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430:'s mother-and-child paintings. It was awarded a prize for the best painting by a female artist at the academy, and further exhibited in Philadelphia and New York. Following that seminal painting, she painted over 50 portraits in the next three years with the zeal of a committed professional artist. Her invitation to serve as a juror on the hanging committee of the academy confirmed her acceptance amongst her peers. In the mid-1880s, she was receiving commissions from notable Philadelphians and earning $ 500 per portrait, comparable to what Eakins commanded. When her friend Margaret Bush-Brown insisted that
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the mornings and enjoying a leisurely life the rest of the time. She carefully regulated her energy and her activities to maintain a productive output, and considered that a key to her success. On why so few women succeeded in art as she did, she stated, "Strength is the stumbling block. They (women) are sometimes unable to stand the hard work of it day in and day out. They become tired and cannot reenergize themselves."
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537:, had been receiving the wrath of the critics for several years. Their art, though varying in style and technique, was the antithesis of the type of Academic art in which Beaux was trained and of which her teacher William-Adolphe Bouguereau was a leading master. In the summer of 1888, with classes in summer recess, Beaux worked in the fishing village of
410:, a friend of Eakins and a New York artist invited to Philadelphia to teach a group of art students, starting in 1881. Though Beaux admired Eakins more and thought his painting skill superior to Sartain's, she preferred the latter's gentle teaching style which promoted no particular aesthetic approach. Unlike Eakins, however, Sartain believed in
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Coates tells me, stood in front of the portraits – Miss Beaux's three – and wagged his head. 'Ah, yes, I see!' Some
Sargents. The ordinary ones are signed John Sargent, the best are signed Cecilia Beaux, which is, of course, nonsense in more ways than one, but it is part of the generous chorus of praise." Though overshadowed by
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who espoused a totally different aesthetic, "Work with great speed..Have your energies alert, up and active. Do it all in one sitting if you can. In one minute if you can. There is no use delaying…Stop studying water pitchers and bananas and paint everyday life." He advised his students, among them
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Her childhood was a sheltered though generally happy one. As a teen she already manifested the traits, as she described, of "both a realist and a perfectionist, pursued by an uncompromising passion for carrying through." She attended the Misses Lyman School and was just an average student, though she
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Though Beaux was an individualist, comparisons to
Sargent would prove inevitable, and often favorable. Her strong technique, her perceptive reading of her subjects, and her ability to flatter without falsifying, were traits similar to his. "The critics are very enthusiastic. (Bernard) Berenson, Mrs.
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of 1876. She steered clear of the controversial Eakins, though she much admired his work. His progressive teaching philosophy, focused on anatomy and live study and allowed the female students to partake in segregated studios, eventually led to his firing as director of the academy. She did not ally
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Cecilia and her sister Etta were subsequently raised by their maternal grandmother and aunts, primarily in
Philadelphia. Her father, unable to bear the grief of his loss, and feeling adrift in a foreign country, returned to his native France for 16 years, with only one visit back to Philadelphia. He
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By 1906, Beaux began to live year-round at Green Alley, in a comfortable colony of "cottages" belonging to her wealthy friends and neighbors. All three aunts had died and she needed an emotional break from
Philadelphia and New York City. She managed to find new subjects for portraiture, working in
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and she enrolled in a course at the
National Art Training School. She was well suited to the precise work but later wrote, "this was the lowest depth I ever reached in commercial art, and although it was a period when youth and romance were in their first attendance on me, I remember it with gloom
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After the war, Beaux began to spend some time in the household of "Willie" and Emily, both proficient musicians. Beaux learned to play the piano but preferred singing. The musical atmosphere later proved an advantage for her artistic ambitions. Beaux recalled, "They understood perfectly the spirit
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During her long productive life as an artist, she maintained her personal aesthetic and high standards against all distractions and countervailing forces. She constantly struggled for perfection. "A perfect technique in anything," she stated in an interview, "means that there has been no break in
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In
Philadelphia, Beaux's aunt Emily married mining engineer William Foster Biddle, whom Beaux would later describe as "after my grandmother, the strongest and most beneficent influence in my life." For fifty years, he cared for his nieces-in-law with consistent attention and occasional financial
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Beaux attended
Sartain's classes for two years, then rented her own studio and shared it with a group of women artists who hired a live model and continued without an instructor. After the group disbanded, Beaux set in earnest to prove her artistic abilities. She painted a large canvas in 1884,
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continuity between the conception and the act of performance." She summed up her driving work ethic, "I can say this: When I attempt anything, I have a passionate determination to overcome every obstacle…And I do my own work with a refusal to accept defeat that might almost be called painful."
