Issue Points First Edition "Water Babies" Jessie Willcox Smith

American illustrator

Jessie Willcox Smith
Born	(1863-09-06)September 6, 1863 Philadelphia, Pennsylvania
Died	May 3, 1935(1935-05-03) (aged 71) Philadelphia, Pennsylvania
Nationality	American
Known for	Illustrations
Movement	The Golden Age of Illustration
Awards	1902 – Statuary Medal Charleston Exposition 1903 – Pennsylvania Academy of Fine Arts 1911 – Beck Prize from Philadelphia Water Color Club 1915 – Silver Medal at the Panama–Pacific Exposition[1]
Elected	Club of Illustrators' Hall of Fame, 1992
Years active	1880–1935

Jessie Willcox Smith (September vi, 1863 – May 3, 1935) was an American illustrator during the Gold Age of American illustration.^[ii] She was considered "one of the greatest pure illustrators".^[3] She was a contributor to books and magazines during the late 19th and early 20th centuries. Smith illustrated stories and articles for clients such as Century, Collier's, Leslie'south Weekly, Harper's, McClure'due south, Scribners, and the Ladies' Home Journal. She had an ongoing relationship with Good Housekeeping, which included the long-running Mother Goose series of illustrations and also the creation of all of the Good Housekeeping covers from Dec 1917 to 1933. Among the more than 60 books that Smith illustrated were Louisa May Alcott's Picayune Women and An Erstwhile-Fashioned Daughter, Henry Wadsworth Longfellow's Evangeline, and Robert Louis Stevenson's A Child'southward Garden of Verses.

Early life [edit]

Jessie Willcox Smith was born on September vi, 1863, in the Mount Airy neighborhood of Philadelphia, Pennsylvania. She was the youngest girl born to Charles Henry Smith, an investment broker, and Katherine DeWitt Willcox Smith.^{[4] [5]} Jessie attended private elementary schools. At the age of sixteen she was sent to Cincinnati, Ohio to live with her cousins and finish her education. She trained to be a teacher and taught kindergarten in 1883. However, Smith found that the physical demands of working with children were too strenuous for her.^{[4] [half dozen]} Due to back bug, she had difficulty bending down to their level.^[5] Persuaded to attend ane of her friend's^[7] or cousin's art classes, Smith realized she had a talent for drawing.^{[v] [8]}

Career [edit]

Education and early career [edit]

In 1884^{[eight] [ix]} or 1885,^[5] Smith attended the Philadelphia School of Design for Women (at present Moore College of Art and Design)^[8] and in 1885 attended the Pennsylvania Academy of the Fine Arts (PAFA) in Philadelphia under Thomas Eakins' and Thomas Anshutz' supervision.^{[5] [ix] [ten]} It was under Eakins that Smith began to apply photography as a resource in her illustrations. Although Eakins' demeanor could exist difficult, particularly with female students, he became one of her first major influences.^[ten] In May 1888, while Smith was still at the Pennsylvania Academy, her illustration Three Piddling Maidens All in a Row was published in the St. Nicholas Magazine. Illustration was ane artistic avenue in which women could make a living at the fourth dimension.^[five] At this time, creating illustrations for children'due south books or of family unit life was considered an appropriate career for woman artists because it drew upon maternal instincts. Alternatively, fine art that included life cartoon was not considered "courtly."^[xi] Illustration partly became viable due to both the improved color printing processes and the resurgence in England of book design.^[12]

Smith graduated from PAFA in June 1888.^[7] The aforementioned year, she was hired for an entry-level position in the ad section of the first magazine for women, the Ladies' Domicile Journal. Smith'south responsibilities were finishing rough sketches, designing borders, and preparing advertising art for the magazine.^{[six] [thirteen]} In this role, she illustrated the volume of poetry New and True: rhymes and rhythms and histories droll for boys and girls from pole to pole (1892) by Mary Wiley Staver.^[7]

