Celebrating Women Artists in Payne Gallery's Collection

Inaugurated with this painting by Susan MacDowell Eakins, Payne Gallery continues to celebrate the work of women artists.

Payne Gallery, Moravian University

In the Studio (1894) a resplendent turn-of-the-century figure by the Realist Susan MacDowell Eakins

Untitled (1906) by Gertrude Käsebier (American, 1852–1934)Payne Gallery, Moravian University

Payne Gallery holds work by the modernist Georgia O'Keeffe and her contemporary, the photographer (& Moravian alumna) Gertrude Käsebier; as well as the celebrated Elizabeth Catlett, Cecilia Beaux, Malvina Hoffman, Fern Coppedge, among others. 

Gertrude Käsebier (1852–1934)

Born Gertrude Stanton in Iowa, her family traveled west on a wagon train when Gertrude was but a girl. The experience sparked her life-long interest in Native Americans. When the Stantons moved back East, sixteen-year-old Gertrude attended The Moravian Seminary for Young Ladies in Bethlehem (precursor to Moravian University).

Gertrude And Grandson Chs. O'Malley (1904) by Gertrude Käsebier (American, 1852–1934)Payne Gallery, Moravian University

Gertrude Käsebier embarked on a career in photography at age thirty-seven, then a mother of three. Known for her sensitive and respectful images of motherhood and family, as well as of Native Americans, she became the leading portrait photographer of her time.

Käsebier established the Women's Professional Photographers Association of America, and became known for her promotion of photography as a career for women. Among the many inspired by her was the photographer Imogen Cunningham.

Camera Work, Vol. 1, 1903. Illus. Miss N. 1903, photograph by Gertrude Kasebier of Evelyn Nesbit (1903) by Alfred Stieglitz (American, 1864–1946), publisher and Gertrude Käsebier (American, 1852–1934), artistPayne Gallery, Moravian University

Alfred Stieglitz launched Käsebier's career. Stieglitz devoted the first issue of Camera Work (1903), the influential journal of the Photo-Secessionists, to her.

Portrait (Miss N.), 1903, opens the inaugural volume of Camera Work. Stieglitz published six photogravures by Käsebier in the first issue, which was more work than by any other photographer who appeared in the issue. (Those others included Stieglitz himself, Edward Steichen, Alvin Langdon Coburn, Joseph Keiley, Frederick Evans, and Clarence White.)

The anonymous Miss N. who posed for Käsebier is Evelyn Nesbit, one of illustrator Charles Dana Gibson's "Gibson Girls."

Portrait of Robert Arthur (1885) by Cecilia Beaux (American, 1855–1942)Payne Gallery, Moravian University

Cecilia Beaux (1855–1942)

Born in Philadelphia, Beaux is among America's foremost portraitists. Overcoming many barriers towards women's achievements in the arts, she rose to the top of her profession.

When Portrait of Robert Arthur, 1885, was painted, Beaux was "receiving commissions from notable Philadelphians and earning $500 per portrait, comparable to what Eakins commanded" according to her biographer Alice A. Carter.

Plate 4, Graphic suite The Peasant War, Distribution of Weapons in a Vault (1906) by Kaethe Kollwitz (German, 1867–1945)Payne Gallery, Moravian University

Kaethe Kollwitz (1867–1945)

Born Kaethe Schmidt, she grew up in Konigsberg, then East Prussia. Her talent was spotted early on by her father, who secured artistic lessons while she was young. In 1916 she was the first woman elected to a Professorship at the Berlin Academy of Art. With the rise of Hitler in the 1930s her work was categorized as “Degenerate” and she was prohibited from public exhibitions and sales of her work. Kollwitz had the rare artistic ability to show suffering, and, with it, the strength to endure it.

Good Night (c. 1900) by Bessie Potter Vonnoh (American, 1872–1955)Payne Gallery, Moravian University

Bessie Potter Vonnoh (1872–1955)

Bessie Potter Vonnoh was known for small domestic bronzes, such as our 8" Good Night. Determined as she was to prove that "as perfect a likeness and as much beauty could be produced in statuettes twelve inches in height...as in life-size and colossal productions." 

