Lucile Lloyd

Lucile Lloyd
Born (1894-08-28)August 28, 1894
Cincinnati, Ohio
Died February 25, 1941(1941-02-25) (aged 46)
Nationality American
Education Woman's Art School at Cooper Union, The Art Students League of New York
Known for Muralist
Spouse(s) Addison Brown, Jr. (m. 1919–25) Niel McNulty (m. 1936–39)

Lucile Lloyd (August 28, 1894 – February 25, 1941) was an American muralist.

Early life

Lloyd was born in Cincinnati, Ohio. Her parents were Mary Alice (Holcomb) and Harry Kensington Lloyd.[1] She apprenticed in her father's studio. Her English grandfather was a textile designer during the Arts and Crafts movement.[2] She attended school at the Woman's Art School at Cooper Union in New York City and won two scholarships to the Art Students League of New York. While at Cooper Union she studied with Frank Fairbanks, Frederick Deilman, Robert Tyland and Josheph C. Chase.[3] She was the first woman to work in the drafting room of architect Bertram G. Goodhue and painted her first mural decoration at the age of twenty <Architecture and Engineer, July 1931, p. 55>. In 1919 Lloyd married Addison Brown II, son of Addison Brown. They had one child, Addison Brown III.[4] In 1925 Addison Brown Jr divorced her and moved with their two year old child back to the east coast.[5]

Career

Lloyd moved with her husband and son to California in 1919. She opened a studio, taught classes and took the directorship of the Stickney Memorial School of Art in Pasadena.[6] Lloyd worked as a muralist and decorator and also produced bookplates, cartoons, logos, water color, charcoal, architectural renderings and stained-glass designs. She worked with many well-known architectural firms including Howard Hewitt, Marsh, Smith,&Powell, Carleton Monroe Wilson and the west coast office of Bertam Goodhue.

In 1923 Lloyd contributes an article in the December issue of California Southland (pg. 14) entitled The Relationship Between Architecture and Decoration. Here she acknowledges that while the architect has the vision, it is the interior specialist that brings together the decorative elements that complete a space. Lloyd mentions the need for time to research and create full scale working drawings as well as full color renderings. She goes on to stress that muralists such as herself be included from the onset of a project. "Bringing in an artist at the last minute can lead to a displeased client". "If the client could only be persuaded to put the money he spends, later, on landscapes or genre paintings which do not go with is house, into one good ceiling for over-mantel, which becomes a part of the architecture of his home, he would be better satisfied in the end"She closes her article by saying that while mural artists "speak the language of trade painters, murals artist are not to be confused with "house painters". [7]

Lloyd, under the auspices of the architectural firm of Marsh, Smith, Powell, created a 39×7-ft oil painting for the South Pasadena Middle School (formerly South Pasadena Junior High). The Madonna of the Covered Wagon was executed on canvas at the artist's studio and installed in the proscenium of the auditorium after completion.[8] The scene recalls a journey made by thousands of pioneer families as they cam west during the 1800s. The sheer cliffs of El Capitan are shown on the right rising high about the banks of the Merced River. While the work was considered by some critics of the time as saccharine, it is typical of the Illustrators School which was the style of her time. Los Angeles Times art critic Arthur Millier gave the work high praise saying"her delightful murals combines humor and sentiment in delightful proportions [9]

A Three Works Progress Administration/Federal Arts Project panel mural by Lloyd have, since 1992, been displayed by the California State Senate. The murals were moved after the original site was damaged in the 1971 San Fernando earthquake. They are now in the Senate Committee Room in Sacramento, California.

The mural, titled "California's Name", were dedicated on October 16, 1937 at the Los Angeles State Building at 217 West First Street on the Civic Center, hung in an Assembly room. The middle is approximately 16×13 ft and side panels 6.5×13 ft .

Lloyd was one of six artists who submitted drawings for the murals at Griffith Observatory. She was a member of the California Art Club, Women Painters of the West, American Bookplate Society and the California State Historical Association.

She married her second husband Niel McNulty in 1936, who died in 1939. Lucile Lloyd committed suicide in February, 1941.[10]

Commissions

1923

1927

1928

1929

1930

1931

1932

1933

1934

1936-37

References

  1. ↑ "Who's Who in California (Volume 1942-43)". ebooksread.com. Retrieved 27 November 2012.
  2. ↑ California State Senate Rules Committee, 1992, pg 14
  3. ↑ Los Angeles Times, Auther Millier 1931 pg B12
  4. ↑ "Who's Who in California (Volume 1942-43)". ebooksread.com. Retrieved 27 November 2012.
  5. ↑ California Rules, p. 14.
  6. ↑ California Rules, 1992, p. 14
  7. ↑ California Southland, December 1923, p. 14.
  8. ↑ " Dedication" Foothill Review, October 26, 1928 p. 1
  9. ↑ Los Angeles Times, "Take Your Olympic Guest on Mural Painting Tour May 29, 1932 pg. B9
  10. ↑ Hurley, Melissa. "Local Women Artists Throughout History". wbexhibit.otis.edu. Retrieved 27 November 2012.
  11. ↑ Vincent, Roger (April 2, 2014) "Art deco Hollywood Citizen News building is sold" Los Angeles Times
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