Catharine Carter Critcher

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Catharine Carter Critcher
Catherine C. Critcher, 1-23-23 LOC npcc.07696 (cropped).jpg
Critcher in 1923
Born(1868-09-13)September 13, 1868
Westmoreland County, Virginia, US
DiedJune 11, 1964(1964-06-11) (aged 95)
Blackstone, Virginia, US
Resting placeIvy Hill Cemetery (Alexandria, Virginia)
NationalityAmerican
EducationRichard E. Miller
Alma materCooper Union
Corcoran School of Art
Académie Julian
Known forPortrait painting
ElectedTaos Society of Artists

Catharine (sometimes Catherine) Carter Critcher (September 13, 1868 – June 11, 1964) was an American painter. A native of Westmoreland County, Virginia, she worked in Paris and Washington, D.C. before becoming, in 1924, a member of the Taos Society of Artists, the only woman ever elected to that body.[1] She was a long time member of the Arts Club of Washington.

Biography[]

Critcher was the daughter of Judge John Critcher and Elizabeth "Lizzie" Thomasia Kennon (Whiting) Critcher; she was their fourth daughter and the youngest of their five children.[2] She grew up on the family plantation, Audley, in Oak Grove, Virginia, and showed an early interest in equestrianism and painting.[3]

Critcher's first studies came at the Arlington Institute in Virginia.[4] She then studied at Cooper Union in New York City for a year, with Eliphalet Frazer Andrews at the Corcoran School of Art in Washington, D.C., and also with Richard Emil Miller[3] and Charles Hoffbauer.[5] She soon began receiving commissions, producing a number of portraits of members of prominent Virginia families.[6] In 1897 she was occupying studio space in the former Minor house in Alexandria, located on North Alfred Street.[7] She traveled to Paris in 1904, remaining in that city for several years.[1] Initially she enrolled at the Académie Julian, where she studied under Charles Hoffbauer and Jean-Paul Laurens;[3] her time there was made difficult due to troubles with the French language.[6] She founded the Cours Critcher in 1905 in an attempt to aid American artists in gaining admission to French schools, an enterprise in which she had the assistance of Miller and Hoffbauer.[1][3] Mindful of her previous linguistic troubles, she designed a school where instruction was offered in English.[6] To make extra money she acted as a tour guide for Americans visiting Europe during the summer months. Critcher exhibited at the Paris Salon during her time in the city, and served as president of the American Women Painters in Paris.[3]

In 1909 Critcher returned to the United States and began teaching at her alma mater, the Corcoran, where she remained on the faculty until 1919.[3] In that year she founded another school, this time in Washington, called variously The School of Painting and Applied Arts[1] or the Critcher School.[3] There instructors offered one- and two-year courses in fine and commercial art, teaching a variety of styles and disciplines.[8] She ran the school until 1940, when she decided to devote herself to painting full-time.[1] In 1922 Critcher began teaching with sculptor Clara Hill.[3] During the 1930s she ran the Red Rock Cove Art Camp on property which she rented near Saltville, Virginia.[9] During the 1910s and 1920s she lived at The Woodley in Washington.[4][5] Her studio was located on St. Matthew's Court;[10] this is also given as the first address of her school, which later moved to a location along Connecticut Avenue.[11] Among the institution's pupils was Sarah Blakeslee, whom Critcher encouraged to enroll in the Chester Springs branch of the Pennsylvania Academy of the Fine Arts upon graduation from high school.[12] Critcher was assisted in running the school by her sister Louisa Kennon Critcher, known as "Lulie", who was also an artist.[13][11]

Critcher paid her first visit to Taos, New Mexico in 1920, and would return for many summers. She was quite taken with the town, saying, "no place could be more conducive of work. There are models galore and no phones."[1] In 1924 the all-male Taos Society of Artists unanimously voted her in as a member,[1] accepting the candidacy of E. Martin Hennings at the same meeting.[14] The honor brought her great pleasure; she wrote to her friend, , "You will be pleased, I know, to hear that a letter just rec’d from Mr. Couse informs me that I have been unanimously elected to active membership in the Taos Society of Artists. It is nice to be the first and only woman in it. I am feeling very good about it."[15] Unlike many members of the Taos Society, Critcher never lived in New Mexico permanently,[16] choosing to summer there instead for several years;[17][18] it was said of her that she would return to Washington "with a wrinkled, deeply suntanned skin in the 1920s when that was not fashionable".[1] She traveled widely elsewhere as well in search of subjects, visiting the Laurentian Mountains of Canada and spending time in Mexico and in Gloucester, Massachusetts; she also passed several summers in Provincetown, Massachusetts,[3] where she was a member of the local art association.[6] In 1928 she spent two months on the Hopi Reservation in Arizona.[19] In the 1940s and 1950s she lived in Charles Town, West Virginia, completing at least forty-two portraits during her residence there.[6]

Critcher's grave marker; note the misspelling on the stone.

