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Lorraine Fox
Editor and Typist - Mid Century Women's Magazine Illustration Naive art

1955 Circa

About the Item

Lorraine Fox was a pioneering female Illustrator/artist who championed a unique style immediately identified as hers. This work, in two parts, was most likely for a newsstand woman's magazine. It has a simple, naive style that charms the viewers' eyes. Signed on both in pencil lower right. Unframed - Each work is 7.65 x 5.65 in dimension __________________________________________ Lorraine Fox - from Illustration History Biography - Entry written by Bailey Pfohl, 2016 Walt Reed Distinguished Scholar Intern At the height of her career, Lorraine Fox (1925-1976) was described as “an elegant, quiet woman, highly imaginative, gifted in design and a standout artist in a field overbearingly populated by men.”[1] These words describe Fox’s legacy to this day. Born and raised in Brooklyn, New York, Lorraine and her brother, Gill, were encouraged wholeheartedly to pursue art at early ages. Thanks to their mother, who took up a job as a housecleaner to help pay for their schooling, both went on to successful careers in illustration, he becoming a noted comic book artist, and she becoming an illustrator. Lorraine attended the Pratt Institute of Art and graduated in 1944. While there, she met aspiring artist, Bernard D’Andrea, who she eventually married in 1951. That same year, Fox entered the Charles E. Cooper studio, where she was not only one of the very few women artists, but also possessed a unique artistic style that challenged the ideals of feminine beauty as portrayed in commercial art, which historically had been determined by men. In her early years at the studio she quickly claimed a place for herself in the crowded field and became an increasingly known illustrator whilst remaining busy with diverse work for books, covers, magazines, and advertisements. Some of the magazines that printed her illustrations included Woman’s Day, Redbook, Seventeen, Pfizer Spectrum, and Sports Illustrated. Fox’s early style prioritized illustration that maintained a significant emphasis on design. In an interview, her artist friend Murray Tinkelman called her work “decorative illustration.” Fox’s designs recalled folk art, in contrast to the modern, retro style that was prevalent in contemporary commercial work. In 1961, Fox returned to classes part-time at the Brooklyn Museum Art School for a duration of five years under Reuben Tam, which ended up being a transformative experience for Fox and her art. Tam encouraged his students to find their own originality, believing that this would naturally lead them to paint to their best and truest abilities. Already an artist with a distinct style, Fox worked hard to find her identity, even though that meant straying from the one she had initially worked in, which had already been widely accepted. Of her training she recounted: “He [Reuben Tam] never told us, ‘This is the way...’ He knew, of course, that the search has to come from you, the way you live, dream, the way your senses respond to eating, sleeping, drinking, the movies, whatever is affecting you. Everybody has the potential for originality once they learn about themselves.”[2] During her time at the Brooklyn Museum Art School, Fox’s art took what some critics considered to be a more mature turn. Her style continued to evolve until her last working days. Before her studies with Tam, Fox’s early work focused largely on traditionally feminine themes that lent themselves well to magazines like Better Homes and Gardens, and later, Woman’s Day, Seventeen, Good Housekeeping, Cosmopolitan, The Ladies’ Home Journal, Redbook, and McCall’s. Later in her career, when her content shifted to more mature themes, she moved away from design-driven aspects, in favor of narrative, surreal, and even expressionist approaches. This difference can be best seen in the illustrations of "Pastry and Pies" and "Midsummer Night’s Dream," included at the end of this essay. Fox exhibited her work frequently at The Society of Illustrators and the Philadelphia Art Directors Club exhibitions, the Brooklyn Museum, New York City Center Gallery, and the Silvermine Guild New England Show. By then a prolific artist, Fox taught at the Parsons School of Design in New York City, and was a teacher and member of the Famous Artists School in Westport, Connecticut. In 1979, she was the first female ever to be inducted into the Society of Illustrators’ Hall of Fame, finally recognized for her artistic contributions and role in paving the way for other female practitioners. The New School and Smithsonian Archives of American Art house her papers in their archives. There is also a significant collection of her magazine clippings in the Norman Rockwell Museum archive.
  • Creator:
    Lorraine Fox (1922 - 1976, American)
  • Creation Year:
    1955 Circa
  • Dimensions:
    Height: 7.65 in (19.44 cm)Width: 5.64 in (14.33 cm)
  • Medium:
  • Movement & Style:
  • Period:
  • Condition:
    Good - Foxing around the outside of the live area. The Editor has a 1/4-inch nick on the left-hand side. unframed.
  • Gallery Location:
    Miami, FL
  • Reference Number:
    1stDibs: LU385314518292

