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471:, depicts Hale gazing confidently at the viewer with her right hand dangling slightly over the chair. Dressed in all black, Hale wears a dress with buttons and a fur collar, covered by a loose jacket. Peeking out of a round black hat are Hale's bangs, which at the time were praised as a youthful hairstyle but could also connote promiscuity. Hale seems to be making a fashion statement with her bangs, choice of costume, and the ostrich-feather fan that she holds. When Hale first showed the painting to her instructors in 1885, artist
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510:, who "created compelling self-portraits in which they fearlessly presented themselves as individuals willing to flout social codes and challenge accepted ideas regarding women's place in society. Indeed, the New Women portraits of the 1880s and 1890s are unforgettable interpretations of energetic, self-confident and accomplished women." Hale created and displayed, in her own words, an "original and queer" representation of herself, and this daring assertion of identity marks her approach to the self-portrait as significant.
254:, who, like William Rimmer, emphasized the study of human anatomy as the basis for figure painting. After studying in Philadelphia, Hale traveled throughout Europe with Knowlton in 1881. The pair visited Belgium, Holland, Italy, England and France, visiting museums and copying paintings, before Hale moved to Paris to begin training with Parisian masters. Hale was one of over one thousand young American artists studying in and around Paris at this time. She quickly enrolled in formal programs, first studying drawing with
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413:, a city that was experiencing a burgeoning arts renaissance. Hale was fascinated by the local culture, as seen in the work she created during these residencies. She and Clements assisted in the organization of the Charleston Etchers' Club, a group established in 1923 to offer instruction on printmaking, encourage intellectual exchange, art criticism, and exhibition planning. Founding members of the club include
289:, they were left with no choice but to enroll in independent academies that charged tuition. Académie Julian followed the practice of most private schools and required women to pay more money than men for lessons. Despite these hardships, Hale preferred Académie Julian to any of the other schools she attended, as she developed a close-knit group of friends who acted as a support system for her.
587:, on February 11, 1940, her 85th birthday. Her works were shown in the latter part of the 20th century and early 21st century, in group exhibitions and in solo exhibitions of her work from 1989 to 1990 and in 2013's "Wanderer: Travel Prints by Ellen Day Hale." Hale's legacy is not only in her paintings and etchings but also in the acceptance she helped gain for women artists.
559:, who set the standard for new generation of etchers. Clements first introduced Hale to etching while the pair was traveling in Europe. In terms of the etching process, Hale, like her contemporaries, used copper plates to produce clean, well-defined impressions. Hale experimented with a variety of etching techniques, including hard-ground, soft-ground,
351:, where she acted as her father's hostess during his time as chaplain for the U.S. Senate. As an unmarried woman, Hale did what was expected of her and devoted herself to the need of her parents. Despite these familial obligations, however, Hale never gave up her passion for art and continued to paint and make etchings for the rest of her life.
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Hale not only taught classes for female artists, with
Knowlton and on her own, but also hosted informal gatherings where likeminded women could discuss art. Included in this group of young artists was Hale's sister-in-law, Lilian Westcott Hale. Lilian and many other female artists benefited greatly from Hale's support and guidance.
234:. Although the changing cultural and social landscape of Boston provided many new opportunities for women, female students were still segregated from their male counterparts. Therefore, Hale took private lessons from Rimmer, and his instruction focused primarily on drawing and the analysis of anatomy. A year later, Hale enrolled in
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Hale played a major role as a mentor for a younger generation of aspiring women artists. She encouraged and gave concrete advice to the next group of New
England female artists, cautioning them "against being too influenced by any one of their instructions...a fault common among artists of our sex."
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chaplain in the U.S. Senate from 1904 until his death in 1909, and Hale often assisted her father in his church-related duties. Hale was one of eight children, and she helped her mother and father take care of her younger siblings. From a young age, Hale was raised within an artistic atmosphere, as
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significantly criticized the size and position of the hand and encouraged Hale to make it "prettier". However, Hale did not make any of the suggested changes to the hand, refusing to conform her work to the idealized, academic notions of beauty. The compositional weight of her hand is also notable
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acted as one of the school's main instructors. Hunt and
Knowlton encouraged a new style and used unique teaching methods, such as interpretive sketching, which had an important artistic influence on Hale. Knowlton especially promoted a sense of community within the class of female artists, and the
332:, whom she met in 1883. Hale and Clements became close friends in 1885 while they were enrolled at the Académie Julian in Paris. While traveling and studying in Europe together, Clements taught Hale how to etch. In 1893, the two artists returned to the United States. They moved into a house near
406:. She made increasingly Impressionistic paintings, but like "many of her Boston colleagues, she did not compromise her dedication to painting the human form." Hale was very active in exhibiting her work, but only achieved marginal recognition of her art.