During her time at the Ladies' Home Periodical, Smith enrolled in 1894 in classes taught by Howard Pyle at Drexel Constitute, now Drexel Academy.^{[5] [14]} She was in his offset course, which was almost 50% female.^[13] Pyle pushed many artists of Smith'due south generation to fight for their correct to illustrate for the major publishing houses. He worked particularly closely with many artists whom he saw every bit "gifted". Smith would write a voice communication stating that working with Pyle swept away "all the cobwebs and confusions that so beset the path of the art-pupil."^[15] The spoken communication was afterward compiled in the 1923 work "Written report of the Private View of Exhibition of the Works of Howard Pyle at the Art Alliance".^[sixteen] She studied with Pyle through 1897.^[17]

Scarlet Rose Girls [edit]

Ivory Soap analogy, 1901

While studying at Drexel, Smith met Elizabeth Shippen Dark-green and Violet Oakley, who had similar talent and with whom she had mutual interests. They would develop a lifelong friendship. The women shared a studio on Philadelphia's Chestnut Street.^[v] Henry Wadsworth Longfellow's Evangeline, illustrated by Oakley and Smith, was published in 1897. Their teacher Howard Pyle helped to secure this outset commission for the two artists.^[v]

At the turn of the twentieth century, Smith's career flourished. She illustrated a number of books, magazines, and created an advertisement for Ivory soap. Her works were published in Scribner's, Harper'due south Bazaar, Harper's Weekly, and St. Nicholas Magazine. She won an laurels for Child Washing.^[18] Light-green, Smith, and Oakley became known equally "The Cherry-red Rose Girls" after the Red Rose Inn in Villanova, Pennsylvania, where they lived and worked together for iv years beginning in the early 1900s.^{[6] [13]} They leased the inn where they were joined by Oakley'southward female parent, Green's parents, and Henrietta Cozens, who managed the gardens and inn.^[five] Alice Carter created a volume about the women entitled The Ruby-red Rose Girls: An Uncommon Story of Fine art and Love ^[19] for an exhibition of their work at the Norman Rockwell Museum. Museum Director Laurie Norton Moffatt said of them, "These women were considered the most influential artists of American domestic life at the plough of the twentieth century. Celebrated in their twenty-four hour period, their poetic, idealized images still prevail as archetypes of motherhood and childhood a century later."^[11]

Photo of Violet Oakley and Jessie Willcox Smith facing the photographic camera and Elizabeth Shippen Green and Henrietta Cozens, who are partially subconscious, c.  1901, Violet Oakley papers, Athenaeum of American Art, Smithsonian Institution.

Elizabeth Shippen Green, Life was fabricated for beloved and cheer, depicts the artist, Jessie Willcox Smith and Violet Oakley and other friends at the Cherry-red Rose Inn.

Jessie Willcox Smith and Elizabeth Shippen Dark-green with Prince the domestic dog in the garden at Cogslea, 1909.

Green and Smith illustrated the calendar, The Child in 1903.^[5] Smith exhibited at the Pennsylvania Academy of the Arts that year and won the Mary Smith Prize.^{[5] [xx]} When the artists lost the lease on the Red Rose Inn in 1904,^{[5] [21]} a farmhouse was remodeled for them in W Mountain Blusterous, Philadelphia by Frank Miles Day.^[22] They named their new shared home and workplace "Cogslea", fatigued from the initials of their surnames and that of Smith's roommate, Henrietta Cozens.^{[v] [21]}

New Woman [edit]

A Child'southward Garden of Verses, 1905

Equally educational opportunity opened up to women in the afterwards 19th century, women artists joined professional enterprises, and too founded their ain art associations. But artwork by 'lady artists' was considered inferior. To help overcome that stereotype women became "increasingly vocal and confident" in promoting their work, as role of the emerging image of the educated, modern and freer "New Adult female".^[23] Artists "played crucial roles in representing the New Woman, both past drawing images of the icon and exemplifying this emerging type through their own lives."^[24]

