Fidelia bridges biography of michaels
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Fidelia BridgesAmerican
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Fidelia BridgesAmerican
On view at The Met Fifth Avenue inGallery 764
Bridges is one of the few American women who became a prominent professional artist during the Civil War years. Celebrated then and now for her meticulous, naturalistic depictions of flora and fauna, she developed her own distinctive approach to capturing quiet moments in nature. Bridges, a student of William Trost Richards at the Pennsylvania Academy of the Fine Arts, embraced his Ruskinian ‘truth to nature’ approach to great effect—first in oil, then, increasingly, in watercolor, a medium in which she came to specialize over a successful and prolific fifty-year career.
Bridges’ oil paintings are far rarer than her watercolors, and mostly date to the 1860s. This example, from 1870, marks a transitional moment in her career, as she would soon turn to watercolor almost exclusively. The oil’s freshness—the seemingly just-picked violets and ferns bear a trace of brown earth—exemplifies Bridges’ commitment to depicting natural elements with immediacy and intimacy, what Richards described as ‘the voice of nature speaking in the idiom of art.’
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Fidelia Bridges Nature into Art
About this book
Fidelia Bridges (1834-1923) painted pictures that critics praised for their ability to exude the fragrance of field flowers and glow with the plumage of birds. Raised in Salem and long residing in Connecticut, she maintained a studio in New York City, where she exhibited her art for over forty years at the National Academy, American Watercolor Society and other prestigious venues. Transforming flower painting from a domestic outlet for female amateurs to a marketable commodity for professionals, she never wavered in her conviction that women had the right to shape independent careers on their own terms. She delineated both cultivated flowers and clumps of weeds with an intensity of focus unmatched by any other artist of her era. Often, she combined plants with local birds to convey a sophisticated understanding of their environmental interaction that encouraged others to appreciate and conserve nature. She made an extended European tour in the 1860s and regular trips to Great Britain in later years but preferred home nature.
Assembling a cross-section of her stunning oil paintings, watercolours, chromolithographs and illustrated volumes for the first time, and analysing them against letters, diaries and periodical review