Eileen with Portrait of Fred (1982) by Anthony di GezuThe Frederic Whitaker and Eileen Monaghan Whitaker Foundation

Welcome to Translucent Visions:
Frederic Whitaker & Eileen Monaghan Whitaker | A Retrospective in
Watercolor

The goal of this exhibition was to share the lifetime accomplishments of Frederic Whitaker and Eileen Monaghan Whitaker with a new and global audience,  affording the viewer a more intimate and informative view of their work. 

The exhibition reveals the bold vision and creative passion the Whitakers brought to their lives and their art, that made them masters of the most American of mediums, the American Watercolor. The images chosen were done so in the hopes that they reflect an overall understanding of the Whitaker's art and their unique relationship.

Included are essays from the latest book on the Whitakers “Contrasts that Complement” by Jan Jennings : Donelson Hoopes, museum professional and art historian, sheds light on the Whitaker’s place and importance in the history of American Watercolor; Theodore F. Wolff, author and art critic shares his keen insight into Frederic’s working style; and art critic Robert L. Pincus allows us to see and understand Eileen’s creative spirit so evident in her art. As

the curator, I strove to examine their respective styles, and how through the fluid vitality of watercolor, they captured the essential spirit of their subjects. Presented in two parts, showcasing each painter, we hope you enjoy this tribute to two extraordinary talented and complementary artists, Frederic Whitaker and Eileen Monaghan Whitaker.

                                                                                      Barbara Cox, Director and Curator, The Frederic Whitaker and Eileen Monaghan Whitaker Foundation

 

Fred and Eileen in their La Jolla home (1966)The Frederic Whitaker and Eileen Monaghan Whitaker Foundation

'Frederic Whitaker and Eileen Monaghan Whitaker:

Masters of the American Medium'  by Donelson Hoopes

For much of the twentieth century, the course of western art was marked by an ever-changing

succession of styles that came upon one another with a rapidity and assertiveness not previously

manifested so spectacularly in its history. As early as 1913 representational art tended

to become eclipsed by the more avant-garde applications, such as abstraction and cubism.

With the event of the landmark Armory Show in New York that year, modern art, as practiced

in Europe, and revealed in depth here for the first time, was introduced to America. Despite

this development, many American artists persisted in their allegiance to the native luministrealist

tradition, which had long dominated the nation’s art. As one critic of twentieth-century

American art, Clement Greenberg, saw it, “The visionary overtones [of major American painters

of the realist persuasion] move us all the more because they echo facts. This is perhaps the

most American note of all.”

Out of this time-honored tradition, the art of Eileen Monaghan Whitaker and Frederic

Whitaker has drawn its nourishment and special appeal. Monaghan’s early background as

a fashion illustrator and commercial art director was the impetus for her subsequent allegiance

to a realist mode for conceptualizing the world in terms of art. She has said that from childhood

she “always had a terrific urge to paint.” In the 1940s, she finally turned from the commercial

aspect of her career, devoting herself fully to easel painting. Not coincidentally, it was

during this time that she met and married Frederic Whitaker. A designer, businessman, and

entrepreneur, Whitaker was already an established artist, known for his mastery of watercolor.

This was the medium in which he created elaborately detailed designs for ecclesiastical

metalware for such prestigious enterprises as the Gorham Company and Tiffany, as well as

for his own multiple business ventures. Watercolor was the natural medium of expression

for Whitaker’s easel paintings. His example proved to be a formative influence on Monaghan,

herself an avid practitioner in the medium. To their credit, however, while carving out an intimate

life together, Monaghan and Whitaker firmly retained their own individuality in terms

of their styles of painting, each working in a distinctly personal manner.

In the New York art scene of the post–World War II era, perhaps no entity more resolutely

defended conservative values in art than the National Academy of Design. Founded in

1825, the academy included on its roster of members almost

every American artist of note since its inception. Whitaker was

among their number; moreover, from 1949 through 1957, he

served as president of the American Watercolor Society, which

was closely identified with the academy. Monaghan also became

a member of both these organizations during this period. Together

they saw the tectonic shift that American art underwent

in the late 1940s as traditional values rapidly gave way to radical

change, especially in the form of abstract expressionism. Suddenly,

the relevance of representational forms of art seemed to

be called into question.

For Monaghan and Whitaker, however, this was never

an issue. They continued steadfastly down the path they championed:

painting fine, traditional, representational artworks.

As Whitaker called it: “understandable art . . . art that is recognizable

to the viewer.” This, it seems, they were destined to do,

whether working at the center of artistic innovation in New

York City, or in the increasingly more receptive and open cultural

milieu of Southern California.

In 1965 Monaghan and Whitaker departed the New York

scene, relocating in La Jolla, California. For decades, California

had sustained a thriving art tradition of landscape and figurative

painting. Furthermore, many of the state’s leading artists specialized

in watercolor painting and were notably prominent in major

national venues, such as the American Watercolor Society. Significantly,

California was not the cultural desert that many Easterners

envisioned.

