Bert Gallery

An Essay by Catherine Little Bert

May she stand by her colors. In the realm of art woman’s works have spoken for her to show that it is her legitimate domain… In the future artwork will be judged by its intrinsic merit, irrespective of the artist’s sex. – Sara Eddy, 1884, Rhode Island Woman’s Club papers, Rhode Island Historical Society

Economic Success
Overcoming societal barriers, women artists were able to secure a place in the art market by the pursuance of sales and commissions for their work. Emma Swan achieved economic independence through the acceptance of her art by regional patrons. In the late nineteenth century, Swan’s studio in the Wood’s Building was abuzz with activity. Such was her reputation that her studio neighbor, the noted painter E.C. Leavitt, was also her rival for critical acclaim in the area of still life. When not teaching aspiring artists, Swan was busy developing her portfolio for her “eagerly awaited” annual studio exhibits. Many a collector and art enthusiast purchased works from these shows, thus gaining entry into one of the most charming studios in the city. An aesthetic milieu for art, it was noted for being crammed with “old draperies, brick-a-brac and studio furnishings.” Though largely self-taught, Swan spent some time studying with Abbott Thayer. Most of her knowledge, however, was gleaned from the careful observation of the natural world. A large body of work, based on this subject matter, was produced for entry into numerous exhibitions from the 1880’s to the early years of the twentieth century.

During this time, Swan also had a substantial career as a commission portrait painter. Collectors, artists and critical reviewers similarly admired Swan’s painting technique. Whether it be an “exceedingly pleasing painting of a dog,” exquisite morning glories,” or “a rich and harmonious portrait of a golden hair boy,” the artist always received high praise for her work. She was capable of microscopic finish in the age of realism, but as her art matured, color became the dominant factor in her work. In a letter dated 1923, the artist noted, “I feel, more and more that it (color) is a bigger thing in painting than form.” After a long and successful career, Emma Swan was honored by the art establishment with the epithet,” Dean of Rhode Island Women Artist.” Upon her death in 1927, this respected artist and “leading flower painter” left many a female colleague following in her artistic path.

Excerpts from Sketches An Art Journal on the Providence Art Colony 1850 – 1920, Number Two, July of 1991
“Myth of the Dilettante” was one of two pilot issues made possible by a grant from the
Rhode Island Committee for the Humanities, Written by Catherine Little Bert and L.J. McElroy

Biographical Research
Known as an artist of nature, Emma Swan was primarily a self-taught painter who went directly to nature for her knowledge and inspiration. She was born and raised in Providence and it was her father, a cameo cutter, who taught her in drawing. The young artist met with success almost immediately, becoming an early member of the Providence Art Club and receiving numerous commissions. It was in 1889 and 1890 that she decided to pursue art training beyond her father’s earlier tutelage. She received professional instruction under Abbott Thayer, one of the leading artists and teachers in the country. Many critics indicated that Swan’s “truth and purity of color” was the result of this instruction (Providence Journal 1990). Additional study followed in Europe where she sketched primarily in Germany and Holland.

Emma Swan is best known for her still life and flower paintings. The paintings she produced were thought to be along original lines. Particularly memorable were her paintings of white roses and violets. In an article in the Providence Journal the writer had this praise for her works, “she undoubtedly ranks first among the women artists in Rhode Island and holds an enviable position among leading artists of the country.”(Providence Journal 1900). Even though she enjoyed tremendous popularity painting still life, Swan later switched to primarily painting portraits. In these works she was known for integrating the figure into the background, be it a landscape or room decor.

Struggle, Strength and Dignity Exhibit
When Roger Williams established the religiously tolerant state of Rhode Island, he imbued a progressive spirit into its legacy. How did the 19th century cultural world embrace this heritage? Afro-American artist Edward Bannister (1881 – 1901) earned a first place medal for painting at the 1876 Philadelphia Centennial Exhibition and went on to found the Providence Art Club in 1880, today the second oldest art club in the country. A woman, Mrs. Jesse Metcalf, founded the Rhode Island School of Design in 1878, training women in respectable art professions when there was few employment opportunities open to single woman. By the twentieth century, Italian and Irish immigrants flooded the state for jobs in the wake of the industrial revolution. Italian born artist, Antonio Cirino (1888 – 1983), is but one personality who entered the competitive academic arena at RISD and the local art scene. This exhibit explores the accomplishments of visual artists in Rhode Island who broke societal mores to achieve recognition.

Struggle, Strength and Dignity: Opportunities for 19th and 20th Century Artists in Providence is an exhibit that explores the assimilation of artists from varying backgrounds into the cultural community. Of particular interest are Women, African American, Italian American and Irish American artists. The first essay on the current exhibit takes a look at a highly successful woman artist in Providence, Emma Swan.

Photos pictured at right:
(1st) Emma Swan
(2nd) Cameo Portrait, The Parlor, 1903, Oil on Canvas, 8″ x 6″
(3rd) Fall Landscape, Oil on Canvas, 9″ x 9″
(4th) Girl in Bonnet, Oil on Board, 20″ x 24″