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Outsider Folk Art Expressionist Rabbi Israeli Painting Signed Hebrew Jewish Star
Located in Surfside, FL
This is a signed portrait painting done in an outsider, folk art, expressionist style. it is signed in Hebrew, also marked with a Jewish star. this is from a collection of works by the same hand. they are all signed. Some have markings to the back of the paper. they have some age to them. They bear similarities to artists as dissimilar as Moshe Tamir, Mane Katz and an Israeli version of Purvis Young. In this piece the artist choice of colors is muted yet powerful. Israel has had a Vibrant Folk Art, Naive art scene for a long time now, artists like Yisrael Paldi, Nahum Guttman, Reuven Rubin and even Yefim Ladyzhensky had naive periods. The most well know of the strict naive artists are Shalom of Safed, Irene Awret, Gabriel Cohen, Natan Heber, Michael Falk and Kopel Gurwin. Naïve art is any form of visual art that is created by a person who lacks the formal education and training that a professional artist undergoes (in anatomy, art history, technique, perspective, ways of seeing). Unlike folk art, naïve art does not necessarily evince a distinct cultural context or tradition. Naïve art is recognized, and often imitated, for its childlike simplicity and frankness. Paintings of this kind typically have a flat rendering style with a rudimentary expression of perspective. One particularly influential painter of "naïve art" was Henri Rousseau (1844–1910), a French Post-Impressionist who was discovered by Pablo Picasso. Naïve art is often seen as outsider art that is by someone without formal (or little) training or degree. While this was true before the twentieth century, there are now academies for naïve art. Naïve art is now a fully recognized art genre, represented in art galleries worldwide. Museums devoted to naïve art now exist in Kecskemét, Hungary; Riga, Latvia; Jaen, Spain; Rio de Janeiro, Brasil; Vicq France and Paris. "Primitive art" is another term often applied to art by those without formal training, but is historically more often applied to work from certain cultures that have been judged socially or technologically "primitive" by Western academia, such as Native American, sub saharan African or Pacific Island art (see Tribal art). This is distinguished from the self-conscious, "primitive" inspired movement primitivism. Another term related to (but not completely synonymous with) naïve art is folk art. There also exist the terms "naïvism" and "primitivism" which are usually applied to professional painters working in the style of naïve art (like Paul Gauguin, Mikhail Larionov, Paul Klee). At all events, naive art can be regarded as having occupied an "official" position in the annals of twentieth-century art since - at the very latest - the publication of the Der Blaue Reiter, an almanac in 1912. Wassily Kandinsky and Franz Marc, who brought out the almanac, presented 6 reproductions of paintings by le Douanier' Rousseau (Henri Rousseau), comparing them with other pictorial examples. However, most experts agree that the year that naive art was "discovered" was 1885, when the painter Paul Signac became aware of the talents of Henri Rousseau and set about organizing exhibitions of his work in a number of prestigious galleries. The Earth Group (Grupa Zemlja) were Croatian artists, architects and intellectuals active in Zagreb from 1929 to 1935. The group included the painters Krsto Hegedušić, Edo Kovačević, Omer Mujadžić, Kamilo Ružička, Ivan Tabaković, and Oton Postružnik, the sculptors Antun Augustinčić, Frano Kršinić, and the architect Drago Ibler. Art brut, primitive art, primitive, art naïf, naïve art. Outsider art. A term applied to Yugoslav (Croatian) naive painters working in or around the village of Hlebine, near the Hungarian border, from about 1930. Some of the best known naive artists are Dragan Gaži, Ivan Generalić, Josip Generalić, Krsto Hegedušić, Mijo Kovačić, Ivan Lacković-Croata, Franjo Mraz, Ivan Večenaj and Mirko Virius. Camille Bombois (1883–1970) Ferdinand Cheval, known as 'le facteur Cheval' (1836–1924) Henry Darger (1892–1973) L. S. Lowry (1887–1976) Grandma Moses, Anna Mary Robertson (1860–1961) Nikifor (1895–1968) Poland, Horace Pippin (1888–1946) Jon Serl (1894-1993) United States Alfred Wallis (1855–1942) Scottie Wilson (1890–1972) Gesner Abelard (b. 1922) Jan Balet (1913–2009) Michel Delacroix (b. 1933) France Howard Finster (1916–2001) Ivan Rabuzin (1921–2008) Spontaneous Art Museum in Brussels Art en Marge Museum in Brussels MADmusée in Liege International Museum of Naive Art of Brazil in Cosme Velho, Rio de Janeiro Gallery Jacques Ardies in São Paulo Musée international d'art naïf de Magog in Magog Croatian Museum of Naïve Art in Zagreb Gallery of Croatian Naïve Art...
Category

20th Century Outsider Art Portrait Paintings

Materials

Gouache

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