Long before their resettlement in La Jolla, the Whitakers

had traveled extensively in the American Southwest and Mexico,

accruing inspiration for their paintings. With their move to

California, they were afforded the luxury of proximity and

could concentrate fully upon subjects associated with this new

living environment. The result was an outpouring of work that

reflected their fascination with Native American and Hispanic

peoples and the street scenes they inhabited. As their art had

been invigorated during earlier travels throughout Europe, particularly

Spain, so it was stimulated by these exotic prospects

of the Southwest.

A major statement in the art of both Monaghan and

Whitaker is that they reject the commonly held notion

that watercolor must be spontaneous, that brilliance of technique

should be a primary ambition for the serious painter

of watercolors. Not so, they aver, and most convincingly.

A great achievement of their art is that it conceals the effort

of creation; it seems immediately realized and instinctive.

For both artists, in exceedingly different and individual ways,

a great amount of thoughtful preparation and execution lies

at the core of each picture.

In the nineteenth century, writers frequently referred to

watercolor as “the American medium,” largely because of the

sheer number of artists who embraced the medium and the

important place it had assumed in exhibitions and among an

avid public. Although art in our time has shifted into a variety

of expressive means that would have been unimaginable then,

watercolor yet claims the allegiance of many important American

artists working today. It is a tribute to Frederic Whitaker

and Eileen Monaghan Whitaker that their formidable talent

has enabled them to create watercolors of such unique and

personal vision. Each is truly an exemplary advocate for “the

American medium".                                                                       From: Jennings, Jan Noreus. 2004, "Contrasts that complement: Eileen Monaghan Whitaker & Frederic Whitaker", Marquand Books, the University of California.

Fred's Portrait (1977) by Eileen Monaghan Whitaker, 21.5 x 27 in. Watercolor.The Frederic Whitaker and Eileen Monaghan Whitaker Foundation

 Frederic Whitaker (1891-1980)

Frederick Whitaker won more than 150 awards for his representational watercolors. He was an Academician in the National Academy of Design. He served as president of the American Watercolor Society from 1949-1956, revamping its format to involve more member participation and upgrading the status of annual exhibitions. In 1943, he organized Audubon Artists, Inc., an art society designed to represent all voices in the visual arts. He served as officer/board member of numerous other national and regional art societies and was listed in a number of Who’s Whos. In addition to his painting and leadership contributions in the visual arts, Whitaker wrote two books on watercolor, “Whitaker on Watercolor” and “A Guide to Painting Better Pictures”, and a third, “The Artist and the Real World,” random reflections on the art world. He is the subject of a biography, Frederic Whitaker, by artist/author Janice Lovoos. He wrote more than 90 articles on artists for American Artist magazine, and was a contributor to The Artist of London and Today’s Art, New York. Whitaker’s watercolors are meticulously designed on a small scale, where he would “think” his way through each detail. When pleased with the overall design, he transferred it to the full sheet, confident in exactly what he wanted to do. Ideas for his paintings came from things/people/circumstances he observed, usually picking out the “unusual.” Whitaker often found beauty in architectural scenes, but he handled every challenge: the human figure, landscapes, seascapes, city scenes, country scenes, night scenes, details of trees, whimsical dolls, and variations of doorway or archway depictions. Frederic Whitaker was born in Providence, R.I., Jan. 9, 1891, and quit school at age 14 to go to work. What he missed in formal schooling, he picked up on the job at the W. J. Feeley Co., manufacturer of ecclesiastical metalware, where he started as an apprentice to the designer at age 16. By age 23, Whitaker was head of design at Feeley. After that came work as a designer at Gorham, Tiffany, the Mangan Company which he co-owned, and finally two companies he bought and built up, Foley and Dugan in Providence and the G. H. Seffert Company in New York, both dealing in phases of design, manufacture, and distribution of religious goods. He juggled skills as salesman and designer, as adept in the business end as in the creative side meanwhile painting watercolors, actively participating in art societies, and entering competitive exhibitions. On Valentines Day, 1943, artist Frederic Whitaker met artist Eileen Monaghan, who was to become Eileen Monaghan Whitaker, at a one-man exhibit of his work at Ferargil Galleries in New York City. In 1949, Whitaker retired from business to devote himself to painting, writing, and serving in varying leadership capacities for art societies. In 1965, the Whitakers moved to La Jolla, Calif. He died in his home March 9, 1980. Businessman, entrepreneur, artist, self-made man, Frederic Whitaker rose, as his 1974 Horatio Alger Award states, from humble beginnings to make a significant contribution to society. Frederic Whitaker’s 159 awards include: Allied Artists of America, American Artists Professional League, American Watercolor Society, Audubon Artists, Inc. Baltimore Watercolor Society, Horatio Alger Award, National Arts Club, Pennsylvania Academy of Fine Arts, Society of Western Artists, Springville Museum of Art, Washington Watercolor Society, Watercolor U.S.A.

