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 Marion Greenwood  (1909 - 1970)

About: Marion Greenwood
 

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Lived/Active: New York / Mexico      Known for: ethnic-crowd genre easel and mural painting

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BIOGRAPHY for Marion Greenwood
Facts/Data
Birth
1909 (New York City)
 
Death
1970 (Woodstock, New York)

Lived/Active
New York / Mexico


Marion Greenwood ,1935.


Often Known For
ethnic-crowd genre easel and mural painting

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Women Artists
This biography from the Archives of AskART:
The following is from an anonymous Source:

Noguchi and Marion Greenwood worked together occasionally, having met in Paris in life drawing sessions at the Academie Colarossi and the Academie de le Grande Chaumiere.  In 1929 he did a cast-iron portrait head of Greenwood, now at the Isamu Noguchi Garden Museum.  In the mid thirties he followed her to Mexico, and she gave him one of her walls to work on at the Abelardo Rodriguez Market in Mexico City, his first large work of public art.

PERIODICALS:
Creative Art Magazine; 1932, March; GRD Studio Exhibition review and reproduction
Creative Art Magazine; 1933, January; Isamu Noguchi by Julian Levy, Bust
Mexican Life; 1933, July 9; "Marion Greenwood"; Herbst, Josephine
Mexican Life; 1935, March 11; The Artist's Progress
Mexican Life; 1936, January 12; Mexican Murals by Marion Greenwood;
Rivas, Guillermo
Magazine of Art; 1937, May; "Water & Soil"; Mural reproduction; Architecture, Art, Life; Gutheim, F.A.
Art Digest; 1940, November; Exhibition review
Art Digest; 1940, November 15; Red Hook Housing Project (Mural)
Magazine of Art; 1941, April; Corcoran Biennial; Mexican Harvest, Reproduction
What's New; 1942, January; Abbott's Laboratories
Art Digest; 1944, March 15; "The Vigorous Versatility of Marion Greenwood"
Breuning, Margaret
New York Times, 1944, March 26; Dove and Marion Greenwood, Review;
Devree, Howard
Art News; 1944, March; AAA Exhibition
Art Digest; 1944, April; Exhibition review
Art News; 1944, April 1; AAA Exhibition
Art Digest; 1944, June; Exhibition review
Art Digest; 1944, June; "New Years Eve", Reproduction
Art News; 1944, October; Exhibition review
Art Digest; 1944, October 15; "Mississippi Girl", Reproduction and review
Art News; 1944, October 15; Reproduction and review
Art Digest; 1945, April; Exhibition review
Art Digest; 1945, April 1; "Rehearsal for African Ballet", Reproduction
Studio; 1945, August; Mississippi Girl, Reproduction and review
Art Digest; 1945, October; Exhibition review
Art Digest; 1946, February; Exhibition review
Art News; 1947, December; Exhibition review
Art Digest; 1947, December; "Return from China Exhibition" Review
Art News; 1947, December; Chinese Scenes
American Artist; 1948, January; Marion Greenwood: An American Painter of Originality and Power; Salpeter, Harry
What's New; 1951, February; Abbott's Laboratories
What's New; 1951, December; Abbott's Laboratories
Art Digest; 1952, April; Lament; Ritter, Chris
Artforum; 1968, November 7; New Deal Murals in New York; O'Conner, Harry
American Art Journal, 1969, Fall; New Deal Art Projects in New York; O'Conner. Francis V.
New York Times, 1970, February 21, 31:1; Obituary
Woodstock Times, 1979, August 2, Echoes of an extraordinary lady:
Grace Greenwood (1902-1979)"
The Daily Beacon; 1998, March 17; Has The Time Come?; University of Tennessee
Smithsonian; 2001, January; An Oasis of Art; Schiff, Bennett
Antique Week, 2001, June 18, Greenwood's dancers reach record figure; Lardner, Elizabeth

AWARDS
Second Prize, 1944; Painting In The United States; Carnegie Museum of Art
Lithography Prize, 1946; Herron Art Institute
Walter Lippincott Prize, 1951; Pennsylvania Academy of the Fine Arts;
146th Annual Exhibition of Painting and Sculpture
First Altman Prize, 1952; National Academy of Design; 127th Annual Exhibition
Second Purchase Prize, 1956; Butler Institute of Art





This biography from the Archives of AskART:
Born in Brooklyn, Marion Greenwood became a recognized muralist as well as portrait and genre painter.  She was widely traveled, and in 1932 while vacationing in Taxco, Mexico, completed a mural of native life that brought her to the attention of Mexican muralist Diego Rivera.  This exposure led to other mural commissions in Mexico, but by 1940 she had shifted to easel painting.

