Maxfield Parrish:

A World of Blue Wonder

Nichole Deacon
Professor Copeland 8AM
FALL 2015
 Outline

Noted as one of the most brilliant illustrators and artists of the twentieth

century, Maxfield Parrish instantly stood out from the rest through his daring use of

romanticism, stunning use of radiant blue hues, and ability to bring emotion and

imagination to life through his artwork.

I. Introduction

II. Early Life

A. Born into the Philadelphia Quaker elite to parents Stephen and

Elizabeth Parrish

B. Both parents were heavily involved in the arts

C. Spent extensive time in Europe, which inspired his early years

D. He longed for the creative world

III. Formative Years

A. Worked with his father

B. Studied architecture at Haverford College

C. Transferred to Pennsylvania Academy of Fine Arts for visual arts

D. Learned both traditional and progressive approaches to art

E. Quickly received much praise and accolades

F. Shared a studio with his father

G. Enrolled in the Drexel Institute of Art to further his education

H. Realized importance of historical subject matter

 I. Met and married Lydia Austin, a school painting instructor

IV. Early Career

A. Commissioned by Wilson Eyre to paint a mural for the University of

Pennsylvanias Mask and Wig Club (Old King Cole)

B. Completed First illustrated book: L Frank Baums Mother Goose In

Prose

C. Showed diversity by painting poster for Adlake Camera

V. Parrish Blue

A. After recovering from severe tuberculosis, started using more color in

his work

B. Developed a shade of Cobalt Blue referred to as Parrish Blue

C. Parrish Blue is exemplified in Dusk

D. Continued producing vivid advertisements for companies like Fisk

Tires, Ferrys Seeds, and Edison Mazda

E. Produced artwork for magazines such as Hearsts and Life

VI. Later Years

A. Painted his most famous piece, Daybreak

B. Slowly transitioned from painting people, to painting landscapes

C. Achieved amazing amount of emotion in the individuals painted

VII. Conclusion
 Maxfield Parrish: A World of Blue Wonder

In a world filled with so much anger and cruelty, it is imperative that we

never overlook or take for granted the beauty this world has to offer. It is extremely

important, now more than ever, that we do not forget this. We tend to blindly fixate

on the ugliness in this world. However, beauty can be found all around us as long as

time is taken to appreciate its essence. Is the world in too big of a rush, or have we

simply forgotten how to admire something other than ourselves? For centuries,

artists have methodically brought to life astonishing works of art, capturing beauty

in its purest form. The adoration for art and beauty is subjective. We all view life

differently, which in turn, makes us view art differently. Noted as one of the most

brilliant illustrators and artists of the twentieth century, Maxfield Parrish instantly

stood out from the rest through his daring use of romanticism, stunning use of

radiant blue hues, and ability to bring emotion and imagination to life through his

artwork.

Born into Philadelphias Quaker elite on July 25, 1870, Maxfield Parrish was

an only child raised in a culturally privileged environment (Yount 17). Given the

name Frederick at birth, he later took his maternal grandmothers maiden name and

was from then on referred to as Maxfield. His father, Stephen Parrish, was a

notable etcher and landscape painter who sold his successful stationary business in

1877 to pursue his passion as an artist. Stephen Parrish instilled in his son the

appreciation for nature and beauty at a very young age, requesting that Parrish

absorb his surroundings. This astute and vital advice is shown throughout Parrishs
artwork in his countless picturesque landscapes that only one with a genuine

admiration for natures beauty could create. It is said that his father even took the

boy abroad so that 14-year-old Maxwell, or Fred, as his family called him, could

tour the great art museums of Europe (Perry). Parrishs mother, Elizabeth Bancroft

Parrish, had a love for music that she instilled in him as a young boy. With an

acclaimed etcher and artist for a father, and a music enthusiast for a mother, it is

certainly no wonder that Parrish became a well-respected artist.

Both Stephen and Elizabeth Parrish took their son on several European

vacations that gave Parrish a sneak peak into a world that was new and intoxicating.

Parrish wrote to art student Jerome Connolly in 1952 stating, I got a lot from my

father who was an artist [] who called my attention to many hundreds of things in

the visual world to which most of humanity are blind (qtd. in Wagner 15). Being

exposed to such raw and unfamiliar beauty at such a young age can do wonders for

a child. For Parrish, it was just the beginning of an imaginative journey into the

dream-like world he lived in. Parrish gained inspiration from countless people and

experiences throughout his life; however his constant urge to embellish became

most apparent on the extended European sojourn he spent with his parents from

1884 to 1886 (Yount 18).