First Watercolor (1925) by Frederic Whitaker, 10.5 x 7 in. Watercolor.The Frederic Whitaker and Eileen Monaghan Whitaker Foundation

'Discipline, Communication, and Creativity: The Art of Frederic Whitaker' by Theodore F. Wolff

When it came to painting, Frederic Whitaker knew exactly what he was doing. As a consummate

master of the watercolor medium, he had no difficulty in producing the precise effects he

wanted. But that was only the skilled craftsman’s side of his creativity. Of much greater importance

was what he could communicate to others through his art. After all, he had written: “The

purpose of art is to create a thing of beauty, to convey a thought or message of some kind, or

to provide inspiration to someone.” Whitaker’s wide, respectful, and affectionate acceptance as

a creative individual of substance, not only by his fellow artists and art professionals, but also

by the general public, proved conclusively that he practiced what he preached.

He was most emphatic in his insistence that art should not be dependent upon gimmickry

or fashion. An artist, he believed, should always be himself and paint what he knew and felt.

Modernism, with all its isms, did not impress him, especially when it required extensive explanations.

“Art that cannot explain itself had better be left undone,” was how he put it. At the

same time, he was opposed to photographically exact renderings. Nature was the artist’s raw

material, the source from which he drew his inspiration. It was to be sensitively and intelligently

interpreted and transformed into art, not mindlessly replicated. In short, he had a vision of art

that was poetic and mildly romantic, one that demanded he look beyond the surface appearances

of things to those deeper qualities and attributes of nature that help illuminate the meaning

of life and give art its significance as well.

To realize this vision, especially in a medium as temperamental as watercolor, Whitaker

had to be crystal clear about his objectives and totally in control of the steps necessary for

their actualization. Proof that he succeeded on both counts can be found in the hundreds of

impressive watercolors – thousands, if one counts his sketches and color studies – he produced

during his highly productive career. Any painting leaving his studio was certain to be honest,

direct, structurally sound, technically accomplished, and an effective argument for how seriously

watercolor deserved to be taken.

His range of subjects was remarkable. Nothing was too humble or too difficult for him

to tackle. He was as interested in the minutiae of nature – insects and flowers, for instance –

as he was in windswept seascapes, complex urban vistas, and depictions of human character. Animals, architectural details, and foreign people and places – to

say nothing of female nudes – also received his careful attention.

For someone who spent the early years of his working life

as a successful silversmith, Whitaker was wonderfully free and

spontaneous in his watercolors. Or so it seemed. In actuality,

the path from initial sketch and color study through detailed

preparatory drawing to final application of paint was as carefully

planned and executed as a military campaign – except that

Whitaker did not want it to appear that way. As he said, “My

aim in watercolor is to make something that looks absolutely

effortless, as if I had left it wet and it had accidentally dried into

a perfect picture.”

To Whitaker’s perception of art, nothing was more important

than good design and composition. If achieved, they helped

fulfill an artist’s grandest intentions. If not, the work produced

remained a weak reflection of nature or shapelessly incomplete.

His approach to composition was simplicity itself. He first

looked for a design pattern in his chosen subject. Once that had

been found, he broke down what lay before him into strategically

placed spots, shapes, and directional indicators that conformed

to his perceived pattern but minimized the realistic

aspects of his subject. The placement of these formal elements,

while suggested by the scene, was dictated primarily by the need

to establish the broad outline and structure of the painting he

was about to commence. Once these elements were in place –

but not before – the more detailed business of shaping a work

of art could begin.

Careful, concentrated effort still lay ahead in the studio.

The original small pencil sketch with notations of color, mood,

and details made in the field had to be translated into a color

study showing exactly the colors, values, and relationship of parts

as they would appear in the finished work. After that would

come the drawing on a full-sheet, three-hundred-pound, coldpress,

handmade, 100-percent rag paper. Following that, the

actual painting would begin. Slowly, his subject would come

to life. A blob of green would become foliage, a wash of brown,

a bridge, and a narrow vertical daub, a man walking in the distance.

Total time from start to finish: anywhere from five hours

to three days.

Once completed, the painting would find its way into

one of Whitaker’s East or West Coast galleries or into any one

of the numerous exhibitions, competitive and otherwise, that

he entered or to which he was invited. He was about as far from

being an ivory-tower artist as one can be, not only because he

saw himself as an active participant in the practical world of

creating art for an appreciative audience, but also because he

wanted to give back to the world “something more than it has

so generously given me.”

