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Helen Hyde'The Bath' — Meji Era Cross-Cultural Woman Artist1905
1905
$1,550
£1,192.36
€1,383.99
CA$2,185.87
A$2,448.54
CHF 1,286.06
MX$29,773.49
NOK 16,285.75
SEK 15,459.56
DKK 10,329.29
About the Item
Helen Hyde, 'The Bath', color woodblock print, edition not stated, 1905, Mason & Mason 59. Signed in pencil in the image, lower right. Numbered '96' in pencil in the image, lower left. The artist's monogram in the block, lower left, and 'Copyright, 1905, by Helen Hyde.' upper right. A superb impression with fresh colors on tissue-thin cream Japanese paper; the full sheet with margins (7/16 to 1 5/8 inches), in excellent condition. Matted to museum standards, unframed.
Image size 16 1⁄4 x 10 1⁄8 in. (413 x 260 mm); sheet size: 19 1⁄4 x 11 1⁄8 in. (489 x 283 mm).
Impressions of this work are held in the following collections: Achenbach Foundation for Graphic Arts, Art Institute of Chicago, Fine Arts Museums of San Francisco (De Young), Harvard Art Museums, Library of Congress, Metropolitan Museum of Art, New York Public Library, Smithsonian American Art Museum, Terra Foundation for American Art, University of Oregon Museum of Art.
ABOUT THE ARTIST
Helen Hyde (1868-1919) was a pioneer American artist best known for advancing Japanese woodblock printmaking in the United States and for bridging Western and Japanese artistic traditions. Hyde was born in Lima, New York, but after her father died in 1872, her family relocated to Oakland, California, where she spent much of her youth.
Hyde pursued formal art education in the United States and Europe. She enrolled in the San Francisco School of Design, where she took classes from the Impressionist painter Emil Carlsen; two years later, she transferred to the Art Students League in New York, studying there with Kenyon Cox. Eager to expand her artistic repertoire, Hyde traveled to Europe, studying under Franz Skarbina in Berlin and Raphael Collin in Paris. While in Paris, she first encountered Japanese ukiyo-e prints, sparking a lifelong fascination with Japanese aesthetics. After ten years of study, Hyde returned to San Francisco, where she continued to paint and began to exhibit her work.
Hyde learned to etch from her friend Josephine Hyde in about 1885. Her first plates, which she etched herself but had professionally printed, represented children. On sketching expeditions, she sought out quaint subjects for her etchings and watercolors. In 1897, Hyde made her first color etchings—inked á la poupée (applying different ink colors to a single printing plate)—which became the basis for her early reputation. She also enjoyed success as a book illustrator, and her images sometimes depicted the children of Chinatown.
After her mother died in 1899, Hyde sailed to Japan, accompanied by her friend Josephine, where she would reside, with only brief interruptions, until 1914. For over three years, she studied classical Japanese ink painting with the ninth and last master of the great Kano school of painters, Kano Tomonobu. She also studied with Emil Orlik, an Austrian artist working in Tokyo. Orlik sought to renew the old ukiyo-e tradition in what became the shin hanga “new woodcut prints” art movement. She immersed herself in the study of traditional Japanese printmaking techniques, apprenticing with master printer Kanō Tomonobu. Hyde adopted Japanese tools, materials, and techniques, choosing to employ the traditional Japanese system of using craftsmen to cut the multiple blocks and execute the exacting color printing of the images she created. Her lyrical works often depicted scenes of family domesticity, particularly focusing on women and children, rendered in delicate lines and muted colors.
Through her distinctive fusion of East and West, Hyde’s contributions to Western printmaking were groundbreaking. At a time when few Western women ventured to Japan, she mastered its artistic traditions and emerged as a significant figure in the international art scene.
Suffering from poor health, she returned to the United States in 1914, moving to Chicago. Having found restored health and new inspiration during an extended trip to Mexico in 1911, Hyde continued to seek out warmer climates and new subject matter. During the winter of 1916, Hyde was a houseguest at Chicora Wood, the Georgetown, South Carolina, plantation illustrated by Alice Ravenel Huger Smith in Elizabeth Allston Pringle’s 1914 book A Woman Rice Planter. The Lowcountry was a revelation for Hyde. She temporarily put aside her woodcuts and began creating sketches and intaglio etchings of Southern genre scenes and African Americans at work. During her stay, Hyde encouraged Smith’s burgeoning interest in Japanese printmaking and later helped facilitate an exhibition of Smith’s prints at the Art Institute of Chicago.