After selling his stationary business in 1877, Stephen Parrish moved his

family to Europe where he longed to join a fine arts community and to have a

different existence from the one in Philadelphia, which must have been stifling for a

person of artistic temperament (J. Cutler and L. Cutler 10). In Europe, the family

frequented museums, cultural events, and enjoyed mingling with various artists,
musicians, and poets. As a young boy in a foreign land, Parrish was exposed to the

splendor and enchantment Europe had to offer. After returning home to America in

1886, he was unable to shake the creative world he had left behind. Life

experiences are what helped him to identify and shape his artistic vision:

Obviously, this first trip continued to occupy the mind of young Fred

long after he returned to America; in his daydreams, he continued to

wander the winding lanes of old Montmartre, which he fancied were

inhabited by imaginary dragons and hobgoblins. Gargoyles atop

medieval cathedral buttresses gave rise to such images, insinuating

themselves into the rich tapestry of Maxfield Parrishs imagination.

His first known drawing is of a phantasmagoric dragon, which he

completed during this lengthy stay in France.

(J. Cutler and L. Cutler 11)

Once settled back in Philadelphia, Parrish began to work with his father,

where he was instantly intrigued in the study of architecture. In 1888, he returned

to the Quaker educational system by enrolling in Haverford College in Pennsylvania.

Although the school offered no formal art program, his creative mind was occupied

by sketching in several of his notebooks (Fig. 1) and by embellishing his own

ukulele. While attending Haverford, Parrish was encouraged to observe and

appreciate nature and its beauty, thus providing years of inspiration for his work.
He chose to leave Haverford after his junior year, making the keen decision to

pursue the visual arts.

In December of 1891, Parrish enrolled in Philadelphias leading art

institution, the Pennsylvania Academy of the Fine Arts. The Academy opened

Parrishs eyes and mind to a world of inspiration as well as a diverse group of

instructors that gave Parrish a solid background in both traditional and more

progressive approaches to art making (Yount 21). As a young man he desired a

career that offered him artistic freedom, and he turned his attention to the popular

arts of illustration and mural design. His early work proved to be both eccentric and

extraordinary, attracting attention not only from his professors and peers, but the

general public as well. An 1895 exhibition at Pennsylvania Academy of Fine Arts

singled out Parrishs work when his composition instructor, Henry Thouron stated:

In Mr. Parrish the academy has to-day [sic] among its students one of

the most brilliant and most suggestive decorative painters in this

country. With the ease of genius, he is accomplishing wonderful

results at a stage when usually only the merest student crudities are

turned out, and it is safe to say that all his work will be in swift and

growing demand. (qtd. in Yount 21)

Upon his completion of his studies at the Academy of Fine Arts, Parrish went

to Annisquam, Massachusetts, to share an art studio with his father. This stay was

cut short, however, after Parrish enrolled in the Drexel Institute of Art after much
encouraging from his father. His time at Drexel made him realize that, historical

subject matter would greatly interest the public (J. Cutler and L. Cutler 38). Drexel

was also where Parrish met and married his wife, Lydia Austin, a painting instructor

at the school, in June 1895. Only after a brief six months of dating, the couple chose

to wed without the approval of their parents, making it strikingly obvious the two

may have married simply out of revolt. Shortly after the wedding, Parrish made the

decision to take another trip to Europe, leaving behind his self-willed Quaker wife.

In 1894, architect Wilson Eyre contacted Parrish to paint murals for a stable

that he was converting into a theatre clubhouse for the University of Pennsylvanias

Mask and Wig Club. (Fig. 2) This tremendous opportunity was just the beginning for

Parish, which quickly took off after completion of his first illustrated book, Lyman

Frank Baums Mother Goose in Prose. (Fig. 3) Taking on a different approach to his

artwork, Parrish followed that commission with a poster (Fig. 4) for the Chicago

manufacturer of the Adlake Camera. Viewing this particular work of art, one can see

Parrishs trademark unfold with the mischievous, puppet-like characters he created.