Whitaker fulfilled the responsibility he felt toward the

world, not only as a watercolorist who gave pleasure to the many

who bought his paintings or saw them in museums or galleries,

but also as a writer who contributed articles on other artists to

various art magazines. He was the author of a number of books

on art, most notably The Artist and the Real World, in which he

discussed his working methods and gave his frank, unvarnished

opinions on art, the art world, and what it meant to be an artist.

As if that were not enough, he held prominent positions in a

number of America’s most prestigious art organizations.

But it was as a watercolor painter that he was best

known and for which he most deserves to be celebrated. Despite

such outstanding advocates as Winslow Homer, John Singer

Sargent, John Marin, and Charles Burchfield, watercolor painting

has never been regarded as highly in American art circles

as works on canvas have. Perhaps this is because of its smaller

size and greater informality, or possibly because watercolor is

generally executed on paper. Whatever the reason, it was an unfortunate prejudice that Whitaker did his best to counter

by demonstrating repeatedly that watercolor was capable of

depth and monumentality as well as brilliant virtuoso effects.

Of course, he did not set out to raise the art world’s opinion

of his chosen medium. His objectives were more purely

aesthetic and communicative. He wanted to produce handsome,

well-designed, easily understood paintings that conveyed a feeling

or an idea in a pleasurable, no-nonsense, and occasionally

mildly inspirational manner. As an artist he stood firm. Nothing,

neither the desire to impress nor the need for a quick sale, would

ever be permitted to divert him from expressing himself as clearly,

fully, and honestly as possible.

Seen in this light and from the perspective of modernist

theory, his goals, while worthy, may appear unduly modest. But

that fails to take the works themselves into account. Even a brief

survey of his paintings will reveal not only that he remained true

to his intentions but also that he produced an impressive number

of watercolors that do honor to the medium by fulfilling

its highest standards and ideals. No more can be expected of

any artist.                                                                                     From: Jennings, Jan Noreus. 2004, "Contrasts that complement: Eileen Monaghan Whitaker & Frederic Whitaker", Marquand Books, the University of California.