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In 1910, her beloved Uncle Willie died. Though devastated by the loss, at 55 year old, Beaux remained highly productive. In the next five years she painted almost 25 percent of her lifetime output and received a steady stream of honors. She had a major exhibition of 35 paintings at the
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549:, who had arrived near the beginning of the Impressionist movement 15 years earlier and who had absorbed it, Beaux's artistic temperament, precise and true to observation, would not align with Impressionism and she remained a realist painter for the rest of her career, even as
360:, for a multi-volume report sponsored by the U.S. Geological Survey. However, she did not find technical illustration suitable for a career (the extreme exactitude required gave her pains in the "solar plexus"). At this stage, she did not yet consider herself an artist.
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At 18, Beaux was appointed as a drawing teacher at Miss
Sanford's School, taking over Drinker's post. She also gave private art lessons and produced decorative art and small portraits. Her own studies were mostly self-directed. Beaux received her first introduction to
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support. Her grandmother, on the other hand, provided day-to-day supervision and kindly discipline. Whether with housework, handiwork, or academics, Grandma
Leavitt offered a pragmatic framework, stressing that "everything undertaken must be completed, conquered." The
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Beaux was crippled after breaking her hip while walking in Paris in 1924. With her health impaired, her work output dwindled for the remainder of her life. That same year Beaux was asked to produce a self-portrait for the Medici collection in the
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herself with Eakins' ardent student supporters, and later wrote, "A curious instinct of self-preservation kept me outside the magic circle." Instead, she attended costume and portrait painting classes for three years taught by the ailing director
860:, in 1912. Despite her continuing production and accolades, however, Beaux was working against the current of tastes and trends in art. The famed "Armory Show" of 1913 in New York City was a landmark presentation of 1,200 paintings showcasing
309:." Her father did have a natural aptitude for drawing and the sisters were charmed by his whimsical sketches of animals. Later, Beaux would discover that her French heritage would serve her well during her pilgrimage and training in France.
509:, a group of artists who had begun their own series of independent exhibitions from the official Salon in 1874, were beginning to lose their solidarity. Also known as the "Independents" or "Intransigents", the group which at times included
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573:. Her European training did influence her palette, however, and she adopted more white and paler coloration in her oil painting, particularly in depicting female subjects, an approach favored by Sargent as well.
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honored Beaux as "the
American woman who had made the greatest contribution to the culture of the world". In 1942 The National Institute of Arts and Letters awarded her a gold medal for lifetime achievement.
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and relatively unknown to museum-goers today, Beaux's craftsmanship and extraordinary output were highly regarded in her time. While presenting the Carnegie Institute's Gold Medal to Beaux in 1899,
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and Charles Lazar. She tried applying the plein-air painting techniques used by the Impressionists to her own landscapes and portraiture, with little success. Unlike her predecessor
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787:, and reading scraps of Browning." Beaux also became very close with Gilder's daughter Dorothea, and the two women exchanged affectionate letters for many years. Her portraits
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returned when Cecilia was two, but left four years later after his business failed. As she confessed later, "We didn't love Papa very much, he was so foreign. We thought him
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The five years that followed were highly productive, resulting in over forty portraits. In 1890 she exhibited at the Paris Exposition, obtained in 1893 the gold medal of the
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344:, female students were denied direct study in anatomy and could not attend drawing classes with live models (who were often prostitutes) until a decade later.
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864:. Beaux believed that the public, initially of mixed opinion about the "new" art, would ultimately reject it and return its favor to the Pre-Impressionists.
