PLEASE SEE PHOTO FOR DETAILS AND CONDITION OF THIS NEW POSTER
SIZE OF POSTER PRINT - 12 X 18 INCHES
DATE OF ORIGINAL PRINT, POSTER OR ADVERT - 1907
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MOST POSTERPRINTS HAVE IMAGE SIZE OF 11.5 X 17.5.
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DESCRIPTION OF ITEM: additional information:
ARTIST: Sarah Stilwell Weber (1878 – April 6, 1939) was an American illustrator who studied at Drexel Institute under Howard Pyle. She illustrated books and national magazines, like The Saturday Evening Post, Vogue, and The Century Magazine.
Early life
Sarah S. Stilwell was born in Concordville, Pennsylvania. She was described affectionately by her nephews and nieces for her love of children and her positive, "self-effacing" and imaginative personality.
Education
In 1897, Weber attended Drexel Institute, where illustrator Howard Pyle was an innovative and popular teacher. Pyle, as a result, could be selective about the students that he admitted to his classes. He wrote Edward Penfield, who was his friend and the art director at Harper's Bazaar that he required his students to have strong abilities in color and drawing, artistic ability, and imagination. If they did not excel in each of these areas, he would not accept them as a student.
Drexel Institute established a scholarship fund for Pyle's most accomplished students to attend an art program at Chadd’s Ford on the Brandywine. In 1899, Weber won a scholarship for a summer residential art program in a non-competitive, relaxed environment. Of that summer's program, Pyle said that his students benefited from the natural, relaxed setting that allowed them to progress more as artists in a couple of months than they would have in a year of classroom study. The Saturday Evening Post stated that "[m]any of the Brandywine School artists had a flair for capturing grace and detail of the Victorian Era yet not letting decoration and detail overwhelm the subject matter."
Weber was one of Pyle's favorite students. She was among the first artists to live at his studio in Wilmington, Delaware in 1900. Others included Stanley Arthurs, Ethel Franklin Betts, Frank Schoonover, and Dorothy Warren. Pyle recommended that Weber focus on her life as an artist, rather than marry. Pyle helped her market her work in New York, as he did with other of his top students.
Career
She was a member of The Plastic Club, which was founded in 1897 by Elizabeth Shippen Green, Violet Oakley, and Jessie Willcox Smith and was initially formed a women's art association for the promotion and exhibition of visual (plastic) arts. Weber illustrated Josephine Daskam's article "A Christmas Hymn for Children", which was printed in the December 1902 issue of The Century Magazine.
In 1904, The Saturday Evening Post began hiring women to illustrate the covers of their magazine. Weber illustrated 60 of the magazine's covers starting with New Year’s Number, 1904 on December 31, 1904 and ending with Swinging in the Apple Tree on the August 15, 1925 issue. Although she had been offered the ability to contract for scheduled covers, Weber preferred to complete her works to her satisfaction, rather than being constrained by deadlines. She created illustrations of young children, capturing their enthusiastic and delighted faces while playing. The Saturday Evening Post stated that she was "particularly adept at creating movement and flow that gave the impression of coming and going... [and] that the subject would dance off the page in the next moment." The images of young girls were often depicted like little women, engaged in charming scenes, like flying kites, watering roses, or cuddling cats. Weber was one of several talented illustrators—like J. C. Leyendecker, Neysa McMein, Anita Parkhurst, C. Coles Phillips and Cushman Parker—created illustrations of the weekly magazine, which in the early 20th century was limited to a two-color printing process.
Weber also created covers for The Country Gentleman and Vogue magazine. She also illustrated articles and covers for Harper's Bazaar, Collier's, and St. Nicholas Magazines.
Weber illustrated advertisements for Rit Dyes, Scranton Lace Company, Wamsutta Mills and H-O Oats collaborated with Herbert, her husband, on The Musical Tree. Herbert wrote the poems and music and Sara created the illustrations for the children's book. By 1921, she had created a series of illustrations called Kiddie Kars, which at that time were owned by H. C. White Company. Her full-page color illustrations were published in The Kiddie-Kar Book, in which the verses were written by Richard J. Walsh.
In 1910, The New York Times published an article "A Latter-Day Industry and Its Rewards: How a Group of Illustrators is Making Fortunes by Drawing Pictures of the 'Modern Woman'" in which Weber was estimated to be tied for the second highest paid woman illustrator with Elizabeth Shippen Green, each estimated to make US$10,000 per year (estimated equivalent to $290,821 in 2021). Jessie Willcox Smith was said to be the highest paid women illustrator, making $15,000 in 1910. One magazine editor stated that the women's income was on the same level as a Supreme Court Justice. They had their own distinctive style and portrayed children from a woman's perspective.
Along with Ethel Franklin Betts and Jessie Willcox Smith, Weber was one of the best known magazine and book illustrators in the early 20th century. She, Anita Parkhurst, and Jessie Willcox Smith were among a group of woman artists—with Lucile Patterson Marsh and Ruth Eastman—to have had distinctive careers as illustrators.
Death
Sarah Stilwell Weber died at her Philadelphia home in April 1939.
In 1975 her works were included in a 90 painting exhibition entitled "Women Illustrators in the Howard Pyle Tradition" held at the Brandywine River Museum from September through November. Other artists included Violet Oakley, Elizabeth Shippen Green, Jessie Willcox Smith, Alice Barber Stephens, Elenore Plaisted Abbott, Anna Whelan Betts, Ethel Franklin Betts, Elizabeth F. Bonsall, Charlotte Harding, Olive Rush, and Katharine Pyle.