429:. According to Verner's daughter, Hale and Clements stated: âWe want to leave Charleston some of our skills . . . Get together a group so you can buy a press and we will show you how to use it . . . Weâll teach you, so you can teach them.â
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Hale was an
Impressionist painter, best known for her figure paintings, including many portraits and self-portraits. She made sophisticated, aesthetic paintings with good command of light, shadow and technical skill. She exhibited at the
498:, where the self-portrait is located, later commented, "Hale's forthright presentation, her strong dark colors, and the direct manner in which she engages the viewer recall the work of one of the French painters she most admired,
262:. Hunt and Knowlton's "rather loosely structured school had not prepared Hale for the rigorous teaching style of the Académie Colarossi, where she found the 'general work of the class...neither interesting nor inspiring."
563:, and color inking. In the etching medium, Hale worked on a more intimate basis, using etchings to document her travels through the U.S., Europe, and the Middle East. Some of Hale's most accomplished prints include
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336:, together and named it "The Thickets". The exact nature of their relationship is uncertain, but during this time, lifelong relationships between women were not uncommon and often referred to as "
340:". Hale and Clements' relationship, like other "Boston marriages" of the time, provided the women with personal fulfillment and emotional support as each pursued professional careers as artists.
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in Boston, perhaps for the first time, in 1887, a critic, meaning to compliment her work, described it as displaying "a man's strength in the treatment and handling of her subjects." The
165:, and her mother was Emily Baldwin Perkins. Although the Hale family was well respected among the Boston upper class, they were not exceptionally wealthy. Her father acted as a
502:. Manet had been known for his confrontational images, strongly painted without subtle nuances of light and shadow." Hale was one of a handful of women of the time, including
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because it was extremely rare for artists of any gender to portray themselves looking directly at the viewer without any tools to identify their profession.
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painter and printmaker from Boston. She studied art in Paris and during her adult life lived in Paris, London and Boston. She exhibited at the
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and mentored the next generation of New
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group of women relied upon each other, rather than their husbands or other men, for professional and personal support.
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in
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Hale's family background provided her with a network of strong female role models. Her great-aunt was
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History of Art: A Study of the Lives of
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Inked
Impressions: Ellen Day Hale and the Painter-etcher Movement: January 26 - April 14, 2007
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Inked
Impressions: Ellen Day Hale and the Painter-etcher Movement: January 26 - April 14, 2007
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Painting
Professionals: Women Artists & the Development of Modern American Art, 1870-1930
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Painting Professionals: Women Artists & the Development of Modern American Art, 1870-1930
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1021:. Carlisle, PA: Trout Gallery, Dickenson College, 2007. Print. Retrieved 10 February 2016.
686:. Carlisle, PA: Trout Gallery, Dickenson College, 2007. Print. Retrieved 10 February 2016.
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A Finding Aid to the Ellen Hale and Hale Family Papers in the Archives of American Art
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Hale began painting her self-portrait in 1884, working on it at her family's home in
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During the nineteenth century, artists such as Hale were instrumental in reviving
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were also great-aunts. One of Hale's first cousins was writer and social reformer
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Seeking additional training, Hale traveled to Philadelphia in 1878 to attend the
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In 1873, Hale began her formal art education and training in Boston with painter
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Fitzpatrick, Tracy. "Ellen Day Hale: Painting the Self, Fashioning Identity".
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Fitzpatrick, Tracy. "Ellen Day Hale: Painting the Self, Fashioning Identity".
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in 1876. In Europe, she lived in London and Paris, where she exhibited at
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1067:. Smithsonian Institution, 26 Aug. 2013. Web. Retrieved 20 February 2016.
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her mother encouraged her interest in art, and her aunt, watercolorist
124:(February 11, 1855 – February 11, 1940) was an American
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Ellen Day Hale: Homosociality and the Nineteenth-century Woman Artist
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Holly Pyne Connor; Newark Museum; Frick Art & Historical Center.
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772:. Boston: MFA Publications, 2001. Print. Retrieved 11 February 2016.
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Off the Pedestal: New Women in the Art of Homer, Chase, and Sargent
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In September 1882, Hale traveled to London to study briefly at the
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Washington, D.C.: The National Museum of Women in the Arts. 1987.