Snow In The High Country, Frederic Whitaker, 16 x 22 in. Watercolor., 1926, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Village, Frederic Whitaker, 11 x 15 in. Watercolor., 1927, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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On the mountain road, Frederic Whitaker, 11 x 16 in. Watercolor., 1939, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Untitled (early 1940s), Frederic Whitaker, 22 x 16 in. Watercolor., From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Historic Ground, Frederic Whitaker, 16 x 22 in. Watercolor, Private Collection., 1952, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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S.S. Pan Rhode Island, Frederic Whitaker, 14 x 22 in. Watercolor., 1941, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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At the Beach on Sherwood Island (date unknown), Frederic Whitaker, 22 x 30 in. Watercolor., From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Outdoor Antique Shop (date unknown), Frederic Whitaker, 16 x 17.25 in. Watercolor., From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Walk in the Park, Frederic Whitaker, 1/4 sheet, Watercolor., 1945, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Gallinaceous Gathering, Frederic Whitaker, 22 x 30 in. Watercolor., 1963, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Rhode Island Barn, Frederic Whitaker, 22 x 30 in. Watercolor., 1969, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Yellow Willows, Frederic Whitaker, size unknown. Watercolor., 1938, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Corn Shocks, Frederic Whitaker, 22 x 15 in. Watercolor., 1947, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Habitual Smoker, Frederic Whitaker, 22 x 24.5 in. Watercolor., 1967, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Franklin Car Foundry, Frederic Whitaker, 20 x 27.5 in. Watercolor., 1941, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Basic Industry, Frederic Whitaker, 16 x 20 in. Watercolor., 1941, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Log Hauling, Frederic Whitaker, 22 x 30 in. Watercolor., 1945, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Quarry, Frederic Whitaker, size unknown. Watercolor., 1945, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Fifth Avenue Church, Frederic Whitaker, 15 x 11.25 in. Watercolor., 1942, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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New York Public Library, Frederic Whitaker, 18 x 27.5 in. Watercolor., 1951, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Pro Deo, Pro Populo, Frederic Whitaker, 30 x 22 in. Watercolor., 1947, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Cuernavaca Street, Frederic Whitaker, 22 x 24.5 in. Watercolor. Private Collection., 1946, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Market Day, Frederic Whitaker, 22 x 30 in. Watercolor, National Academy of Design, New York., 1948, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Cement Plant, Frederic Whitaker, 17 x 23 in. Watercolor, Hickory Museum of Art, Hickory, North Carolina., 1947, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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I Pledge Allegiance To The Flag, Frederic Whitaker, 30 x 22 in. Watercolor., 1967, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Connecticut Harbor, Frederic Whitaker, 15.5 x 21.5 in. Watercolor., 1947, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Wharfside Pasture on Lower East Side, Frederic Whitaker, 22 x 16 in. Watercolor., 1946, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Downtown Skyport, Frederic Whitaker, 16 x 22 in. Watercolor., 1947, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Ripe for the Reaper, Frederic Whitaker, 16 x 22 in. Watercolor., 1948, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Storage (date unknown), Frederic Whitaker, size unknown. Watercolor., From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Harlem Sunshine, Frederic Whitaker, size unknown. Watercolor, Private Collection., 1947, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Easy Diner, Frederic Whitaker, 16.5 x 19.75 in. Watercolor, Private Collection., 1948, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Ships on the East River, Frederic Whitaker, size unknown. Watercolor., 1944, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Day Is Done, Frederic Whitaker, 22 x 30 in. Watercolor, Private Collection., 1950, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Skiffs, Frederic Whitaker, 14 x 20 in. Watercolor., 1949, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Albufera Boat, Frederic Whitaker, 22 x 24.5 in. Watercolor., 1956, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Bridge Unsafe, Frederic Whitaker, size unknown. Watercolor., 1946, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Snow Shoveler, Frederic Whitaker, 10 x 11 in. Watercolor., 1947, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Winter - New England, Frederic Whitaker, 22 x 30 in. Watercolor., 1946, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Dirty Weather, Frederic Whitaker, 22 x 30 in. Watercolor., 1960, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Winter Fog, Frederic Whitaker, 22 x 30 in. Watercolor., 1961, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Hibernating, Frederic Whitaker, 22 x 30 in. Watercolor., 1959, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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The Pot Vendor, Frederic Whitaker, 30 x 22 in. Watercolor., 1949, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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The Young Die Often, Frederic Whitaker, 22 x 30 in. Watercolor., 1949, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Yard Goods, Frederic Whitaker, 22 x 30 in. Watercolor., 1950, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Happy Winds Upon Her Played, Frederic Whitaker, 22 x 27.5 in. Watercolor., 1959, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Ross Castle, Killarney, Frederic Whitaker, 22 x 30 in. Watercolor., 1972, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Recumbant Nude, Frederic Whitaker, 16 x 27 in. Watercolor., 1944, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Special Guest (late 1940s), Frederic Whitaker, 22 x 16 in. Watercolor., From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Fundy, Low Tide, Frederic Whitaker, 16 x 22 in. Watercolor, Museum of Fine Arts, Boston., 1951, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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The Street of San Idelfonso, Frederic Whitaker, 22 x 30 in. Watercolor., 1953, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Memorial Fountain, San Miguel, Frederic Whitaker, 30 x 22 in. Watercolor., 1949, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Las Lavenderas, Frederic Whitaker, 22 x 30 in. Watercolor., 1951, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Gateway to Antequerra, Frederic Whitaker, 22 x 24.5 in. Watercolor., 1967, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Belem Tower, Frederic Whitaker, 27.5 x 22 in. Watercolor, Metropolitan Museum of Art, New York., 1956, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Gateway, Acolman Monastery (date unknown), Frederic Whitaker, 22 x 27.5 in. Watercolor, Private Collection., From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Street in The Alfama, Frederic Whitaker, 27.5 x 22 in. Watercolor., 1958, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Houses on a Hillside, Frederic Whitaker, 21 x 29 in. Watercolor., 1958, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Rivals, Frederic Whitaker, 16 x 22 in. Watercolor., 