844:(representing Beaux and the traditional art establishment) resulted in 1907 in the independent exhibition by the urban realists known as "The Eight" or the
1867:"A Finding Aid to the Dorothea Gilder papers regarding Cecilia Beaux, 1897-1920 | Digitized Collection | Archives of American Art, Smithsonian Institution"
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Cecilia Beaux's Contemporaries Judged Her to Be the Cat's Meow; History Sees a Bit of a Chameleon, The Washington Post, March 9, 2008, washingtonpost.com
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Aimee Ernesta and Eliza Cecilia: Two Sisters, Two Choices, Tara Leigh Tappert, The Pennsylvania Magazine of History and Biography, July 2000, pp. 249–291
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stated "Miss Beaux is not only the greatest living woman painter, but the best that has ever lived. Miss Beaux has done away entirely with sex in art."
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Portrait of Mrs. John Wheeler Leavitt, 1885, grandmother of Cecilia Beaux, Westmoreland Museum of American Art, Greensburg, Pa., ExplorePAHistory.com
840:, to live with the common man and paint the common man, in total opposition to Cecilia Beaux's artistic methods and subjects. The clash of Henri and
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755:, prompting the artist to move to New York City, where she spent the winters, while summering at Green Alley, the home and studio she had built in
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and necessities of an artist's life." In her early teens, she had her first major exposure to art during visits with Willie to the nearby
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While Beaux stuck to her portraits of the elite, American art was advancing into urban and social subject matter, led by artists such as
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years were particularly challenging, but the extended family survived despite little emotional or financial support from Beaux's father.
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John Austin Stevens; Benjamin Franklin DeCosta; Henry Phelps Johnston; Martha Joanna Lamb; Nathan Gillett Pond; William Abbatt (1890).
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magazine in December 1873. Beaux demonstrated accuracy and patience as a scientific illustrator, creating drawings of fossils for
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with cousin May Whitlock, forsaking several suitors and overcoming the objections of her family. There she trained at the
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1928:"Self Portrait, Cecilia Beaux, installation at the Uffizi Gallery, Florence, Italy, Smithsonian Archives of American Art"
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manufacturer Jean Adolphe Beaux and teacher Cecilia Kent Leavitt. Her mother was the daughter of prominent businessman
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At 32, despite her success in Philadelphia, Beaux decided that she still needed to advance her skills. She left for
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A finding aid to the Cecilia Beaux Papers, 1863-1968, in the Archives of American Art, Smithsonian Institution
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did well in French and Natural History. However, she was unable to afford the extra fee for art lessons.
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and Beaux adopted a lifelong belief that physical characteristics correlated with behaviors and traits.
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266:. Portrait of Mrs. Jedidiah H. Richards (Beaux's cousin Julia Leavitt), 1895, now on display at the
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2038:"Cecilia Beaux's Contemporaries Judged Her to Be the Cat's Meow; History Sees a Bit of a Chameleon"
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172:(May 1, 1855 – September 17, 1942) was an American artist and the first woman to teach art at the
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Grafly, Dorothy. "Cecilia Beaux" in Edward T. James, Janet Wilson James, and Paul S. Boyer, eds.
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doing copy work for Philadelphia printer Thomas Sinclair and she published her first work in
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Wadsworth Atheneum; Elizabeth Mankin Kornhauser; Elizabeth R. McClintock; Amy Ellis (1996).
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as "the American woman who had made the greatest contribution to the culture of the world".
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Beaux was trained in Philadelphia and went on to study in Paris where she was influenced by
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Winter Antiques Show Bows in for 51st Year, R. Scudder Smith, Antiques and the Arts Online
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were beginning to take art into new directions. Beaux mostly admired classic artists like
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2092:. Pennsylvania Academy of the Fine Arts, 1974. Library of Congress Catalog No. 74-84248
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visits in 1902, during which "He sat for two hours, talking most of the time, reciting
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Documenting the Gilded Age: New York City Exhibitions at the Turn of the 20th Century
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1716:"The Greatest Woman Painter": Cecilia Beaux, Mary Cassatt, and Issues of Female Fame
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759:. Beaux's friendship with Richard Gilder, editor-in-chief of the literary magazine
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880:. Her later life was filled with honors. In 1930 she was elected a member of the
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In 1895, Beaux became the first woman to have a regular teaching position at the
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joked that her paintings were the best Sargents in the room. Like her instructor
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Back in the United States in 1889, Beaux proceeded to paint portraits in the
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After leaving the academy, the 24-year-old Beaux decided to try her hand at
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1629:"Women's Art at the World's Columbian Fair & Exposition, Chicago 1893"
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had "horrified Philadelphia Exhibition-goers as a gory spectacle" at the
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2136:. Vol. 3 (11th ed.). Cambridge University Press. p. 600.