Many of her subjects dealt with the oppression of New York city life on diverse ethnic groups, but in the mid 1940s, she settled in the more rural environment of Woodstock, New York.

She was a child prodigy artist who left high school to study at the Art Students League in New York with John Sloan and George Bridgeman.  She was a resident portrait painter at Yaddo, a retreat for artists in Saratoga Springs, New York, and in her teens, she also studied in Paris at Academie Colarossi.

In 1930, she sketched theater genre for The New York Times, and in 1931 made the first of several trips to the Southwest to paint Navajo Indians.  From there she went to Mexico and became the first woman commissioned by the government as a muralist.  She also became a prominent WPA muralist in the United States.  She was elected to the National Academy of Design: ANA 1958, NA 1959.


Source:
Charlotte Streifer Rubinstein, American Women Artists

Biography from Mint Museum of Art:
The following is courtesy of Martha Tonissen Mayberry, Registrar, The Mint Museum of Art, Charlotte, North Carolina:

Marion Greenwood, muralist, easel painter and lithographer who spent much time in Mexico and the Orient as well as the United States, is one of the more traveled female artists of the early and mid 20th Century.  New York born, she first studied at the Art Students League in New York City, and at the Academie Colarossi in Paris.  Until 1932, Marion Greenwood worked in oils, lithography and portraits in New York and the American Indian country of the Southwest.  Then she went to Mexico to study fresco painting and was caught up in the awakening mural renaissance, and from 1932 to 1936 worked on fresco murals for the Mexican Government.

In 1936 she returned to New York and embarked upon several large murals for the Federal Arts Projects till 1940 when, after another visit to Europe, she returned to easel painting.  During  the war Miss Greenwood was one of only two women artist correspondent for the United States Army, creating a series of paintings for the Army Medical Department depicting the work of that unit in the rehabilitation of wounded soldiers.  She also created many war bond posters.  In 1944 she held her first one-person exhibition of paintings in the Associated American Artists Galleries in New York.

When in 1946 an opportunity that afforded travel through India and China presented itself, Marion Greenwood left the United States, and for more than a year, she created many works of art of her impressions and scenes in that part of the world. A one-woman exhibition of these works was held in the Associated American Artists Galleries in December 1947, and again in Chicago in March 1948.  One of the works from this show was acquired for the permanent collection of the University of Georgia, and more than fifty-five of her oils, gouaches and sketches were sold to private collections from this exhibition.

Over the years she has exhibited in all the major national group showsthe Metropolitan, The Whitney, Brooklyn Museum, the Carnegie International, National Academy, Corcoran Art Gallery, Worcester Museum, Virginia Museum of Fine Arts, Springfield Museum, and Art Institute of Chicago.  Her canvases and lithographs have been acquired for many public collections including that of the Metropolitan Museum of Art, The Pennsylvania Academy of Fine Arts, the Library of Congress, Newark Museum, Encyclopedia Britannica, American Academy of Fine Arts, New York Public Library, New Britain Art Institute, Bibliotheque Nationale Paris, Yale University, and many private collections Maurice Wertheim, Joseph Hirshhorn, and others.

Her works have been reproduced in many books on American Art, and several articles have been written about her.   In 1952, she was awarded the First Altman Prize of the 127th National Academy Annual, and in 1951, the Walter Lippincott Award of the Pennsylvania Academy Annual. She also received the John Herron Art Institute Lithograph Prize in 1946, the Second Prize in the Carnegie Annual 1944 as well as popular prize votes of the Carnegie and Worcester Museum shows.

She traveled to the West Indies where she made some wonderfully exciting studies of Haitian life and she exhibited this work in the fall of 1952 at the Associated American Artists Galleries.

In 1954-1955, she was a visiting Professor of Fine Arts at the University of Tennessee.  While at the University she painted a large mural for the University Center, depicting the music, dance, and folklore of Tennessee.


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