1969, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Statuette (1950s), Frederic Whitaker, 22 x 30 in. Watercolor., From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Black Mountain (date unknown), Frederic Whitaker, size unknown. Watercolor., From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Sunset on the Plains, Frederic Whitaker, 22 x 30 in. Watercolor., 1966, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Big Bend Note, Frederic Whitaker, 16 x 22 in. Watercolor., 1956, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Status Symbol, Frederic Whitaker, 22 x 16 in. Watercolor., 1965, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Seagulls Off La Jolla (date unknown), Frederic Whitaker, 22 x 30 in. Watercolor., From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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El Camino del Teatro, Frederic Whitaker, 18 x 22 in. Watercolor., 1965, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Clothes Rack, Frederic Whitaker, 30 x 18 in. Watercolor, Private Collection., 1960, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Wreckage & Roses, Frederic Whitaker, 22 x 30 in. Watercolor., 1973, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Mr. Bumble, Frederic Whitaker, 14 x 18 in. Watercolor, Private Collection., 1965, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Lettuce Pickers, Frederic Whitaker, 22 x 30 in. Watercolor, Private Collection., 1966, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Oil In The Desert, Frederic Whitaker, 22 x 30 in. Watercolor., 1964, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Saguaro Country, Frederic Whitaker, 22 x 30 in. Watercolor, Private Collection., 1966, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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San Jacinto Foothills, Frederic Whitaker, 22 x 30 in. Watercolor, Private Collection., 1966, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Morning Mist, Frederic Whitaker, 22 x 30 in. Watercolor, Frye Art Museum, Seattle, WA., 1966, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Vertical Rain, Frederic Whitaker, 22 x 30 in. Watercolor., 1967, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Fire in the Mountains, Frederic Whitaker, 22 x 30 in. Watercolor, Private Collection., 1966, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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La Casa de Las Flores, Frederic Whitaker, 22 x 30 in. Watercolor., 1968, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Face of the Convent, Frederic Whitaker, 30 x 22 in. Watercolor. Private Collection., 1966, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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The Street Singers, Frederic Whitaker, 22 x 30 in. Watercolor., 1949, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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La Zinacanteca, Frederic Whitaker, 22 x 16 in. Watercolor, San Diego Museum of Art, CA., 1965, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Poultry Merchant, Frederic Whitaker, 30 x 22 in. Watercolor, Private Collection., 1967, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Spanish Ox Cart, Frederic Whitaker, 21.75 x 29 x 75 in. Watercolor., 1967, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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California Tower, Night., Frederic Whitaker, 30 x 22 in. Watercolor, Private Collection., 1967, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Baroque Facade, Frederic Whitaker, 22 x 30 in. Watercolor, Private Collection., 1968, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Toledo Bridge, Frederic Whitaker, 22 x 25 in. Watercolor, Private Collection., 1965, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Beach At Caparica, Frederic Whitaker, 22 x 27 in. Watercolor, Syracuse University Art Collection, Syracuse, NY., 1968, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Dawn November Second, Frederic Whitaker, 22 x 30 in. Watercolor, San Diego Museum of Art, CA., 1968, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Bird Watchers, Frederic Whitaker, 30 x 22 in. Watercolor., 1969, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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The Fruit Market, Frederic Whitaker, 22 x 30 in. Watercolor., 1969, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Tools of Trade, Frederic Whitaker, 22 x 27 in. Watercolor., 1969, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Free Lunch, Frederic Whitaker, 22 x 30 in. Watercolor., 1969, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Cottonwood Country, Frederic Whitaker, 22 x 30 in. Watercolor., 1969, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Busy Brook, Frederic Whitaker, 22 x 27.5 in. Watercolor., 1970, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Curious Cloud, Frederic Whitaker, 22 x 27.5 in. Watercolor., 1970, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Bell Tower, San Lucar, Frederic Whitaker, 30 x 22 in. Watercolor., 1971, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Temple of Diana, Frederic Whitaker, 27.5 x 22 in. Watercolor, Syracuse University Art Collection, Syracuse, NY., 1955, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Mexican Memorial, Frederic Whitaker, 16 x 22 in. Watercolor, Private Collection., 1946, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Quetzalcoatl, Frederic Whitaker, 28.5 x 23.2 in. Watercolor, Syracuse University Art Collection, Syracuse, NY., 1970, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Fully Equipped Dragon, In Flight, Frederic Whitaker, 22 x 27.5 in. Watercolor., 1972, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Flower Market, Frederic Whitaker, 30 x 22 in. Watercolor., 1955, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Facade, Frederic Whitaker, 30 x 22 in. Watercolor., 1971, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Village Fountain, Frederic Whitaker, 22 x 30 in. Watercolor. Private Collection., 1954, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Autumn in the Desert, Frederic Whitaker, 14 x 20 in. Watercolor., 1973, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Cumulo Nimbus, Frederic Whitaker, 22 x 27.5 in. Watercolor., 1970, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Two Small Planes (date unknown), Frederic Whitaker, size unknown. Watercolor., From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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The Watertank, Frederic Whitaker, 22 x 24 in. Watercolor., 1971, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Treetop Home, Frederic Whitaker, 22 x 30 in. Watercolor., 1967, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Sugar Cane For Sale, Frederic Whitaker, 22 x 24.5 in. Watercolor., 1973, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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The First-Born, Frederic Whitaker, 30 x 18 in. Watercolor., 1971, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Mexican Motif, Frederic Whitaker, 22 x 30 in. Watercolor, Private Collection., 1948, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Ruddy Maples, Frederic Whitaker, 22 x 30 in. Watercolor, Private Collection., 1973, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Sycamores, Frederic Whitaker, 22 x 24 in. Watercolor., 1972, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Geologic Demonstration, Frederic Whitaker, 16 x 22 in. Watercolor., 1973, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Hail Mary, Full of Grace, Frederic Whitaker, 22 x 30 in. Watercolor, The Buck Collection, Laguna Hills, CA., 1973, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Portrait of Eileen (1958) by Frederic Whitaker, 19.75 x 15 in. Watercolor, National Academy of Design, New York.The Frederic Whitaker and Eileen Monaghan Whitaker Foundation