After recuperating from severe tuberculosis in 1901, Parrishs artistic style

seemed to shift. It is said that, hed been working primarily in black and white,

using color sparingly for accent, but the below zero mountain air froze his inks, and

he began to work with oils. He was also deeply affected by the intense show of

natures colors and was eager to use color in his own work (Perry). Parrishs vivid

use of color, particularly a bold blue hue, gives intensity and life to many of his

paintings. He created such an impact that cobalt blue is still referred to as, Parrish

Blue. Parrishs painting of Dusk (Fig. 5) instantly draws the viewer into his work
and the magical world he creates on a single canvas. What sometimes attracts one to

a work of art is the emotional connection we may have with a particular painting,

sculpture, or song. Observing Dusk, one is immediately morphed into a six-year-old

version of oneself, perhaps feeling the bitterness of the cold tingling of the nose, and

envisioning a grandmother sitting inside by the fire, hollering, Come in from out

there! Youre going to catch a cold. The emotional connection felt when looking at

Parrishs artwork is what creates a bond between Parrish and his audience.

One of the many aspects of Parrishs flourishing career was his work with

company advertisements such as, The Fisk Tire Company, Ferrys Seeds, and Edison

Mazda. When creating advertisements, Parrish reverted to his popular nursery-

rhyme formula that, for more widespread public viewing, evoked a strong sense of

nostalgia instead of his usual feeling of personal escape. In his advertisement for

Fisk Tires, The Modern Magic Shoes, (Fig. 6) Parrish used an acrobatic-like character,

balancing on a tire, to represent the precision and control of Fisk Tires. In Ferrys

Seeds: Mary Mary Quite Contrary, (Fig. 7) Parrish paints a farm girl presenting a

slightly smug look on her face. Parrishs girl shown in the picture knows how good

Ferrys seeds are for your grass, and shes letting the viewer in on her little secret.

In addition, his iconic use of Parrish Blue is perfectly exhibited in the

advertisement for Edison Mazda titled, Prometheus. (Fig. 8) In it, Parrish tempts us

with the taboo fascination of a striking nude man wielding a torch. Reminding one

of the powerful ancient myths of Prometheus, who victoriously stole fire from the

gods, before he is punished. What made his advertisements so effective and unique
was the amount of thought put into the depiction of the characters and the raw

emotion Parrish believed they should evoke.

In addition to advertisements, Parrish also had a successful career in

magazine illustrations. Parrish featured his nursery rhyme approach in his 1921

cover for Life magazine (Fig. 9) where Humpty Dumpty is seen sheepishly sitting on

a wall. In November of 1912, he illustrated a captivating cover of stunning women

for Hearsts Magazine, accurately titled, Sleeping Beauty. (Fig. 10) This cover reveals

three sleeping women adorned with flowers in their hair and pinched rosy cheeks.

The man in the background is small in comparison to the woman, indicating the

irrelevance of men when compared with such beauty. Amidst the beautiful ladies,

one can see, Parrishs lifelong companion, Susan Lewin, as Sleeping Beauy (J. Cutler

and L. Cutler 27).

As mentioned previously, Parrish is associated with vibrant shades of blue

that he used in many of his paintings, particularly in his landscapes. The technique

used to obtain these breathtaking blue hues was not easy for him to render, and it

took several trials and errors for his technique to be perfected:

He devised a laborious technique, using base of cobalt blue and

white undercoating, he then glazed with a number of thin alternating

coats of oil and varnish. The particular resins he used, called Damar,

are known to fluoresce a shade of yellow-green when exposed to

ultraviolet light, giving the unique turquoise hue to his painted skies.

(Peckle)
 The cornerstone work of Parrishs career was his painting titled, Daybreak.

(Fig. 11) To illustrate just how widely popular this painting was, The New York and

London- based publishing firm that commissioned the work, the House of Art,

estimated that, by 1925, both high- and low-end reproductions of the painting could

be found in one out of every four American households. (Yount 15) The painting

framed by prominent columns and set in front of a glorious backdrop of mountains,

features two angelic-faced, beautiful girls. Kitty Owen, granddaughter of William

Jennings Bryan, [is] dressed in a Grecian outfit and languorously reclining on a

portico; [] the other, Parrishs youngest child, Jean, [is] androgynously nude and

modestly bending over her friend. (Yount 101) At first, it is difficult to suggest why

this particular painting, out of all his works of art, appealed to so many people.