Critcher never married, although she was courted by a number of men including John Mosby. Late in her career, her health began to fail, and she moved to Norfolk, Virginia, to live with a niece. She died in a nursing home in Blackstone, Virginia;[6] the place of her death is given in some references as Washington, D.C.[11] Critcher's body was returned to Alexandria for burial; she was interred beside her parents and sister Louisa in the family plot at Ivy Hill Cemetery, where her name is misspelled as "Catherine" on her grave marker.[20]

Work[]

Critcher's early academic style has been described as "dark but pleasing", but it later developed into something powerfully expressive, with a vivid sense of color; in this regard it was greatly similar to the work of other Taos Society painters.[21] She has been called "a respected artist in the European avant-garde", with an interest in symbolism and abstraction; in this regard, some of her work prefigures that of Georgia O'Keeffe.[22] Exhibits of her art were held in 1928, at the Women's University Club of Washington, D.C.; in 1938, at the of New York; in 1940 at the Corcoran Gallery of Art; and in 1949 at the Washington County Museum of Fine Arts in Hagerstown, Maryland.[3][6] Her work appeared in various group exhibitions as well, including at such locations as the Albright Art Gallery,[23] the Pennsylvania Academy of the Fine Arts; the [24] Maryland Institute, the National Academy of Design, and the Art Institute of Chicago; she also exhibited in the Greater Washington Independent Exhibition of 1935.[11] Critcher was a member of numerous arts organizations, including the Southern States Art League, the National Association of Women Painters and Sculptors,[3] and the . She was a founding member of the Arts Club of Washington, and from 1911 until 1931 served on the executive committee of the Society of Washington Artists,[11] to which organization she had initially been elected in 1896, among the earliest women to achieve membership.[25]

Critcher received a handful of awards for her work, including a bronze medal from the Cooper Union and a gold medal from the Corcoran School, and an honorable mention at the Académie Julian.[4] In 1914 she received a bronze medal from the Witte Museum; the same organization awarded her a silver medal in 1922, and an honorable mention in 1935. She also received three prizes from the Southern States Art League,[11] including a first prize of $500 for her painting Taos Farmers in 1929;[26] this painting was later included in the inaugural exhibition of the National Museum of Women in the Arts, American Women Artists 1830–1930, in 1987.[6]

Crichter painted a large number of portraits during her career, working in a traditional and realistic style. Two of these, those of James Leal Greenleaf and Oscar E. Berninghaus, are in the collection of the National Academy of Design.[3] Princeton University owns her portrait of Woodrow Wilson.[27] Other notables who sat for her over the years include Senator Harry F. Byrd and twenty generals, among them George Marshall and Mark W. Clark.[6] In April, 1896 she presented for exhibition a portrait of her father at the Essex County Courthouse in Tappahannock;[25] this was hanging in the Westmoreland County Courthouse in Montross in 1934.[28]

One of Critcher's Taos paintings, Indian Women Making Pottery (c. 1924), is in the Smithsonian American Art Museum.[29] Her pieces may also be found in the collections of the ,[6] the New Mexico Museum of Art,[30] the , and the Eiteljorg Museum of American Indians and Western Art.[31] Her painting The Young Hunter is owned by the Taos Art Museum, while Portrait of Star Road is part of the Haub Family Collection of Western American Art at the Tacoma Art Museum.[32][33] The artist herself donated an oil painting of Zinnias to Randolph-Macon Woman's College in 1926.[34] A portrait of John Mosby dating to before 1901 is owned by the University of Virginia,[35] while a portrait of Abraham Lincoln, dating to 1939 and based on a work by George Peter Alexander Healy, is held by the Abraham Lincoln Presidential Library.[36] Other paintings remain in private hands.[37] In 1927 Critcher produced a copy of a portrait of George Wythe which she presented for display in the George Wythe House in Colonial Williamsburg.[38][39]

References[]