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Holly Pyne Connor; Newark Museum; Frick Art & Historical Center.
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Off the Pedestal: New Women in the Art of Homer, Chase, and Sargent
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666:(1895), a nearly all-white oil painting which was purchased by the
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This article incorporates text from a publication now in the
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The Historical Society of Pennsylvania. Retrieved March 15, 2014.
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patrons, Beaux painted many famous subjects including First Lady
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The Historical Society of Pennsylvania. Retrieved March 4, 2014.
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Mrs. Robert Chapin and Daughter Christina by Cecilia Beaux, 1902
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rosewood secretaire made for her father to her cherished nephew
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Beaux was awarded a gold medal for lifetime achievement by the
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Notable American Women, 1607–1950: A Biographical Dictionary
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Catalogue of the Annual Exhibition of Painting and Sculpture
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project. Woman's Art Club of New York exhibition catalog.
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By 1900 the demand for Beaux's work brought clients from
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American Paintings Before 1945 in the Wadsworth Atheneum
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Background with Figures: Autobiography of Cecilia Beaux
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The Magazine of American History with Notes and Queries
1145:"Cecilia Beaux | Ernesta (Child with Nurse) | American"
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Beaux died at the age of 87 on September 17, 1942, in
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and record it with shame." She studied privately with
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At age 16, Beaux began art lessons with a relative,
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Members of the American Academy of Arts and Letters
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1810:Howard Pyle: Imagining an American School of Art
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925:physician whom she had painted as a young boy.
2085:. Boston and New York: Houghton Mifflin, 1930.
1742:Library of Congress. Retrieved March 15, 2014.
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1405:Pennsylvania Academy of the Fine Arts (1914).
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398:exhibitions in 1885, 1887, 1891, and 1892.
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982:Portrait of Mrs. Albert J. Beveridge, 1916
688:depicted the "New Woman" in his painting,
250:Mrs. Robert Abbe (Catherine Amory Bennett)
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1970:"'Cecilia Beaux' at Pennsylvania Academy"
1807:Jill P. May; Robert E. May; Howard Pyle.
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2097:Cecilia Beaux and the Art of Portraiture
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1784:, Plastic Club, Retrieved July 28, 2018.
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1813:. University of Illinois Press; 2011.
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882:National Institute of Arts and Letters
872:in Florence. In 1930 she published an
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231:National Institute of Arts and Letters
153:First Prize, Carnegie Institute (1899)
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2088:Goodyear Jr., Frank H., and others.,
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675:Pennsylvania Academy of the Fine Arts
668:Pennsylvania Academy of the Fine Arts
648:The Reverend Matthew Blackburne Grier
594:Sita and Sarita (Jeune Fille au Chat)
426:and whose subject matter was akin to
396:Pennsylvania Academy of the Fine Arts
365:Pennsylvania Academy of the Fine Arts
323:Pennsylvania Academy of the Fine Arts
268:Pennsylvania Academy of the Fine Arts
174:Pennsylvania Academy of the Fine Arts
2760:Burials at West Laurel Hill Cemetery
2725:20th-century American women painters
2715:19th-century American women painters
2157:from Smithsonian American Art Museum
2090:Cecilia Beaux: Portrait of an Artist
1968:Mangravite, Andrew (March 8, 2008).
886:American Academy of Arts and Letters
680:Cecilia Beaux considered herself a "
214:. Her style was compared to that of
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2229:New Woman of the late 19th century
1831:Making of America Project (1910).
1757:. Rutgers University Press; 2006.
970:Landscape with Farm Building, 1888
277:Beaux was born on May 1, 1855, in
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2745:American people of French descent
2185:New York Art Resources Consortium
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2099:. Smithsonian Institution, 1995.
