One Of A Kind Workshop Online Catalogue...Children

Children

Jessie Willcox Smith (1863-1935)

Jessie Willcox Smith, one of America’s premier illustrators, epitomized the home life of the late-Victorian era. During the 44 years that her professional career spanned, she illustrated over 60 books, 250 periodicals and almost 200 covers for Good Housekeeping as well as many posters, calendars and prints.

Throughout her career, Smith never lacked work. She illustrated over 40 children's books including numerous compilations of stories such as A Child's Book of Old Verses (1910) and A Child's Book of Stories (1911) along with classics such as Little Women (1915) and Heidi (1922). Illustrations for two of George MacDonald's fantasy works were done by Smith as well: At The Back of The North Wind (1919) and The Princess and the Goblin (1920). Her best work is generally acknowledged to be Charles Kingsley's The Water-Babies (1916).

Smith was also a prolific illustrator of popular magazines, most notably Good Housekeeping, where she accomplished the remarkable feat of illustrating every cover from 1918-1932. Here, as in her work for children's books, her subject matter was invariably children and mothers. She portrayed an ideal image of the child that many have criticized as unrealistic and sentimental. One can only speculate as to why Smith restricted her content in such a manner. She never married but had a lifelong love of children, reflected in her early choice of career as a kindergarten teacher. Possibly her work reflected her own unrealized desire for children

Smith's artistic method was considered conventional. She used models, but preferred to work with the children of her friends rather than professionals. The composition of her early work was described as "Japanesque" in the use of planes and broad flat masses (Morris 1902). Henry Pitz described her technique as having "considerable reliance upon the defining line, the tendency toward simple, flattened tones and colors, the general use of simple and conventional lighting" (1969, 179). She worked in a variety of mediums including gouache, oil, charcoal, and watercolor, and most of her illustrations were printed in color. Her early work was recognized in 1903 with the Mary Smith prize for works exhibited at the Pennsylvania Academy of the Arts; other awards would follow.

Smith's work was well-received by the public. Her work was often re-issued. She supplemented her income by painting portraits of the children of Philadelphia's elite; she increased her activity in this area towards the end of her career. Her financial wealth allowed her to live an independent, self-sufficient life which was extraordinary for her time. While not a feminist, she was an inspiration to women who sought to make their way in the world

In Jessie’s mind, indeed, that of the late-Victorian mind, it was not an option for her to be a wife, mother and illustrator. Her circumstances led her to her career first and her maternal instincts were expressed vicariously through her paintings. In her own way, she was able to have the best of both worlds. Perhaps her words say it best:

“It has been one long joyous road along which troop delightful children, happy children, sad children, thoughtful children, and above all wondering, imaginative children, who give to their charmingly original thoughts a delicious quaintness of expression. I love to paint them all.”

Available frames: (G) Gallery, (FB) Fruitwood/Black, (FG) Fruitwood/Gold, (F) Fluted Gold, (WG) Wide Gold, (BG) Black/Gold All with Double Mat #16