Van Bruyn From Academy of Fine Arts in Prague

American photographer

Amelia Van Buren
Van Buren, c.  1891
Built-in	c.  1856 Detroit, Michigan
Died	1942 Tryon, Northward Carolina
Resting place	Tryon Cemetery, Tryon, North Carolina

Amelia C. Van Buren (c.  1856 ^{[Due north 1]} – 1942) was an American photographer. A noted portrait photographer, she was a educatee of Thomas Eakins, and the subject of his c. 1891 painting Miss Amelia Van Buren, regarded as i of his finest works.

Pennsylvania Academy of the Fine Arts [edit]

Van Buren was born in Detroit, Michigan. Both her parents died sometime prior to 1884, when she began attention the Pennsylvania Academy of the Fine Arts.^{[iii] : 347–48} She had already been exhibiting her artwork in Detroit for at to the lowest degree four years prior to attention the Academy.

Her talent presently led Eakins to tutor her personally, including controversial lessons using nude models, male and female.^{[2] : 127} In 1885–86, several of Eakins's former art students (including Thomas Pollock Anshutz and Colin Campbell Cooper) conspired to take Eakins fired from the Pennsylvania Academy of Fine Arts. They approached the Academy'southward Committee on Educational activity, and made numerous charges against Eakins. They declared that Eakins had used female students, including Van Buren, equally nude models. Another highly inflammatory accuse was that Van Buren had asked Eakins a question regarding pelvic movements, which Eakins answered by removing his pants and demonstrating the movements. He afterwards insisted that the episode was completely professional in nature.^{[3] : 116} The committee left Eakins under the impression that the charges had been filed by Van Buren, who had moved to Detroit to recover from neurasthenia.^[4] That, nonetheless, was not the case, as she greatly respected Eakins and in years to come up would defend him at every opportunity, as well as express pride in owning pieces of his artwork.^{[5] : 323}

Later recovering, Van Buren returned to Philadelphia, where she connected in her studies under Eakins at the Fine art Students' League of Philadelphia. Van Buren and Eakins stayed in close contact for a number of years afterward. 3 or four years after his dismissal, Eakins painted Van Buren in Miss Amelia Van Buren.

Post-Academy [edit]

There is petty information on Van Buren's life and professional person career following her education at the University. No paintings by Van Buren are known to survive.^{[3] : 348}

She entered into a Boston marriage with fellow student Eva Watson-Schütze. The two of them opened a studio and art gallery in Atlantic City, New Jersey, but Van Buren disliked having to brand compromises in her artful sense to sell whatever paintings, and then she turned to photography instead.^[6] Both women were recognized as accomplished artists and exhibited together at the Camera Lodge of Pittsburgh in 1899,^[seven] and Van Buren was noted for her portraits, in one case declaring her goal was to brand portraits "to stand with [those of] Sargent and Watts and the other masters".^[8]

It is known that by 1900, when she sent some prints to Frances Benjamin Johnston, she had moved back to Detroit.^[vii] She had the portrait of herself in her possession, probable a souvenir from the artist himself, which she sold to the Phillips Memorial Gallery in 1927,^[9] by which time she was living in Northward Carolina.^[x]

In the early 1930s Lloyd Goodrich, who was writing the beginning full-length biography of Eakins, wrote to Van Buren. Withal, she replied that she had no particular reminiscences of Eakins.^{[three] : 348} Van Buren spent her later years in an artists' colony in Tryon, North Carolina, where she died in 1942.^{[5] : 422}

Works by Van Buren [edit]

• 

  Portrait of a woman in a apparel, c.  1900

• 

  Study of a head, c.  1900

• 

  Mother and Child, c.  1901

• 

  Isabella, ca. c.  1903

Notes [edit]

1. ^ Records of Van Buren's life vary regarding her year of birth. Her tombstone says 1854,^[one] the census records for 1870 and 1900 say 1856, and other sources place information technology at 1858.^{[2] : 142}

References [edit]

1. ^ "Tryon Cemetery, Section 1". USGenWeb. Archived from the original on September vii, 2010. Retrieved August 24, 2010.
2. ^ ^{a b} Dixon, Laurinda S.; Weisberg, Gabriel P. (2004). In sickness and in health: affliction every bit metaphor in art and popular wisdom. University of Delaware Press. ISBN978-0-87413-857-3.
3. ^ ^{a b c d} Adams, Henry (2005). Eakins revealed: the cloak-and-dagger life of an American artist. Oxford University Printing The states. ISBN978-0-19-515668-3.
4. ^ Sewell, Darrel (2001). Thomas Eakins. Yale Academy Printing. p. 260. ISBN978-0-87633-143-9.
5. ^ ^{a b} Kirkpatrick, Sidney (2006). The revenge of Thomas Eakins . Yale University Printing. ISBN978-0-300-10855-two. amelia van buren.
6. ^ Sandler, Martin West. (2002). Against the Odds: Women Pioneers in the First Hundred Years of Photography. Rizzoli International Publications. pp. 61–62. ISBN978-0-8478-2304-8.
7. ^ ^{a b} Rosenblum, Naomi (1994). A History of Women Photographers. Abbeville Press. p. 323. ISBN978-i-55859-761-seven.
8. ^ Cotkin, George (2004). Reluctant modernism: American idea and culture, 1880–1900. Rowman & Littlefield. ISBN978-0-7425-3147-5.
9. ^ "Eakins in the Collection". The Phillips Drove. Retrieved August 22, 2010.
10. ^ Wilmerding, John (1993). Thomas Eakins. Smithsonian Establishment Press. p. 121. ISBN978-1-56098-313-2.

Further reading [edit]

• Clark, William J. (1991). "The Iconography of Gender in Thomas Eakins' Portraiture". American Studies. 32 (2): 5–28.
• Davidov, Judith Fryer (1998). Women's photographic camera work: self/body/other in American visual culture. Durham: Knuckles University Press.
• Kirkpatrick, Sidney D. (2006). The Revenge of Thomas Eakins . New Haven: Yale Academy Press. pp. 379–387.

External links [edit]

• Media related to Amelia Van Buren at Wikimedia Commons