1996:Women artists in Paris, 1850-1900
1775:"Plastic Club Noted Past Members"
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1738:The Gibson Girl as the New Woman
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2720:20th-century American painters
2710:19th-century American painters
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1177:Encyclopædia Britannica Online
1149:The Metropolitan Museum of Art
1137:
818:
797:Ernesta and her Little Brother
775:. She also sketched President
585:Dorothea and Francesca in 1898
293:and his wife, Cecilia Kent of
111:Francis Adolf Van der Wielen,
1:
2476:(Mary Chavelita Dunne Bright)
1131:
1015:
162:Exposition Universelle (1900)
38:
2615:The Case of Rebellious Susan
1049:Lady George Darwin, Beaux's
937:at the Clark Art Institute.
644:World's Columbian Exposition
420:Les Derniers Jours d'Enfance
16:American painter (1855–1942)
7:
2581:The Story of a Modern Woman
1994:Madeline, Laurence (2017).
1261:, Rizzoli, New York, 2005;
541:with the American painters
10:
2806:
2780:Painters from Philadelphia
2750:American portrait painters
2438:Elizabeth Barrett Browning
2307:Jennie Augusta Brownscombe
2153:December 13, 2004, at the
2068:
1955:February 13, 2006, at the
1010:Cecilia Beaux painting of
956:
805:National Academy of Design
690:The Reason Dinner was Late
628:National Academy of Design
500:William-Adolphe Bouguereau
451:Twilight Confidences, 1888
363:Beaux began attending the
204:William-Adolphe Bouguereau
2730:Académie Colarossi alumni
2517:
2499:
2430:
2282:Sophie Gengembre Anderson
2259:
2236:
1998:. Yale University Press.
1677:. National Gallery of Art
1244:Who's Who in Pennsylvania
1221:. Yale University Press.
1179:, Retrieved May 22, 2015.
928:
913:. In her will she left a
911:Bala Cynwyd, Pennsylvania
907:West Laurel Hill Cemetery
903:Gloucester, Massachusetts
757:Gloucester, Massachusetts
719:. Other members included
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2755:American women academics
2653:Mrs. Warren's Profession
2352:Wilhelmina Weber Furlong
1541:The American Collections
935:Women in Paris 1850-1900
896:
813:Art Institute of Chicago
773:Admiral Sir David Beatty
441:
241:Early life and education
151:(1885, 1887, 1891, 1892)
2357:Elizabeth Shippen Green
2347:Susan Stuart Frackelton
2191:April 10, 2019, at the
2133:Encyclopædia Britannica
1723:March 14, 2015, at the
878:Background with Figures
854:Corcoran Gallery of Art
809:Logan Medal of the arts
737:Elizabeth Shippen Green
478:by Cecilia Beaux (1920)
206:as well as the work of
2735:Académie Julian alumni
2533:The Portrait of a Lady
2332:Alice Brown Chittenden
2312:Julia Margaret Cameron
1780:April 7, 2015, at the
1713:Nancy Mowall Mathews.
1547:Columbus Museum of Art
793:Dorothea and Francesca
771:and her daughter; and
612:
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577:Return to Philadelphia
479:
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424:James McNeill Whistler
274:
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2641:The Romance of a Shop
2392:Elizabeth Okie Paxton
2241:19th-century feminism
2095:Tappert, Tara Leigh,
1120:George Dudley Seymour
947:William Merritt Chase
842:William Merritt Chase
807:in 1902. and won the
624:Philadelphia Art Club
611:by Cecilia Beaux 1894
607:
592:
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383:Centennial Exhibition
338:Catherine Ann Drinker
295:Suffield, Connecticut
262:
248:
218:; at one exhibition,
2536:(serialized 1880–81)
2509:Alice Freeman Palmer
2407:Jessie Willcox Smith
1837:. Scribner & Co.
1122:, on display at the
996:William Henry Howell
905:. She was buried at
789:Fanny Travis Cochran
725:Jessie Willcox Smith
640:The Woman's Building
287:John Wheeler Leavitt
2660:George Bernard Shaw
2648:George Bernard Shaw
2576:Ella Hepworth Dixon
2463:Ella Hepworth Dixon
2402:Pamela Colman Smith
2342:Emma Lampert Cooper
2246:First-wave feminism
1974:Broad Street Review
686:Charles Dana Gibson
660:Musée du Luxembourg
636:Palace of Fine Arts
388:Christian Schussele
358:Edward Drinker Cope
216:John Singer Sargent
170:Eliza Cecilia Beaux
53:Eliza Cecilia Beaux
2611:Henry Arthur Jones
2322:Minerva J. Chapman
2231:(born before 1880)
1171:Kuiper, Kathleen.