Eileen Monaghan Whitaker, N.A

Eileen Monaghan Whitaker, Academician in the National Academy of Design (NAD) was a member of the American Watercolor Society (AWS), listed in Who’s Who in America and Who’s Who in American Art, and throughout her career was a frequent juror for competitive art exhibitions nationwide. In 1948, she won an award in her first competitive exhibition and then went on to receive 87 major awards for her paintings.  She was elected to membership in AWS in 1953, and in 1957 to associate membership in the NAD, where she was elected full Academician in 1978. Whitaker painted representational watercolors that reflected the diversity of her many interests. People were always a major source of inspiration, as well as nature, architecture, still life, and the cultures of the Southwest, Mexico and Guatemala.  An emotional artist, Whitaker once said she “feels” her way through each painting. Born in Holyoke, Mass., Nov. 22, 1911, Eileen Monaghan studied at the Massachusetts College of Art and then worked in New York City as an artist and art director.  On Valentine’s Day 1943, she met watercolor artist Frederic Whitaker at a one-man exhibit of his works at New York’s Farargil Galleries. Their partnership was both personal and creative resulting in numerous two-person shows in San Diego, La Jolla, and Rancho Santa Fe, California during their nearly 40-year relationship and marriage. The rich extent of their lives and their work is featured in the book, Contrasts That Complement—Eileen Monaghan Whitaker and Frederic Whitaker, written by Jan Noreus Jennings, and published by Marquand Books in 2004 Frederic Whitaker died in 1980. Eileen Monahan Whitaker continued to paint prolifically. In 1982 she was commissioned by Copley Press to paint San Diego County. She explored the county for nearly four years, sketching, drawing, and photographing before completing the paintings in her La Jolla studio. The book, Eileen Monaghan Whitaker Paints San Diego, was published in 1986. After extensive travels to Guatemala in the 80s, in 1990, Eileen Monaghan Whitaker had a one-person exhibit Eileen Monaghan Whitaker: Watercolors of Guatemala and Mexico at the Charles and Emma Frye Art Museum in Seattle, Washington. Eileen Monaghan Whitaker painted regularly until she was in her mid-90s and continued as the head of the Frederic Whitaker and Eileen Monaghan Whitaker Foundation up until her death in 2005.                                             Eileen's 87 awards included: Allied Artists of America, American Watercolor Society, California Watercolor Society (now the National Watercolor Society), California National Academy of Design (Ranger Fund Show), New York City Providence Watercolor Club, Rhode Island San Diego Watercolor Society, California Society of Western Artists, Springville Museum of Art.                                              

Antique Arrangement (1960's) by Eileen Monaghan Whitaker, 22 x 30 in. Watercolor.The Frederic Whitaker and Eileen Monaghan Whitaker Foundation

'Precise Design and Deep Delight

The Art of Eileen Monaghan Whitaker' by Robert L. Pincus

Eileen Monaghan Whitaker, Academician in the National Academy of Design (NAD) was a member of the American Watercolor Society (AWS), listed in Who’s Who in America and Who’s Who in American Art, and throughout her career was a frequent juror for competitive art exhibitions nationwide. In 1948, she won an award in her first competitive exhibition and then went on to receive 87 major awards for her paintings.  She was elected to membership in AWS in 1953, and in 1957 to associate membership in the NAD, where she was elected full Academician in 1978. Whitaker painted representational watercolors that reflected the diversity of her many interests. People were always a major source of inspiration, as well as nature, architecture, still life, and the cultures of the Southwest, Mexico and Guatemala.  An emotional artist, Whitaker once said she “feels” her way through each painting. Born in Holyoke, Mass., Nov. 22, 1911, Eileen Monaghan studied at the Massachusetts College of Art and then worked in New York City as an artist and art director.  On Valentine’s Day 1943, she met watercolor artist Frederic Whitaker at a one-man exhibit of his works at New York’s Farargil Galleries. Their partnership was both personal and creative resulting in numerous two-person shows in San Diego, La Jolla, and Rancho Santa Fe, California during their nearly 40-year relationship and marriage. The rich extent of their lives and their work is featured in the book, Contrasts That Complement—Eileen Monaghan Whitaker and Frederic Whitaker, written by Jan Noreus Jennings, and published by Marquand Books in 2004. Frederic Whitaker died in 1980. Eileen Monahan Whitaker continued to paint prolifically. In 1982 she was commissioned by Copley Press to paint San Diego County. She explored the county for nearly four years, sketching, drawing, and photographing before completing the paintings in her La Jolla studio. The book, Eileen Monaghan Whitaker Paints San Diego, was published in 1986. After extensive travels to Guatemala in the 80s, in 1990, Eileen Monaghan Whitaker had a one-person exhibit Eileen Monaghan Whitaker: Watercolors of Guatemala and Mexico at the Charles and Emma Frye Art Museum in Seattle, Washington. Eileen Monaghan Whitaker painted regularly until she was in her mid-90s and continued as the head of the Frederic Whitaker and Eileen Monaghan Whitaker Foundation up until her death in 2005.                                                                                                                                                From: Jennings, Jan Noreus. 2004, "Contrasts that complement: Eileen Monaghan Whitaker & Frederic Whitaker", Marquand Books, the University of California.