During World War I, Hyde designed posters for the Red Cross and produced color prints extolling the virtues of home-front diligence.
In ill health, Hyde traveled to be near her sister in Pasadena a few weeks before her death on May 13, 1919. She was buried in the family plot near Oakland, California.
Throughout her career, Hyde enjoyed substantial support from galleries and collectors in the States and in London. She exhibited works at the St. Louis Exposition in 1897, the Pan-American Exhibition in Buffalo in 1901, the Tokyo Exhibition for Native Art (where she won first prize for an ink drawing) in 1901, the Alaska-Yukon-Pacific Exhibition in Seattle in 1909 (received a gold medal for a print), the Newark Museum in 1913, a solo show at the Chicago Art Institute in 1916, and a memorial exhibition in 1920, Detroit Institute of Arts, Color Woodcut Exhibition in 1919, New York Public Library, American Woodblock Prints of Today in 1921, a retrospective Art Museum at the University of Oregon in 1927, the 1928 Exposition de la Gravure Moderne Americaine, Bibliothèque Nationale in Paris, and the landmark 1915 Panama-Pacific International Exposition in San Francisco, which included approximately 2,200 prints, including the work of Gustave Baumann, Arthur Wesley Dow (cat. nos. 1-2), Emil Orlik (cat. no. 3), Bertha Lum (cat. nos. 9-10), and James McNeill Whistler (Dow and Hyde both won bronze medals).
Today, Hyde's work can be found in the collections of prestigious public institutions, including the Achenbach Foundation for Graphic Arts, Art Institute of Chicago, Brooklyn Museum, California Historical Society, de Young Fine Arts Museums of San Francisco, Harn Museum of Art, Harvard Art Museums, Library of Congress, Metropolitan Museum of Art, Museum of Fine Arts, Boston, New York Public Library, Smithsonian American Art Museum, Terra Foundation for American Art, University of Oregon Museum of Art.
- Creator:Helen Hyde (1868 - 1919, American)
- Creation Year:1905
- Dimensions:Height: 16.25 in (41.28 cm)Width: 10.125 in (25.72 cm)
- Medium:
- Movement & Style:Showa
- Period:
- Condition:
- Gallery Location:Myrtle Beach, SC
- Reference Number:1stDibs: LU532315647472
Helen Hyde
Helen Hyde was a printmaker and illustrator, born in Lima, New York, but spent a cultured childhood in Oakland, California. At 12, she began art instruction under Ferdinand Richardt, but it ended abruptly two years later when her father died and her family resettled in San Francisco. Hyde and her mother moved to Philadelphia, and after she graduated from Wellesley School, she returned to San Francisco and studied at the School of Design. Hyde studied briefly at the Art Students League in New York between 1888–89. The following year she departed on a four-year sojourn in Europe, which included studying with Franz Skarbina in Berlin, Rafael Collins and Albert Sterner in Paris, and months in Holland and England. In Paris, Hyde met Félix Régamey, who introduced her to the "loveliness of things Japanese" and this meeting was to have a profound effect on her life and work. Returning to San Francisco, Hyde sought out subjects in Chinatown and produced her first series of color etchings. In 1899, Hyde voyaged to Japan, where she became an ardent student of the Japanese language and a student of classical brush painting with an Austrian artist working in Tokyo, and it was from him that she learned the skills of carving woodblocks. She eventually accepted the Japanese system of divided labor and employed Japanese carvers and printers (Shohiro Murata carved her woodcuts for eleven years). Japan was Hyde's home until 1914 when she returned to the United States due to ill health. Hyde exhibited both nationally and internationally and her work won honors in Japan. She was awarded the gold medal at the Alaska-Yukon-Pacific Exhibition in Seattle in 1909 and the bronze medal for woodcut at the Panama-Pacific International Exposition in 1915. Hyde was a member of the Chicago Society of Etchers, the Printmakers Society of California, the Chicago Society of Artists and a life member of the Société de la Gravure en Couleur.
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