Perhaps individuals enjoyed a glimpse into a forbidden world of innocence and

sexuality so beautifully merged.

Scrolling through the countless pages of books on Maxfield Parrish, one

encounters imagery both mystical and transcendent. Even someone unschooled in

the vast subject of art history is transformed when peering into the divine blue and

foreign worlds Parrish has created. In his painting Reveries, (Fig. 12) Parrish shows

us a stunning woman draped in a white dress; a melancholy look blankets her

beautiful face. One imagines that the woman is encased in the sea of blue hues and

yellow-golden leaves, wrapped in a world that appears cold and distant, yet safe

from any harm.

 Although painting magnificent women was Parrishs forte, he was also able

to bring to life paintings lacking the presence of a female by creating landscapes that

could take anyones breath away. In At Close of Day, (Fig. 13) we see a town quieted

by the approaching darkness of night. The sky is blanketed with colors about which

one can only dream, in a town where life seems unflawed and untouched. Parrish is

set apart from the rest, in the boldness and intensity of his colors, in the beautiful

precision and attention to geometric designs, and in the dreamlike mood some of

work evokes (Eisenhower).

Maxfield Parrish was an astonishing artist that brought romanticism,

whimsy, and dream-like works of art to life. He captivated audiences with his

portrayal of mystical, ethereal worlds. His presentation of beauty is all

encompassing, easy to miss if never given the time to admire, and vanishes in the

blink of an eye. In Stars, (fig. 14) Parrish brings to life a simplistic, yet astounding

beauty that is triumphantly embodied in one single painting and so eloquently

expressed by the magnificent artist himself:

Lying under those copper beeches, when we should have been doing

something else, looking into the cathedral windows above did a lot

more for us than contemplation of the Roman Colosseum. There were

grand trees in those days, and grand trees do something to you. (qtd.

in Yount 19)
 WORKS CITED

Baum, L Frank. Mother Goose in Prose. Chicago and New York : George M Hill

Company, 1897.

Cutler, Judy A.G., and Laurence S. Cutler. Maxfield Parrish. San Diego : Thunder Bay

Press, 2001. Print.

Eisenhower, Julie. The Outer Space Beauty of Maxfield Parrish. Saturday Evening

Post Dec. 1974 : 58-63. Print.

Parrish, Maxfield. The Adlake Camera. 1897. Lithograph on paper. Haverford College

Library, PA.

Parrish, Maxfield. At Close of Day. 1941. Np. Np.

Parrish, Maxfield. Chemistry Notebook. 1890. Pen, ink, and watercolor on paper.

Haverford College Library, PA.

Parrish, Maxfield. Daybreak. 1922. Oil on panel. Private Collection.

Parrish, Maxfield. Dusk. 1942. Oil on Masonite. New Britain Museum of American

Art, CT.

Parrish, Maxfield. Ferrys Seeds: Mary Mary Quite Contrary. 1921. Oil on board.

University of California Library, CA.

Parrish, Maxfield. Fisk Tires : The Modern Magic Shoes. 1919. Country Life Magazine,

CA.

Parrish, Maxfield. Humpty Dumpty. 1897. Ink and collage on woven paper mounted

on board. Syracuse University Art Collection, NY.

Parrish, Maxfield. Old King Cole. 1895. Oil on canvas. Private Collection.
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Lamp calendar. Np.

Parrish, Maxfield. Reveries. 1913. Oil on canvas. Hearsts Magazine May 1913. Np.

Parrish, Maxfield. Sleeping Beauty. 1912. Oil on canvas. Hearsts Magazine Nov 1912.

Np.

Parrish, Maxfield. Stars. 1926. Oil on panel. Private Collection.

Peckel, Linda. How Maxfield Parrish Got So Blue Arts Enclave. Wordpress, 18

January 2010. Web. 15 December 2015.

Perry, Carol J. The Mystical, Magical World of Maxfield Parrish. Antiques and

Collecting Magazine Oct. 2005 : 44-49. Print.

Wagner, Margaret E. Maxfield Parrish and the Illustrators of the Golden Age. New

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Yount, Sylvia. Maxfield Parrish 1870-1966. New York : Harry N Abrams INC, 1999.

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