lived and worked, the attempt to make it into a museum for his artwork, and its destruction by fire. Chapter 10 describes Parrish's technique. It states that he painted by layers, each color to a different layer, with the base coat often being transparent ultramarine blue, with a coating of Copal Picture Varnish between each layer. He claimed the technique let each color "glow", and mixing colors prevented that glow. Great examples of his color contrast are the reds/greens in the 1925 paintings, "Manager Draws the Curtain", and, "The End" (Figs. 2.1 and 2.35) for the "Knave of Hearts" book. Again, the color choice, gradation and contrast shown in his landscape paintings (Figs. 8.2 to 8.10) are amazing. The book indicates that the timing was right for Parrish. New printing technology permitted better, less expensive color replication. And, he capitalized on contracts that provided mass productions of his paintings for calendars, advertisements, and books. He was paid well for his work, and managed to get the rights to many of his paintings. He was so well known, that it was estimated that 1 in 4 homes had a copy of "Daybreak" (1922, Fig. 7.12). Well written, very nice photos, and a great reference.