Maxfield Parrish: Master of Make-Believe

by Alma M. Gilbert

 



 

Notes

 

Peak Years and the Magnum Opus

58. Ludwig, Coy, Maxfield Parrish, pp.138 and 141.

59. Bryan, William, The Memoirs of William Jennings Bryan, pp.190-3.

60. The preliminary sketch shows three figures and a diagram illustrating Jay Hambidge Dynamic Symmetry, Photo collection of Alma Gilbert.

61. Interview by the author with Helen Owens Bilby [daughter of Kitty Owen], August 28, 2003, during her visit to see Daybreak at the Cornish Colony Museum.

62. Yount, Sylvia, Maxfield Parrish, pp.105-6.

63. Ibid, p.106.

64. Joanna Gordon Parrish writes casually in a local Plainfield, NH, newsletter dated November 2003 that her father, Max Parrish Jr., had told her a man named Galen Stone had been the initial buyer of Daybreak in 1925.

65. Letter from Maxfield Parrish Jr. to the author dated October 1974.

66. Letter from Helen Owens Bilby to the author, September 5, 2003.

67. Parrish to Reinthal, February 15, 1929, Special Collections, Dartmouth College, Hanover, NH.

68. "Maxfield Parrish Will Discard 'Girl-on-Rock' Idea in Art," Associated Press, April 27, 1931.

 

The Move to Landscapes

69. Zeidner, Lisa, Brandywine: A Legacy of Tradition in du Pont's Wyeth Country, p.13.

70. Jean Parrish in telephone conversation with the author, circa 1974.

71. Dingleton Farm was stolen from the author's California gallery in 1975. It was recently recovered and returned to her in 2003 after being discovered in an auction house in California.

 

Twentieth-Century Icon

72. "Bit of a Come-Back Puzzles Parrish," New York Times, June 3, 1964.

73. "Grand-pop," Time, 83:76, June 12, 1964.

74. Interview with Kitty Owens' family by the author, September 2003. (There is a large gramophone evident in a picture of Kitty taken by the artist while posing in his studio.)


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