biografía de Marguerite Stuber PEARSON (1898-1978)

Lugar de nacimiento: Philadelphia, PA

Lugar de defunción: Rockport, MA

Direcciones: Somerville, MA, through 1925; Rockport, MA (summers from 1920, built home/studio by 1941

Profesión: Painter, teacher

Estudios: BMFA Sch. with Frederick Bosley; privately with Edmund Tarbell, 1922-27; William James; Rockport Summer Sch.; landscape with Aldro T. Hibbard & Harry Leith-Ross; design with Henry Hunt Clark & Howard Giles; illustration with Harold N. Anderson & Chase Emerson.

Exposiciones: PAFA Ann., 1924-36; Corcoran Gal. biennials, 1926-35 (3 times); NAD, 1925-29, 1931-32, 1934; Springville Art Gal., 1935-42, 1946; All. Artists Am., 1925-46, 1971; New Haven PCC (award), 1932, 1938; CAFA, 1925-32; Jordan Marsh Gal., 1930-46, 1972 (Ann. Exhib. of New England Artists); North Shore AA, 1926-46; Rockport AA, 1923-46 (many medals); Springville, UT, 1937 (prize); NAC, 1966 (prize); AAPL (gold); SC, 1941 (gold); North Shore AA, 1930 (prize), 1972 (mem. prize award); AAPL, 1961(gold medal for best oil painting); Wolfe Art Club, Council Am. Artists Soc., 1970 (award); Ogunquit AC (award); Springfield (MA) Art Mus. (Academic Art); Pierce Gal., Hingham, MA, 1980s.

Asociaciones: Allied Artists Am.; Guild Boston Artists; North Shore AA; Rockport AA; Acad. Artists Soc.; Phila. Art All.; Sanity in Art; Ogunquit AA; SC; CAFA; AAPL; Wash. AC

Obra: Springville (UT) Art Mus.; New Haven Pub. LIb.; Beach Mem. Art Mus., Storrs, CT; Monson (MA) State Hospital; Gardiner (MA) H.S.; Boston Music Sch.; Brigham Young Univ.; Mechanics Bldg., Boston; Episcopal Diocesan House, Boston; Trade Sch. for Girls, and Wilson, Brooks, and Burke Sch., Boston; Grimmins and Chandler Sch., Somerville, MA; Somerville, Medford and Gloucester (MA) City Halls; Case Inst. Tech., Cleveland, Ohio; Draper (UT) School; Salem (MA) Court House; Bruckner Mus., Albion, MI; Case Inst. Technology, Cleveland, OH; Salem (MA) Court House Portrait Coll.; Somerville (MA) City Hall Portrait Coll.

Comentarios: Best known for her floral still-lifes and interiors with figures. Confined to a wheelchair from her teenage years due to polio, she worked as a magazine and newspaper illustrator before turning to painting full time c.1922. Her interior genre scenes were reproduced as prints, and during the 1940s she became financially very successful.

Fuentes: WW73; WW47; 300 Years of American Art, vol. 2: 881; Vose Galleries, Mary Bradish Titcomb and Her Contemporaries, 46-47; Falk, Exh. Record Series.