538:, 1888. Etching, paper: 24 3â4" x 17 3â4"; plate: 15 1â2" x 8 1â2"
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Erica E. Hirshler; Janet L. Comey; Ellen E. Roberts (2001).
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Hirshler, Erica E., Janet L. Comey, and Ellen E. Roberts.
713:. National Museum of Women in the Arts. February 17, 2014.
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at the Jardin des Plantes, and then going on to train at
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A studio of her own: women artists in Boston, 1870-1940
972:"Fine Lines: Whistler and the American Etching Revival"
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A Studio of Her Own: Women Artists in Boston, 1870-1940
645:(online ed.). New York: Oxford University Press.
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31.1 (2010): 28â34. Web. Retrieved 10 February 2016.
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31.1 (2010): 28â34. Web. Retrieved 10 February 2016.
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189:, abolitionist and author of the anti-slavery novel
269:. On returning to Paris, she began training at the
915:Museum of Fine Arts. Retrieved February 17, 2014.
409:From 1918 to 1940, Hale and Clements wintered in
153:Ellen Day Hale was born on February 11, 1855, in
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1028:. University of California, Davis; 2003.
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639:Phyllis Peet (1999). "Hale, Ellen Day".
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1002:Early Vegetables, Charleston, S.C.
788:. Rutgers University Press; 2006.
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1610:The Case of Rebellious Susan
1148:. Gift of Nancy Hale Bowers.
891:"Ellen Day Hale (1855-1940)"
442:World's Columbian Exposition
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182:, an Impressionist painter.
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1576:The Story of a Modern Woman
1146:Museum of Fine Arts, Boston
930:The Johnson Collection, LLC
642:American National Biography
496:Museum of Fine Arts, Boston
330:Gabrielle de Veaux Clements
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356:Margaret Lesley Bush-Brown
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879:. New York: D. Appleton.
585:Brookline, Massachusetts
419:Elizabeth O'Neill Verner
205:Charlotte Perkins Gilman
155:Worcester, Massachusetts
79:Brookline, Massachusetts
61:Worcester, Massachusetts
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1071:Kirsten Swinth (2001).
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543:Painter-etcher movement
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308:Hale was considered a "
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1775:Charleston Renaissance
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1528:The Portrait of a Lady
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978:. 2012. Archived from
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1402:Jessie Willcox Smith
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1045:. MFA Publications.
490:When Hale exhibited
287:Ecole des Beaux-Arts
209:The Yellow Wallpaper
180:Lilian Westcott Hale
1655:George Bernard Shaw
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1571:Ella Hepworth Dixon
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1397:Pamela Colman Smith
1337:Emma Lampert Cooper
1241:First-wave feminism
1077:. UNC Press Books.
1033:Woman's Art Journal
1017:Angelilli, Claire.
813:on 14 November 2018
752:Woman's Art Journal
680:Angelilli, Claire.
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236:William Morris Hunt
163:Edward Everett Hale
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870:"Hale, John"
613:A New England Girl
565:The Willow Whistle
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392:Un Hiver Americain
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1616:Henry James
1547:Kate Chopin
1523:Henry James
1476:Sarah Grand
1453:Ella D'Arcy
1443:Kate Chopin
1059:Ng, Judy. "
591:Other works
384:Paris Salon
195:. Educator
130:Paris Salon
114:printmaking
86:Nationality
1689:Categories
1438:Mona Caird
935:2020-06-02
624:References
473:Bouguereau
172:Susan Hale
149:Early life
53:1855-02-11
1496:Educators
956:11 August
865:Fiske, J.
817:2 January
434:exhibited
310:New Woman
226:Education
167:Unitarian
144:Biography
96:Education
1631:Amy Levy
1481:Amy Levy
1174:Archived
1156:Archived
1126:Archived
1095:(1987).
986:13 March
850:. p. 63.
796:. p. 25.
561:aquatint
417:artists
132:and the
110:Painting
90:American
1660:Candida
1620:novella
1426:Writers
1255:Artists
807:"CLARA"
549:etching
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1663:(1898)
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1639:(1888)
1612:(1894)
1602:(1879)
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1543:(1856)
1186:Lilies
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575:Legacy
425:, and
373:Career
219:Lilies
618:Beppo
432:Hale
1153:June
1103:ISBN
1079:ISBN
1047:ISBN
988:2016
958:2018
844:ISBN
819:2017
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729:ISBN
522:June
515:June
506:and
484:June
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68:Died
47:Born
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51:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
