Maxfield Parrish

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The Dinky Bird, by Maxfield Parrish, an illustration from Poems of Childhood by Eugene Field, 1904. This work exemplifies Parrish's characteristic use of androgynous figures.

Maxfield Parrish (July 25, 1870 - March 30, 1966) was an American painter and illustrator.

1 Life
2 Technique and influence
3 Further reading
4 See also
5 External links

[edit] Life

Born in Philadelphia, Pennsylvania, he began drawing for his own amusement as a child. His given name was Frederick Parrish but he later adopted the maiden name of his paternal grandmother, Maxfield, as his middle name. He later adopted Maxfield as his professional name. His father was an engraver and landscape artist, and young Parrish's parents encouraged his talent. He attended Haverford College and the Pennsylvania Academy of the Fine Arts. He entered into an artistic career that lasted for more than half a century, and which helped shape the Golden Age of illustration and the future of American visual arts.

The Dream Garden, a mosaic by Louis Comfort Tiffany based on a Parrish painting. It may be seen at the Curtis Building in Philadelphia.

Launched by a commission to illustrate L. Frank Baum's Mother Goose in Prose in 1897, his repertoire included many prestigious projects including Eugene Field's Poems of Childhood (1904) (see illustration) and such traditional works as Arabian Nights (1909). Books illustrated by Parrish are highly sought-after collectors items.

He had numerous commissions from popular magazines in the 1910s and 1920s including Hearst's, Colliers, and Life. He was also a favorite of advertisers, including Wanamaker's, Edison-Mazda Lamps, Fisk Tires, Colgate and Oneida Cutlery. In the 1920s, Parrish turned away from illustration and concentrated on painting for its own sake. Androgynous nudes in fantastical settings were a recurring theme. He continued in this vein for several years, living comfortably off the royalties brought in by the production of posters and calendars featuring his works. An early favorite model was Kitty Owen in the 1920's. Later another favorite, Susan Lewin, posed for many works, and was employed in the Parrish household for many years. Parrish himself posed for many images that featured male - and occasionally female - figures (see Potpourri, 1905).

In 1931, he declared to the Associated Press, "I'm done with girls on rocks", and opted instead to focus on landscapes. Though never as popular as his earlier works, he profited from them. He would often build models of the landscapes he wished to paint, using various lighting setups before deciding on a preferred view, which he would photograph as a basis for the painting (see for example, The Millpond). He lived near Cornish, New Hampshire and painted until he was 91 years old.

[edit] Technique and influence

A fantastical Parrish illustration titled Cadmus Sowing the Dragon's Teeth, which appeared in Collier's in 1908 and A Wonder Book and Tanglewood Tales, by Nathaniel Hawthorne.

Parrish's art features dazzlingly luminous colors; the color Parrish blue was named in acknowledgement. He achieved the results by means of a technique called glazing where bright layers of oil color separated by varnish are applied alternately over a base rendering (Parrish usually used a blue and white monochromatic underpainting).

Parrish's work defies categorization since he was part of no traditional movement or school, and developed an original and individual style. However, his work has been highly influential. Among recent homages was the 1995 music video, You Are Not Alone, featuring Michael Jackson and his then wife Lisa Marie Presley, in which they appear semi-nude in emulation of Parrish's most famous work, Daybreak 1922.

The Irish musician Enya has also been inspired by the works of Parrish. For example, the cover art of her 1995 album, The Memory of Trees, is based on his painting Black Isles [1]. She has also used his inspiration in a number of her music videos as well.