Continued career [edit]

The Jessie Willcox Smith Mother Goose, 1914

In the late 19th century and early 20th century near 88% of the subscribers of 11,000 American magazines and periodicals were women. As more women entered the artistic community, publishers hired women to create illustrations which depicted the world through women's perspectives. Other successful illustrators were Jennie Augusta Brownscombe, Rose O'Neill, Elizabeth Shippen Green, and Violet Oakley.^[24] Smith preferred to create illustrations for covers and stories, and also illustrated advertisements,^[26] which diameter her signature.^[27] According to the National Museum of American Analogy, Smith is said past many to exist the "greatest children'southward book illustrator" and her work has been compared to Mary Cassatt's for her endearing portrayal of children.^[thirteen]

Smith was a member of Philadelphia's The Plastic Guild (founded 1897), an organization established to promote "Art for fine art's sake". Other members included Elenore Abbott, Violet Oakley, and Elizabeth Shippen Green.^{[28] [29]} The group of women who founded the organization had been students of Howard Pyle. It was founded to provide a means to encourage ane another professionally and create opportunities to sell their works.^{[28] [30]} In 1903, the Society of Illustrators elected Florence Scovel Shinn and Elizabeth Shippen Green every bit its kickoff women members. Smith, Oakley, and May Wilson Preston became members the post-obit yr.^[31] They were acquaintance members until 1920, when they were made full members of the organization.^[29] In 1905 she was one of seven leading artists who contracted to work exclusively for Collier'due south. The others were Charles Dana Gibson, Maxfield Parrish, A. B. Frost, Frank Xavier Leyendecker, Due east. Westward. Kemble, and Frederic Remington.^[32]

Co-ordinate to an commodity printed by The New York Times in 1910, Smith made near U.s.$12,000 ($333,300 today) per year^[33] and, like Norman Rockwell and J. C. Leyendecker, became equally popular as a "media star".^[34] Smith was particularly known for her illustrations and advertising posters of children and women, which appealed to millions of people.^[35]

In 1911 both of her parents and her sometime instructor Howard Pyle died and Elizabeth Shippen Greenish was married to Huger Elliott.^{[v] [36] [a]} Oakley had a major landscape project in Harrisburg, the Pennsylvania state capitol, that kept her away from Cogslea for extended periods.^[38] Smith had a 16-room house and studio that she called Cogshill congenital on property near Cogslea. She lived in what was her final home^{[5] [39]} with Cozens, her aunt, and her brother.^{[40] [b]}

Over the adjacent several years she continued to create illustrations for magazines, including a series of Female parent Goose illustrations printed in Adept Housekeeping which were made in black and white until mid-1914 when they were printed in color. Her illustrations were reproduced in the book The Jessie Willcox Smith Mother Goose past Dodd, Mead, and Visitor. The volume that reflected her connected theme of female parent and kid in a realistic portrayal was a commercial success. Biographer Edward D. Nudelman wrote, "The cover illustration for this book, showing ii children nestled beneath the wings of Mother Goose, is one of Smith's almost pleasing and warm images. The quiet portrayed in the posture and expression of the children, forth with the material concern of Mother Goose, gives evidence of the genius of Smith."^[41] Smith had a knack for painting children, persuasively using milk, cookies and fairy tales to attain a relaxed, focused, child model. In her October 1917 Good Housekeeping article she wrote that "A child will ever await direct at anyone who is telling a story; then while I paint I tell tales marvelous to hear."^[42] In 1915 Smith finished one of her most well known works for Charles Kingsley'south The Water-Babies. ^{[six] [25]}

