JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.. Woman's Art Inc. is collaborating with JSTOR to digitize, preserve and extend access to Woman's Art Journal.The first part of this catalogue documents the activities of a small group of mostly European-trained, New York City-based turn-ofthe-century artists who summered together in the seaside town of Peconic, on Long Island's North Fork. The Peconic Colony found picturesque subjects for painterly inspiration, including ship and boat building, the scenery of Long Island Sound, old colonial remains, and various "quaint" aspects of marine life. Pisano's well-researched text sheds light on the main personalities of this group, whose painting techniques and romanticized subjects were insulated from early explorations into Modernism. The group began in about 1895, and their final exhibit was held in 1940.In the second part of his catalogue, Pisano tells the story of Henry (1865-1940) and Edith Mitchell Prellwitz (1864-1944), both talented and accomplished professional painters, who, with a few colleagues and friends, formed the heart of the Peconic Colony. Perhaps most compelling in his account of their lives, art, and union is Edith's struggle to become a professional artist. A perusal of the journals she kept as a young woman reveals that Edith faced and overcame serious obstacles in her quest, perhaps most formidable amongst them being the twin demons of pervasive self-doubt and disapproval from her very wealthy family. Although her parents opposed her, in 1883 Edith enrolled in the Life Class at the Art Students League in New York City, where students painted from nude models. As Pisano notes, "Clearly this action was the turning point in Edith's personal and professional life. She had taken a defiant stand against prevailing social mores and chanced a major breach in her relationship with her parents. Filled with a sense of self-confidence and newly found freedom, she immersed herself in her new life in the art world." In 1889, Edith joined with several other women artists to form the Woman's Art Club of New York, which eventually became the National Association of Women Artists.The Prellwitz marriage (in 1894) was a true coming together of like-minded peers. Both received many awards and were consistently productive as artists and as leaders of various professional organizations. Their son Edward was born in 1896 (and their grandchildren and great-grandchildren assisted Henry and Edith Mitchell Prellwitz and the Peconic Art Colony
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