42nd Street Dock on the East River, Eileen Monaghan Whitaker, size unknown. Watercolor., 1934, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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The Last In Line, Eileen Monaghan Whitaker, size unknown. Watercolor, Frye Art Museum, Seattle, WA., 1935, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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The Inlet (The Cove), Eileen Monaghan Whitaker, 16 x 22 in. Watercolor., 1940, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Con, Eileen Monaghan Whitaker, 16.8 x 10.5 in. Watercolor., 1953, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Portrait Of My Mother, Eileen Monaghan Whitaker, 12 x 16 in. Watercolor., 1955, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Peter Hurd's Place (1950's), Eileen Monaghan Whitaker, 14 x 20 in. Watercolor., From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Harvest Time, Estremadura, Eileen Monaghan Whitaker, 22 x 30 in. Watercolor, University of Massachusetts, Amherst., 1957, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Apples In The Cellar (1960's), Eileen Monaghan Whitaker, 12 x 16 in. Watercolor., From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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New England Winter (date unknown), Eileen Monaghan Whitaker, 17 x 27 in. Watercolor., From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Silos in Winter (date unknown), Eileen Monaghan Whitaker, 16.25 x 22.75 in. Watercolor., From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Quebec Dormers (date unknown), Eileen Monaghan Whitaker, 14.75 x 21.25 in. Watercolor., From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Tender Message, Eileen Monaghan Whitaker, size unknown. Watercolor., 1964, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Study in Whites, Eileen Monaghan Whitaker, 24 x 18 in. Watercolor., 1964, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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A Blue Mood, Eileen Monaghan Whitaker, 30 x 22 in. Watercolor., 1962, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Blue Chair, Eileen Monaghan Whitaker, 22 x 27.5 in. Watercolor., 1967, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Nostalgia, Eileen Monaghan Whitaker, 16 x 22 in. Watercolor, Private Collection., 1966, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Cuenca Spain, Eileen Monaghan Whitaker, 22 x 30 in. Watercolor., 1965, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Window At Black Cat Market, Eileen Monaghan Whitaker, full sheet. Watercolor., 1967, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Franciscan Hardware, Eileen Monaghan Whitaker, 30 x 22 in. Watercolor., 1968, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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The Wiseacres, Eileen Monaghan Whitaker, 20 x 30 in. Watercolor., 1966, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Treasure Hunt, Eileen Monaghan Whitaker, 18 x 24 in. Watercolor., 1964, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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California Quail, Eileen Monaghan Whitaker, 14 x 22 in. Watercolor., 1969, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Mountain Tops, East Of San Diego, Eileen Monaghan Whitaker, 14 x 20 in. Watercolor., 1969, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Guajalotes, Eileen Monaghan Whitaker, 22 x 30 in. Watercolor., 1968, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Mayan Warrior, Eileen Monaghan Whitaker, 30 x 22 in. Watercolor., 1967, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Ceremonial Gathering, Eileen Monaghan Whitaker, 22 x 30 in. Watercolor, Private Collection., 1967, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Two Navajo Maidens, Eileen Monaghan Whitaker, 22 x 30 in. Watercolor., 1967, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Call Of The Crow, Eileen Monaghan Whitaker, 22 x 30 in. Watercolor., 1969, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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On The Road To Jocotepec, Eileen Monaghan Whitaker, 22 x 30 in. Watercolor., 1969, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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La Madrugada, Eileen Monaghan Whitaker, 22 x 30 in. Watercolor., 1971, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Composition in Black and Gold, Eileen Monaghan Whitaker, 22 x 30 in. Watercolor, Private Collection., 1971, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Young Art Lover, Eileen Monaghan Whitaker, 22 x 30 in. Watercolor, Private Collection., 1970, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Que Tal (date unknown), Eileen Monaghan Whitaker, 22 x 30 in. Watercolor., From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Se Venden Naranjas, Eileen Monaghan Whitaker, 22 x 30 in. Watercolor, San Diego Museum of Art Collection, CA., 1975, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Feather Procession, Eileen Monaghan Whitaker, 22 x 30 in. Watercolor, Private Collection., 1974, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Indian Women, Eileen Monaghan Whitaker, 30 x 22 in. Watercolor., 1976, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Cinco de Mayo, Eileen Monaghan Whitaker, 22 x 30 in. Watercolor., 1977, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Toucans In The Grapevines, Eileen Monaghan Whitaker, 22 x 14 in. Watercolor., 1982, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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Saguaro Design, Eileen Monaghan Whitaker, 22 x 16 in. Watercolor., 1975, From the collection of: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation
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