Louisiana Cultural Vistas - Spring 2009 - (Page 16) This spring The Historic New The following excerpts from Orleans Collection celebrates the biography by Louise C. the life and work of New Hoffman examine this important Orleans artist Josephine work and how it represents a Crawford (1878–1952) with turning point in Crawford’s the release of a biography, artistic career. Josephine Crawford: An Artist’s Vision, and an accompanying exhibition at Civic leader Edward B. the Williams Research Center Benjamin had established the from March 31 to August 29. Blanche Benjamin Prize in Born into a large Creole 1924 in honor of his wife. family in New Orleans’s French Originally, the award went to Quarter, Josephine Crawford the best painting of a began to study art seriously Louisiana landscape, defined when she was in her midas “any out-of-door view forties. At first, her creative having as its chief point of spirit found expression in interest objects typical of the poems and sketches, images scenery of Louisiana.” By 1934 that would come to fruition on — Josephine’s year to enter canvas after she enrolled, in Rue Kerlerec — the landscape the 1920s, at the newly requirement had been organized Arts and Crafts Club reinterpreted to include any in the heart of the French Louisiana subject. Artists were Quarter. In the winter of asked to submit oil paintings 1927–28 she studied in Paris only, framed without glass, with André Lhote at his measuring not less than 20 by academy in Montparnasse, a 30 inches. The canvases were pivotal time in her to be displayed at the Arts and development as an artist. Her Crafts Club and to remain on work was inspired by Cubism view for two weeks after the and the flattened forms and jury decision. Artists were minimalist approach of reminded: no signatures on modernism. She painted with the front of the painting. Past a muted palette that relied winners included Weeks Hall, upon shades of gray and Charles Bein, and Boyd Cruise. variations of white; her style, always recognizable, was distinctly her own. Imagine a midwinter day, When Crawford returned 1934. First picture the double Rue Kerlerec by Josephine Crawford, 1934, oil on canvas, 38½” x 24”; from her studies in France, she doors of 612 Royal Street courtesy of Micheline M. Bator; photograph by Michael Gould became an active member the [Josephine’s home]. They are Arts and Crafts Club, the center of artistic interest in New Orleans from open. Josephine steps outside. She has wrapped a large painting in the late 1920s to the late 1940s. She studied at the club’s renowned brown paper, awkward to carry, and begins the familiar walk to the art school and showed her works regularly in the organization’s Arts and Crafts Club. She passes a building with a stuccoed façade, frequent exhibitions. In 1934, Crawford won the club’s prestigious now a worn terracotta; next door the hue is a soft tan. Shallow Blanche Benjamin Prize for Rue Kerlerec, an evocative portrait of a pools of water left from last night’s rain are drying on flagstones, Creole widow enhanced by the artist’s sly sense of humor and penchant gray here, lavender-brown there, colors that will find their way to for subtlety. Josephine’s palette. Her eye for detail is sharp. 16 LOUISIANA ENDOWMENT FOR THE HUMANITIES\Spring 2009 http://www.hnoc.org/
For optimal viewing of this digital publication, please enable JavaScript and then refresh the page. If you would like to try to load the digital publication without using Flash Player detection, please click here.