1124:Wadsworth Atheneum
1035:Cecil Kent Drinker
923:Harvard University
919:Cecil Kent Drinker
801:Ernesta with Nurse
765:Georges Clemenceau
613:
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543:Alexander Harrison
496:Tony Robert-Fleury
492:Académie Colarossi
480:
475:Georges Clemenceau
467:
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403:porcelain painting
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200:Tony Robert-Fleury
190:Georges Clemenceau
117:Académie Colarossi
82:September 17, 1942
2687:
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2632:(serialized 1878)
2540:Elizabeth Barrett
2526:Isabel Archer in
2453:Annie Sophie Cory
1819:978-0-252-03626-2
1795:The Plastic Club.
1763:978-0-8135-3697-2
1411:. pp. 10–11.
1368:Carter, pp. 48-49
1257:Alice A. Carter,
890:Eleanor Roosevelt
664:New England Woman
264:New England Woman
235:Eleanor Roosevelt
233:, and honored by
167:
166:
156:Temple Gold Medal
127:Portrait painting
2797:
2587:Gustave Flaubert
2518:Literature about
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2277:Nina E. Allender
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749:Washington, D.C.
717:The Plastic Club
710:Elizabeth Coffin
706:Elizabeth Nourse
634:her work at the
465:by Beaux in 1894
392:Mary Smith Prize
390:. Beaux won the
378:The Gross Clinic
220:Bernard Berenson
197:academic artists
186:Sir David Beatty
145:Mary Smith Prize
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2251:Women's history
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2155:Wayback Machine
2144:
2126:, ed. (1911). "
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2044:. March 9, 2008
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652:Sita and Sarita
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299:puerperal fever
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182:Edith Roosevelt
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2124:Chisholm, Hugh
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2387:Rose O'Neill
2367:Laura Knight
2317:Mary Cassatt
2302:Rosa Bonheur
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2046:. Retrieved
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994:Painting of
951:
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160:Gold Medal,
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71:Pennsylvania
67:Philadelphia
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2705:1942 deaths
2700:1855 births
2672:H. G. Wells
2621:Henry James
2552:Kate Chopin
2528:Henry James
2481:Sarah Grand
2458:Ella D'Arcy
2448:Kate Chopin
1834:The Century
1019: 1919
819:Green Alley
781:White House
779:during her
761:The Century
523:Caillebotte
436:Paris Salon
350:lithography
212:Edgar Degas
98:Nationality
63:May 1, 1855
42: 1888
2694:Categories
2443:Mona Caird
2048:August 19,
1979:August 19,
1681:August 19,
1549:, p.
1474:"nmwa.org"
1132:References
539:Concarneau
412:phrenology
184:, Admiral
178:Gilded Age
59:1855-05-01
2501:Educators
1634:August 3,
1154:March 17,
862:Modernism
815:in 1921.
694:New Woman
682:New Woman
632:exhibited
571:Rembrandt
315:Civil War
108:Education
2636:Amy Levy
2486:Amy Levy
2189:Archived
2151:Archived
1953:Archived
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1778:Archived
1765:. p. 25.
1721:Archived
1269:, pg. 11
1054:portrait
600:in Paris
527:Pissarro
307:peculiar
133:Movement
102:American
2665:Candida
2625:novella
2431:Writers
2260:Artists
2121::
2069:Sources
1876:June 5,
1247:. 1908.
957:Gallery
811:at the
785:Kipling
658:to the
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609:Ernesta
563:Picasso
559:Gauguin
555:Matisse
551:CĂ©zanne
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1051:pastel
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753:Boston
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567:Titian
561:, and
533:, and
531:Renoir
519:Sisley
141:Awards
92:, U.S.
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897:Death
751:, to
515:Monet
511:Degas
484:Paris
442:Paris
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