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474:, perched on a cliff overlooking Long Island Sound, where Parsons worked on her art in her time off from the gallery. Her painting style changed in 1947, turning from small landscapes and portraits into a bold, subjective abstraction when she began to make constructions from bits of wood and other materials that washed up on the beach near her home; most often her constructions reflected the area around her North Fork home, but sometimes the pieces reflected her travels to the Caribbean and abroad.
236:, Parsons returned to America. She first traveled to Santa Barbara, California, where she taught sculpture classes for a short time. In 1936, she moved back to New York and had her first solo exhibition in New York at Midtown Gallery. Her watercolor paintings were well-received, and referred to in one review as "delightful" and "interestingly conceived". She would have nine more one-woman shows at Midtown over the next twenty years.
201:, the International Exhibition of Modern Art. She was delighted and inspired by what she saw and described this pivotal moment years later: "It was exciting, full of color and life. I felt like those paintings. I couldn't explain it, but I decided then that this was the world I wanted... art." Although her parents disapproved, she soon began studying art in the studio of
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who had visited her gallery, that lead to many of their major collaborative impacts on the contemporary arts scene. Later in the 1950s, Smith and Newman helped to remodel
Parsons’ gallery, creating an almost cube-shaped main space framed by white walls with subtly curved corners and a concrete floor
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In
September 1944, after four years at the Wakefield Gallery, Parsons was invited to start and manage a contemporary art division in the gallery of art dealer Mortimer Brandt. When Brandt moved to England after the war, Parsons subleased the space from him and opened her own gallery at the urging of
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In 1919, Parsons married
Schuyler Livingston Parsons, an affluent, New York City socialite ten years her senior. Her family hoped that Parsons would settle down into a conventional lifestyle, but the couple divorced in Paris, only three years later on the grounds of incompatibility, and as a result,
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In 1940, Parsons left
Sullivan's gallery and took a position managing a contemporary gallery in the Wakefield Bookshop at 64 East 55th Street. This was her first job managing a gallery on her own; she had full curatorial control regarding artists and exhibitions. She was soon representing many
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in
Manhattan. The gallery regularly exhibited twelve shows a season, from September to May, with each show lasting only two to three weeks. At a time when the market for avant-garde American art was minuscule, Parsons was the only dealer willing to represent artists like
367:, the painter, who met Parsons in 1950, said, "Betty and her gallery helped construct the center of the art world. She was one of the last of her breed." Many of the Abstract Expressionist artists she had launched left her gallery for more commercial galleries, such as
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Parsons was generous in promoting artists. She never refused walk-in artists with their artwork. Always encouraging and caring, she often gave critiques on the spot. Parsons nurtured the artists who assisted her and they were encouraged to show at her gallery.
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Following her one-woman show at the
Midtown Galleries, owner Alan Bruskin offered Parsons her first gallery job: selling art on commission. That position was short-lived and, in the fall of 1937, Parsons began working at the gallery of
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During her lifetime, Parsons' received important solo exhibitions at the
Whitechapel Gallery, London (1968), the Montclair Art Museum, New Jersey (1974) and Nigel Greenwood Gallery, London (1980). Following her death, the
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Betty Bierne
Pierson was born on January 31, 1900, the second of three daughters. She came from a wealthy New York family that divided its time between New York City,
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where she lived with a
British art student, Adge Baker, with whom she had a romantic relationship. The two separated in 1932, but remained lifelong friends.
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began working for Betty
Parsons as her assistant and that same year she included him in a group show, adding Benoh to her list of gallery artists.
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noted, "She was resentful. She had struggled so long to get them established, and other dealers capitalized on her efforts."
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of East Hampton showed her paintings on paper in 1992; that same year, the Fine Arts Gallery of the Southampton Campus of
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American Museum of Natural History, Dept. of Anthropology correspondence with Barnett Newman and Betty Parsons, 1944–1946
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had his first show a year after he began assisting Betty Parsons. Thomas Nozkowski worked for her after graduating from
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exhibited painted wood "constructions". Her work has also been exhibited at a number of other galleries, including the
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his first solo show, and although failing to sell a single work, it was Rauschenberg's gift of one of them to
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1128:, Betty Parsons Gallery Papers, Reel 4087–4089: Exhibition Records, Reel 4108: Artists Files, last names A-B.
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At the age of ten, Parsons was enrolled in Miss Chapin's school for girls in New York. She remained at the
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Parsons is now represented by Alexander Gray Associates, New York, and Alison Jacques Gallery, London.
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became a partner at Betty Parsons Gallery starting in 1983 and Hall later wrote Parsons biography.
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Parsons was also a painter, but her great love was sculpture, which she couldn't afford. In 1959,
433:(1951–2017) who then transformed it into his own establishment. Her friend of many years, painter
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877:"Biographical Material: Artist Biography and Narratives, 1949–1982 (Box 39, Folder 5, Item 18)"
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785:"Biographical Material: Artist Biography and Narratives, 1949–1982 (Box 39, Folder 5, Item 5)"
570:, November 2013. New York: Brant Publications, Inc. pp. 132–139. (an interview from 1977)
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assisted with the installation. In 1951, on Clifford Still's recommendation, she boldly gave
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for five years but was a mediocre student who was easily bored. In 1913, Parsons visited the
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847:"Betty Parsons Gallery records and personal papers, circa 1920–1991, bulk 1946–1983"
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Betty Parsons Gallery records and personal papers, circa 1920–1991, bulk 1946–1983
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Betty Parsons Gallery records and personal papers, circa 1920–1991, bulk 1946–1983
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her family disinherited her. Parsons remained in Paris and enrolled in the
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1423:. Denver New Haven: Denver Art Museum Yale University Press. p. 189.