Landscape with Creek (c. 1930) by Fern Coppedge (American, 1883–1951)Payne Gallery, Moravian University

Fern Coppedge (1883–1951)

Born in Illinois, Coppedge spent much of her life in Pennsylvania. Known for scenes of Bucks County, she was part of both the New Hope School and The Philadelphia Ten, a group of women artists who exhibited together from 1917 to 1945. Other women of The Ten in the collection include Cora Smalley Brooks, Mary Smyth Perkins, and Mary Elizabeth Price.

Pale Sun (1916) by Georgia O'Keeffe (American, 1887–1986)Payne Gallery, Moravian University

Georgia O'Keeffe (1887–1986)

Georgia O'Keeffe was born on November 15, 1887, in Sun Prairie, Wisconsin. Known for her large flowers and bold landscapes on canvas, this delicate watercolor is on Japanese rice paper. 

In January 1916, a friend of O'Keeffe brought a group of her abstract drawings to photographer Alfred Stieglitz. Later that year, without O'Keeffe’s knowledge, he exhibited her drawings at his New York gallery. When she found out, she demanded they be taken down. Stieglitz refused. The exhibition launched her career.

Girl in Church (printed 1965) by Dorothea Lange (American, 1895–1965)Payne Gallery, Moravian University

Dorothea Lange (1895–1965)

Born in Hoboken, New Jersey, Dorothea Lange was made famous by her Migrant Mother, Nipomo, California photograph capturing the struggles of migrant farmers during the Great Depression in 1936. Girl in Church, pictured here, was taken in 1953.

Three Women of America (1990) by Elizabeth Catlett (American and Mexican, 1915–2012)Payne Gallery, Moravian University

Elizabeth Catlett (1915–2012)

Born in Washington DC, American-Mexican artist Elizabeth Catlett is best known for her depictions in sculpture and in graphic art of the lived Black-American experience. In 1946 she traveled to Mexico City, where she worked for twenty years.

Three Women of America by Elizabeth Catlett is an image of women of different ethnicities—white, black, and brown—intertwined. Each face shares an eye with the next; each arm and hand overlay another's; and each figure wears different bold colors and patterns that distinguish their differences and blend their similarities.

Portrait of Dillon Reclining (2016) by Grace Graupe-Pillard (American, born 1941)Payne Gallery, Moravian University

Grace Graupe-Pillard (born 1941)

Born and raised in New York City, Graupe-Pillard is a contemporary painter, photographer, and public artist. Payne Gallery hosted a solo exhibition featuring Graupe-Pillard in 2018. 

Reach Reach (2008) by Michelle Kalman (American, born 1961)Payne Gallery, Moravian University

Michelle Kalman (born 1961)

Born in Sheboygan, Wisconsin in 1961, Michelle Kalman creates organic, large scale sculptures in clay. Reach, 2008, is a massive abstraction, nearly five feet tall, that is part of the Trotsky Family Collection.

Essential (2021) by Emily Strong (American, born 1992)Payne Gallery, Moravian University

Emily Strong (born 1992)

Essential is a monumental painting by Emily Strong, Moravian alumna ’15. Her Body Language series was supported by a grant from the Elizabeth Greenshields Foundation. This painting is one of three in the series that are now part of the Trotsky Family Collection.

Credits: Story

Created By
David E. Leidich, Director of Payne Gallery, Curator of the Permanent Collection
Dr. Diane Radycki, Professor Art History Emerita & Director Payne Gallery Emerita
Jan Ciganick, Adjunct Professor Art History
Kelly Weaver, Moravian Alumna ’13, Artist & Designer 

Thanks to Martha Kearns, Moravian University professor and author of Kaethe Kollwitz: Woman and Artist, for the Kollwitz text.

Photography
Hub Wilson
Steven Barth
Gordon Sillman
Luke Wynne

Links
View the Payne Gallery Exhibition Calendar:
moravian.edu/art/gallery/exhibition

Follow on Instagram:
instagram.com/payne_gallery


Made possible by generous gift of Joann M. Trotsky in honor of her parents Alexander and Elizabeth Trotsky.

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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