  1. ^ a b c d e f g h "Catherine Critcher/Addison Rowe Gallery". addisonrowe.com. Archived from the original on 13 September 2015. Retrieved 25 April 2015.
  2. ^ "Catherine C. Critcher / American Art". si.edu. Retrieved 25 April 2015.
  3. ^ a b c d e f g h i j k l David Bernard Dearinger; National Academy of Design (U.S.) (2004). Paintings and Sculpture in the Collection of the National Academy of Design: 1826–1925. Hudson Hills. pp. 20–. ISBN 978-1-55595-029-3.
  4. ^ a b c John William Leonard (1914). Woman's Who's who of America: A Biographical Dictionary of Contemporary Women of the United States and Canada, 1914–1915. American Commonwealth Company. pp. 438–.
  5. ^ a b American Art Directory. R.R. Bowker. 1918. pp. 461–.
  6. ^ a b c d e f g h i j Eleanor Tufts; National Museum of Women in the Arts (U.S.); International Exhibitions Foundation (1987). American women artists, 1830–1930. International Exhibitions Foundation for the National Museum of Women in the Arts. ISBN 978-0-940979-01-7.
  7. ^ Raleigh Lewis Wright (1983). Artists in Virginia before 1900: an annotated checklist. University Press of Virginia. ISBN 978-0-8139-0998-1.
  8. ^ Private Schools. P. Sargent. 1944.
  9. ^ Ted Olson (2004). CrossRoads: A Southern Culture Annual. Mercer University Press. pp. 108–. ISBN 978-0-86554-866-4.
  10. ^ "St. Matthew's Court: Washington's Bohemia" (PDF). Retrieved 22 January 2017.
  11. ^ a b c d e f Virgil E. McMahan (1995). The Artists of Washington, D.C., 1796-1996. Artists of Washington. ISBN 978-0-9649101-0-2.
  12. ^ "Sarah Blakeslee :: The Johnson Collection, LLC (Spartanburg, SC)". Retrieved 17 March 2017.
  13. ^ "Louisa Kennon "Lulie" Critcher - Artist, Fine Art Prices, Auction Records for Louisa Kennon "Lulie" Critcher". www.askart.com. Retrieved 25 December 2017.
  14. ^ Dean A. Porter; Snite Museum of Art (April 1991). Victor Higgins: an American master. Peregrine Smith Books. ISBN 978-0-87905-362-8.
  15. ^ "Critcher, Catharine Carter – American Artist". internetantiquegazette.com. Retrieved 25 April 2015.
  16. ^ "THE COLLECTOR'S GUIDE: WOMEN ARTIST PIONEERS OF NEW MEXICO". Retrieved 22 January 2017.
  17. ^ "Catharine Carter Critcher Merging Worlds article". Retrieved 22 January 2017.
  18. ^ "critcher, catharine indian --- american art --- sotheby's n08495lot3q3dben". Retrieved 22 January 2017.
  19. ^ "Critcher". zaplinlampert.com. Archived from the original on 30 June 2015. Retrieved 25 April 2015.
  20. ^ Grave photo at Wikimedia Commons
  21. ^ Andrew J. Cosentino (17 November 1983). The Capital Image: Painters in Washington, 1800–1915. Smithsonian. ISBN 978-0-87474-338-8.
  22. ^ Simone Ellis (2004). Santa Fe Art. JG Press. ISBN 978-1-57215-370-7.
  23. ^ Albright Art Gallery (Buffalo, N.Y.) (1906). Annual Exhibition of Selected Paintings by American Artists and a Group of Small Selected Bronzes by American Sculptors. The Gallery. pp. 2–.
  24. ^ Catalogue of the ... Annual Exhibition of the Pennsylvania Academy of the Fine Arts. The Academy. 1916. pp. 2–.
  25. ^ a b Lawrence Washington; Randolph Harrison McKim; George William Beale (1912). Westmoreland County, Virginia: Parts I and II : a Short Chapter and Bright Day in Its History. Whittet & Shepperson, printers. pp. 87–.
  26. ^ Arts & Architecture. 1929.
  27. ^ Nelson, Mary Carroll (1980). The Legendary Artists of Taos. New York: Watson-Guptill. p. 99. ISBN 0823027457.
  28. ^ Touring Historyland: The Authentic Guide Book of Historic Northern Neck of Virginia, the Land of George Washington and Robert E. Lee. Northern Neck Association. 1934. pp. 35–.
  29. ^ "Indian Women Making Pottery". Smithsonian American Art Museum. Retrieved 13 April 2021.
  30. ^ "Searchable Art Museum". New Mexico Museum of Art. New Mexico Museum of Art. Retrieved 17 July 2015.
  31. ^ "Catharine Carter Critcher Museum Collections". taospainters.com. Archived from the original on 29 August 2014. Retrieved 25 April 2015.
  32. ^ "Portrait of Star Road". Archived from the original on 2 February 2017. Retrieved 25 January 2017.
  33. ^ "Tacoma museum names Faith Brower to be curator of Haub collection". Retrieved 14 January 2017.
  34. ^ Roberta D. Cornelius (1 January 2012). The History of Randolph-Macon Woman's College: From the Founding in 1891 Through the Year of 1949–1950. Univ of North Carolina Press. pp. 259–. ISBN 978-0-8078-6968-0.
  35. ^ Critcher, Catherine Carter (25 December 2017). "John Singleton Mosby". Retrieved 25 December 2017 – via siris-artinventories.si.edu Library Catalog.
  36. ^ Critcher, Catherine Carter; Healy, George Peter Alexander (25 December 2017). "Abraham Lincoln". Retrieved 25 December 2017 – via siris-artinventories.si.edu Library Catalog.
  37. ^ "SIRIS - Smithsonian Institution Research Information System". siris-artinventories.si.edu. Retrieved 25 December 2017.
  38. ^ "George Wythe House Historical Report Block 21 Building 4 Lots 243, 245 - Colonial Williamsburg Digital Library". research.history.org. Retrieved 25 December 2017.
  39. ^ "Bruton Parish Church (Williamsburg, Va.) Records, 1662-[ongoing]". scdb.swem.wm.edu. Retrieved 25 December 2017.

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