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Emerson assisted Oakley in her studio between 1917 and 1930, developing a partnership which lasted until Oakley’s death in 1961. Emerson taught art at the Agnes Irwin School from 1916 to 1927; at the Philadelphia College of Art from 1929 to 1936; and at Chestnut Hill College 1948 to 1956. She also worked as a curator and director of the Woodmere Art Museum from the early 1940s through 1978. 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(36.2 x 27.3 cm)", "Disp_Height" : "14 1/4 in.", "Disp_Width" : "10 3/4 in.", "Dimen_Extent" : "Sheet", "Medium" : "Gouache, pen and ink", "Support" : "illustration board", "Disp_Medium" : "Gouache, pen and ink on illustration board", "Info_Page_Comm" : "<SPAN><SPAN STYLE="font-size:10pt">"Cadmus beheld a female figure, wonderfully beautiful"<BR/>Frontispiece to "Tanglewood Tales" by Nathaniel Hawthorne (Philadelphia: Penn Publishing, 1921)<BR/><BR/>Label from</SPAN><SPAN STYLE="font-size:10pt;font-style:italic;color:#222222"> American Originals: Works on Paper from the Permanent Collectio</SPAN><SPAN STYLE="font-size:10pt;color:#222222">n</SPAN><SPAN STYLE="font-size:10pt;font-weight:bold;color:#222222">, </SPAN><SPAN STYLE="font-size:10pt">La Salle University Art Museum, </SPAN><SPAN STYLE="font-size:10pt;color:#222222">December 16, 2015 through March 4, 2016:</SPAN><SPAN STYLE="font-size:10pt"><BR/><BR/>From early on in life, Sterrett had a passion for art. While in high school she received a scholarship to attend the Art Institute of Chicago. She received her first commission from the Penn Publishing Company to illustrate </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Old French Fairy Tales</SPAN><SPAN STYLE="font-size:10pt"> (1920). She was 19 years old and had recently been diagnosed with tuberculosis. She was soon commissioned to make illustrations for another book, Tanglewood Tales, by Nathaniel Hawthorne. Unfortunately, while her art was on the rise, her health was on the decline; and her illness greatly affected the rate at which she could complete her drawings. She left commissions uncompleted at her death in 1931.<BR/><BR/>Sterrett’s illustrations for the </SPAN><SPAN STYLE="font-size:10pt;font-style:italic">Tanglewood Tales</SPAN><SPAN STYLE="font-size:10pt"> reveal the influence of European design styles such as Art Nouveau and Art Deco. Art Nouveau (also known as Jugendstil), which reached the height of its popularity from 1890 to 1910, was inspired by organic forms, such as plants and flowers, and emphasized harmony with nature. In contrast, the Art Deco style, which developed around 1915 and became influential in the 1920s and 1930s, employed a more geometric visual language celebrating industrial order and embracing modern technologies. In Cadmus Saw Harmonia, the vertical columns and the checkerboard-patterned floor emphasize the ordered nature of Cadmus’ palace, while the flowers on Harmonia’s cloak and on the curtain of the arched doorway highlight the beautiful appearance of this royal stranger described in Hawthorne’s story of “The Dragon’s Teeth.”<BR/></SPAN></SPAN>", "Dedication" : "Purchased with funds from the Art Angels", "Copyright_Type" : "", "Disp_Obj_Type" : "DRAWINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/15-D-458.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/15-D-458.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/15-D-458.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/15-D-458.jpg", "IsPrimary" : "1", "_SurrogateID" : "3417", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4440, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4440", "Disp_Access_No" : "15-D-459", "_AccNumSort1" : "", "Disp_Create_DT" : "1921", "_Disp_Start_Dat" : "1921", "_Disp_End_Date" : "1921", "Disp_Title" : "Prosperpina Refuses the Pomegranate", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Virginia Sterrett", "Sort_Artist" : "Sterrett, Virginia", "Disp_Dimen" : "14 1/4 x 10 1/2 in. (36.2 x 26.7 cm)", "Disp_Height" : "14 1/4 in.", "Disp_Width" : "10 1/2 in.", "Dimen_Extent" : "Sheet", "Medium" : "Gouache, pen and ink", "Support" : "illustration board", "Disp_Medium" : "Gouache, pen and ink on illustration board", "Info_Page_Comm" : ""'I shall not touch it, I assure you,' said she" Page 200, "Tanglewood Tales" by Nathaniel Hawthorne (Philadelphia: Penn Publishing, 1921) Art Nouveau was a short-lived but popular art movement in the late 19th and early 20th century in America and Europe. Prosperina Refuses the Pomegranate characterizes the Art Nouveau style with its asymmetry, contrasting colors, flat yet ornate patterns, and rhythmic movement of the branches that flow and curl in the background. This illustration for the Tanglewood Tales, a children’s mythology book, tells the story of Proserpina, the Roman goddess of spring, who has been kidnapped by Pluto, the god of the Underworld. While the story is hardly a feminist one, Sterrett portrayed her as the femme nouvelle (new woman), the ideal Western woman who rejects traditional femininity. As depicted by a female artist, Proserpina has agency and refuses Pluto’s hand in marriage. The asymmetry places more objects on Proserpina’s side, suggesting her strength. Pluto may have all the riches and the power in the Underworld but Proserpina is the one refusing to give him what he wants most. Liana Rose D. 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Michael de Tecchia Farina", "Copyright_Type" : "Artwork © the artist or artist's estate", "Disp_Obj_Type" : "DRAWINGS", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/02-D-410.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/02-D-410.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/02-D-410.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/02-D-410.jpg", "IsPrimary" : "1", "_SurrogateID" : "1415", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1465, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1465", "Disp_Access_No" : "73-D-43", "_AccNumSort1" : "", "Disp_Create_DT" : "c. 1919", "_Disp_Start_Dat" : "1914", "_Disp_End_Date" : "1924", "Disp_Title" : "Marianne Moore", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Marguerite Thompson Zorach", "Sort_Artist" : "Zorach, Marguerite Thompson", "Disp_Dimen" : "17 1/4 x 12 1/2 in. 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There she met her husband Jim Nutt, and the two became involved in the Chicago Imagists during the 1960s and 1970s—Chicago artists who turned towards figural imagery, often laden with fantasy and strangeness. There were three distinct groups of Chicago Imagists which exhibited at the Hyde Park Center. Both Nilsson and her husband were part of the “Hairy Who” group with four other artists, exhibiting together from 1966 to 1968. In 1973 Nilsson was the first “Hairy Who” member to have her own solo show. 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