She graced every printed cover of Good Housekeeping from Dec 1917 through April 1933, becoming the creative person with the longest run of illustrated magazine covers. She created a total of 184 illustrations of family scenes for the magazine. The magazine said of her, "Certainly no other artist is so fitted to sympathise us, and to make for us pictures then truly an alphabetize to what nosotros are as a magazine are striving for. The holding upwardly to our readers of the highest ideals of the American home, the habitation with that certain sweet wholesomeness one associates with a sunny living-room—and children."^[43] She was one of the highest paid illustrators of the fourth dimension, earning over $one,500 per cover.^{[6] [25]} Smith too created illustrations for Kodak and Procter & Gamble'due south Ivory soap over the grade of her career.^{[13] [44]} She made illustrations for Collier'south magazines^[45] and of Charles Dickens' works, like Tiny Tim, Dickens' Children - Ten Children, and David Copperfield.^[46]

Smith continued to create illustrations throughout her life, just increased the number of portraits she painted beginning nearly 1925. She leveraged a technique that she learned from Eakins in these later years. She used photography every bit a tool when creating portraits.^[47]

Artistic manner [edit]

Smith's fashion changed drastically through her life. In the beginning of her career she used dark lined borders to delineate brightly coloured objects and people in a mode described as "Japonesque." In afterwards works she softened the lines and colours until they almost disappeared. Smith worked in mixed media: oil, watercolor, pastels, gouache, charcoal, whatsoever she felt gave her desired consequence. She often overlaid oils on charcoal, on a paper whose grain or texture added an important element to the work. Her utilize of colour was influenced by the French impressionist painters.^{[5] [6]}

Well-nigh of Smith's work is primarily concerned with children and motherly love. Many reviewers say Smith was continually trying to recreate the image of love she had desperately needed as a child. Smith preferred to use real children as opposed to kid actors, because she found professional children did not take the same soul, or will to explore, as amateur child models. She would invite her friends to visit, and watch their children play, to use as her inspiration.^{[half dozen]}

Expiry and legacy [edit]

Though never a travel enthusiast, Smith finally agreed to bout Europe in 1933 with Isabel Crowder, who was both Henrietta Cozens' niece and also a nurse.^[48] During her trip, her health deteriorated.^[5] Smith subsequently died in her sleep at her house at Cogshill in 1935 at the historic period of 71.^[49] In 1936, the Pennsylvania Academy of the Fine Arts held a memorial retrospective exhibition of her works.^[l]

In 1991, Smith became only the second woman to be inducted into The Hall of Fame of the Society of Illustrators. Lorraine Fox (1979) had been the first woman inductee. Of the small group of women inducted, iii were the members of The Cerise Rose Girls: Jessie Willcox Smith, Elizabeth Shippen Green (1994) and Violet Oakley (1996).^{[11] [51]}

Smith bequeathed xiv original works to the Library of Congress' "Chiffonier of American Illustration" collection to document the Golden age of illustration (1880-1920s).^{[52] [53]} Smith's papers are on eolith in the collection of the Archives of American Art at the Smithsonian Institution.^[54]

Collections [edit]

Her works are among the collections of the following.

• Brandywine Heritage Galleries, Brandywine River Museum^[55]
• Delaware Art Museum^[ix]
• Rare Book Department, Free Library of Philadelphia^[56]
• National Museum of American Illustration^[57]
• New York Public Library Digital Gallery.^[58]
• Pennsylvania Academy of the Fine Arts^[59]
• Philadelphia Museum of Art^[60]
• U.s.a. Library of Congress^[61]
• University of Michigan Museum of Art^[62]

Works [edit]

Smith made illustrations for more than 250 periodicals, 200 magazine covers, threescore books, prints, calendars and posters from 1888 to 1932. She also painted portraits. Some of her works are listed below.^{[nine] [12]}

Illustrations [edit]