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She later moved on to a younger generation of American artists, including
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1369:"A Finding Aid to the Betty Parsons Gallery records and personal papers"
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Action, Gesture, Paint: Women Artists and Global Abstraction 1940-1970
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Betty Parsons Gallery records and personal papers, circa 1920–1991
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1171:"Lee Hall records (2.10), Rhode Island School of Design Archives"
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Rhode Island Archival and Manuscript Collections Online (RIAMCO)
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In 2016 her biography was included in the exhibition catalogue
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gallery and returned to Europe in 1947. Parsons showed work by
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designed her waterfront house-studio on the North Fork of the
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564:, Introduction by Judith E. Stein. "The Parsons Effect".
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http://bombmagazine.org/article/2171/thomas-nozkowski
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883:. Archives of American Art, Smithsonian Institution.
853:. Archives of American Art, Smithsonian Institution.
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791:. Archives of American Art, Smithsonian Institution.
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725:"American National Biography Online: Parsons, Betty"
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1395:"Some Living American Women Artists/Last Supper"
906:"Betty Pierson Parsons: Houses and Landscapes".
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520:Her image is included in the iconic 1972 poster
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1221:“Thomas Nozkowski by Francine Prose Interview”
1097:An Artist and Dealer and the Women She Promoted
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289:The Betty Parsons Gallery opened in 1946 at 15
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953:Betty Parsons : artist, dealer, collector
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363:whose proportions fitted their ordered works.
1246:International Fine Print Dealers Association
1038:Betty Parsons's 2 Lives: She Was Artist, Too
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758:. New York: Harry N. Abrams, Incorporated.
583:. New York City, NY: Harry N. Abrams, Inc.
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454:. Parsons showed his sculptures. In 1980,
137: 1919–1922)
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16:American artist, art dealer, and collector
756:Betty Parsons: artist, dealer, collector
580:Betty Parsons: Artist, Dealer, Collector
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205:, whom she described as a poor teacher.
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1011:from the original on September 9, 2016
480:Pollock-Krasner House and Study Center
955:. New York: H.N. Abrams. p. 68.
887:from the original on January 16, 2014
818:. New York: H.N. Abrams. p. 26.
795:from the original on January 16, 2014
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1478:National Museum of Women in the Arts
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1137:Grosvenor, Robert. "Painting Wall,"
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1554:20th-century American women artists
1294:"Betty Parsons | Islands in Greece"
1036:Carol Strickland (June 28, 1982), "
980:Artist With an Eye For Others' Work
978:Phyllis Braff (February 28, 1999),
735:from the original on March 22, 2016
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522:Some Living American Women Artists
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638:Aylon, Helne (November 1, 2013).
472:east end of Long Island, New York
1493:American Art: Lesbian, 1900–1969
1095:Holland Cotter (July 13, 2005),
253:contemporary artists, including
1490:Out of, or Back to, the Closet?
1473:Smithsonian American Art Museum
1421:Women of abstract expressionism
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1497:glbtq Encyclopedia Project
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1445:"Action, Gesture, Paint"
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1190:"School Picks President"
1160:retrieved March 16, 2010
1156:August 15, 2013, at the
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515:Archives of American Art
178:Early life and education
1188:Ap (January 27, 1983).
1086:L&M Arts, New York.
488:Anita Shapolsky Gallery
215:Émile-Antoine Bourdelle
1483:March 1, 2012, at the
1282:Alison Jacques Gallery
1102:April 3, 2015, at the
484:Long Island University
172:Abstract Expressionism
113:Abstract Expressionism
1005:"The art of the deal"
407:Richard Pousette-Dart
1524:American art dealers
1348:Museum of Modern Art
1043:May 8, 2017, at the
924:Robson, A. Deirdre.
910:. December 19, 1936.
640:"The Parsons Effect"
511:Museum of Modern Art
462:Painter and sculptor
168:Betty Bierne Pierson
55:Betty Bierne Pierson
1449:Whitechapel Gallery
1252:on January 15, 2014
932:. Oxford Art Online
550:Whitechapel Gallery
365:Helen Frankenthaler
356:Robert Rauschenberg
304:Art of This Century
247:Mary Quinn Sullivan
1194:The New York Times
1139:57th Street Review
1108:The New York Times
1050:The New York Times
991:The New York Times
951:Hall, Lee (1991).
814:Hall, Lee (1991).
754:Hall, Lee (1991).
411:Walter Tandy Murch
84:New York, New York
68:New York, New York
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1539:1900 births
1404:January 21,
1379:October 23,
1353:October 23,
1328:October 23,
1303:October 23,
1126:Smithsonian
851:Finding Aid
739:October 18,
729:www.anb.org
702:. Fall 1977
693:"Fall 1977"
552:in London.
431:Jack Tilton
391:José Bernal
324:Mark Rothko
302:closed her
199:Armory show
152: [
90:Nationality
1518:Categories
962:0810937123
825:0810937123
673:. ArtFacts
616:References
468:Tony Smith
377:Art critic
352:Tony Smith
340:Lyman Kipp
188:Palm Beach
149:Adge Baker
61:1900-01-31
1454:April 27,
1202:0362-4331
575:Hall, Lee
369:Sam Kootz
360:John Cage
285:Gallerist
1481:Archived
1226:Archived
1207:April 4,
1154:Archived
1100:Archived
1080:Archived
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1015:July 18,
1009:Archived
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891:June 12,
885:Archived
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855:Archived
799:June 12,
793:Archived
733:Archived
700:Womanart
599:See also
577:(1991).
456:Ib Benoh
435:Lee Hall
395:Ib Benoh
109:Movement
102:Painting
93:American
1256:May 11,
908:ARTnews
706:July 5,
677:July 5,
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645:ARTnews
548:at the
184:Newport
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298:after
273:, and
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