In 1912, she married a painter, Alan Wright and they settled in Berkshire. Wright had a successful career in illustration prior to 1898 when he illustrated a story for Baron Corvo. The story and Corvo were highly criticized in the press, and because of his association with the story, Wright’s commissions dried up until he married Anderson. They collaborated on many books together—he would draw the animals and birds and she would draw everything else. It has been said that it is difficult to distinguish his work from hers. But mostly, he dedicated himself to providing her with an environment conducive to her work.
In addition to her illustration, she was also an etcher, watercolor painter and designer of greeting cards. (biographical information from: http://www.ortakales.com/illustrators/)
A meticulous craftsman, Parrish's idiosyncratic painting method involved applying numerous layers of thin, transparent oil, alternating with varnish over stretched paper, yielding a combination of great luminosity and extraordinary detail. In his hands, this method gives the effect of a glimpse through a window....except that the scene viewed is from the fairy tale world.
In spite of the long time it took to perfect a painting, Parrish was prolific over the course of his productive years, from his children's books of the turn of the century, to his famous prints of androgynous, lounging nudes during the 1920s, to his calendar landscapes of the 1930s through the 1960s (Biographical information from: http://www.illustration-house.com/bios/parrish_bio.html)
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