From January 27-February 21, 2014, an exhibition of her work and nine other artists were exhibited at "Women Illustrators in the Golden Age of Illustration, 1880-1920" at the Barrett Art Gallery in Utica College, New York. The original works exhibited were from the Jay Williams American Print Collection. The other illustrators were Jessie Willcox Smith, Alice Barber Stephens, May Wilson Preston, Violet Oakley, Elizabeth Shippen Green, Mary Hallock Foote, Maginel Wright Enright, Florence Scovel Shinn, and Anna Whelan Betts.
Art Nouveau is an international style of art, architecture, and applied art, especially the decorative arts. The style is known by different names in different languages: Jugendstil in German, Stile Liberty in Italian, Modernisme in Catalan, and also known as the Modern Style in English. It was popular between 1890 and 1910 during the Belle Époque period, and was a reaction against the academic art, eclecticism and historicism of 19th century architecture and decoration. It was often inspired by natural forms such as the sinuous curves of plants and flowers. Other characteristics of Art Nouveau were a sense of dynamism and movement, often given by asymmetry or whiplash lines, and the use of modern materials, particularly iron, glass, ceramics and later concrete, to create unusual forms and larger open spaces.
One major objective of Art Nouveau was to break down the traditional distinction between fine arts (especially painting and sculpture) and applied arts. It was most widely used in interior design, graphic arts, furniture, glass art, textiles, ceramics, jewellery and metal work. The style responded to leading 19-century theoreticians, such as French architect Eugène-Emmanuel Viollet-le-Duc (1814–1879) and British art critic John Ruskin (1819–1900). In Britain, it was influenced by William Morris and the Arts and Crafts movement. German architects and designers sought a spiritually uplifting Gesamtkunstwerk ("total work of art") that would unify the architecture, furnishings, and art in the interior in a common style, to uplift and inspire the residents.
The first Art Nouveau houses and interior decoration appeared in Brussels in the 1890s, in the architecture and interior design of houses designed by Paul Hankar, Henry van de Velde, and especially Victor Horta, whose Hôtel Tassel was completed in 1893. It moved quickly to Paris, where it was adapted by Hector Guimard, who saw Horta's work in Brussels and applied the style for the entrances of the new Paris Métro. It reached its peak at the 1900 Paris International Exposition, which introduced the Art Nouveau work of artists such as Louis Tiffany. It appeared in graphic arts in the posters of Alphonse Mucha, and the glassware of René Lalique and Émile Gallé.
From Belgium and France, Art Nouveau spread to the rest of Europe, taking on different names and characteristics in each country (see Naming section below). It often appeared not only in capitals, but also in rapidly growing cities that wanted to establish artistic identities (Turin and Palermo in Italy; Glasgow in Scotland; Munich and Darmstadt in Germany), as well as in centres of independence movements (Helsinki in Finland, then part of the Russian Empire; Barcelona in Catalonia, Spain).
By 1914, and with the beginning of the First World War, Art Nouveau was largely exhausted. In the 1920s, it was replaced as the dominant architectural and decorative art style by Art Deco and then Modernism. The Art Nouveau style began to receive more positive attention from critics in the late 1960s, with a major exhibition of the work of Hector Guimard at the Museum of Modern Art in 1970.
The graphic arts flourished in the Art Nouveau period, thanks to new technologies of printing, particularly colour lithography, which allowed the mass production of colour posters. Art was no longer confined to galleries, museums and salons; it could be found on Paris walls, and in illustrated art magazines, which circulated throughout Europe and to the United States. The most popular theme of Art Nouveau posters was women; women symbolizing glamour, modernity and beauty, often surrounded by flowers.
In Britain, the leading graphic artist in the Art Nouveau style was Aubrey Beardsley (1872–1898). He began with engraved book illustrations for Le Morte d'Arthur, then black and white illustrations for Salome by Oscar Wilde (1893), which brought him fame. In the same year, he began engraving illustrations and posters for the art magazine The Studio, which helped publicize European artists such as Fernand Khnopff in Britain. The curving lines and intricate floral patterns attracted as much attention as the text.
The Swiss-French artist Eugène Grasset (1845–1917) was one of the first creators of French Art Nouveau posters. He helped decorate the famous cabaret Le Chat noir in 1885 and made his first posters for the Fêtes de Paris. He made a celebrated poster of Sarah Bernhardt in 1890, and a wide variety of book illustrations. The artist-designers Jules Chéret, Georges de Feure and the painter Henri de Toulouse-Lautrec all made posters for Paris theaters, cafés, dance halls cabarets. The Czech artist Alphonse Mucha (1860–1939) arrived in Paris in 1888, and in 1895 made a poster for actress Sarah Bernhardt in the play Gismonda by Victorien Sardou. The success of this poster led to a contract to produce posters for six more plays by Bernhardt. Over the next four years, he also designed sets, costumes, and even jewellery for the actress. Based on the success of his theater posters, Mucha made posters for a variety of products, ranging from cigarettes and soap to beer biscuits, all featuring an idealized female figure with an hourglass figure. He went on to design products, from jewellery to biscuit boxes, in his distinctive style.
In Vienna, the most prolific designer of graphics and posters was Koloman Moser (1868–1918), who actively participated in the Secession movement with Gustav Klimt and Josef Hoffmann, and made illustrations and covers for the magazine of the movement, Ver Sacrum, as well as paintings, furniture and decoration.
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