• New and True [Poems] – Mary Wiley Staver (Lee & Shepard, 1892)
• Evangeline: A Tale of Acadie – Henry Wadsworth Longfellow (1897)
• The Young Puritans in Captivity – Mary Prudence Wells Smith (Piddling, Dark-brown & Co, 1899)
• Brenda'southward Summertime at Rockley – Helen Leah Reed (1901)
• An Old-Fashioned Girl – Louisa May Alcott (1902)
• The Book of The Child [Short Stories] – Mabel Humphrey (Stokes, 1903)
• Rhymes of Existent Children – Betty Sage (Duffield, 1903)
• In The Closed Room – Frances Hodgson Burnett (Hodder, 1904)
• A Child's Garden of Verses – Robert Louis Stevenson (Scribner U.s.a./Longmans Greenish UK, 1905)
• The Bed-Time Book – Helen Hay Whitney (Duffield US/Chatto UK, 1907)
• Dream Blocks – Aileen Cleveland Higgins (Duffield US/Chatto Great britain, 1908)
• The Seven Ages of Childhood – Carolyn Wells (Moffat & One thousand, 1909)
• A Child's Book of Sometime Verses – Diverse Poets (Duffield, 1910)
• The Five Senses – Angela M. Keyes (1911)
• The Now-a-Days Fairy Book – Anna Alice Chapin (1911)
• A Kid's Book of Stories – Penrhyn Due west. Coussens (1911)
• Dickens' Children – Charles Dickens (Scribner, 1912)
• Twas The Night Earlier Christmas – Clement Clarke Moore (1912)^[63]
• The Jessie Wilcox Smith Mother Goose (1914)
• Little Women – Louisa May Alcott (Footling, Dark-brown & Co, 1915)
• When Christmas Comes Around – Priscilla Underwood (Duffield, 1915)
• Swift's Premium Calendar (1916)
• The H2o Babies – Charles Kingsley (Dodd, Mead & Co, 1916)^[25]
• The Way to Wonderland – Mary Stewart (Dodd, Mead & Co, 1917)
• At The Dorsum of The N Wind – George MacDonald (McKay, 1919)
• The Princess and the Goblin – George MacDonald (McKay, 1920)
• Heidi – Johanna Spyri (McKay, 1922)
• Boys and Girls of Bookland – Nora Archibald Smith (Cosmopolitan Book Corporation, 1923)
• A Very Little Kid's Book of Stories – Ada K. & Eleanor 50. Skinner (1923)
• A Child's Book of Land Stories – Ada K. & Eleanor L. Skinner (Duffield, 1925)

Magazines [edit]

The major magazines that she illustrated include:^[5]

• Saint Nicholas Mag (1888–1905)
• Ladies Domicile Periodical (1896–1915)
• Ladies Abode Companion until 1897, name changed to Woman's Home Companion (1896–1920)
• Collier's (1899–1916)
• Scribner'due south Magazine (1900–1937)
• McClure's Magazine (1903–1909)
• Good Housekeeping Magazine (1912–1933)

Gallery [edit]

• 

  Rhymes of Existent Children

• 

• 

  Fairy Tales, Boston Public Library

• 

• 

• 

  Heidi frontispiece, 1922 edition

Notes [edit]

1. ^ Oakley and Smith never married.^[37]
2. ^ Violet Oakley remained at Cogslea until the 1960s.^[22]

References [edit]

1. ^ "Biography of Jessie Willcox Smith". Penn Land Academy Libraries. Retrieved December 28, 2014.
2. ^ Gloria Nixon (February ane, 2015). Rag Darlings: Dolls From the Feedsack Era. C&T Publishing. p. 43. ISBN978-1-61745-385-four.
3. ^ Noah Fleisher (November 12, 2015). Collecting Children's Literature: Books, Artwork, Values. F+W Media, Inc. p. 73. ISBN978-1-4402-4529-9.
4. ^ ^{a b} Nudelman, 1990, pp. 17, 139.
5. ^ ^{a b c d due east f g h i j k l m n o p q r s} Illustrators Project, Jessie Willcox Smith biography.
6. ^ ^{a b c d e f thousand} Hamburger, pp. 385+
7. ^ ^{a b c} Nudelman, 1989, p. 12.
8. ^ ^{a b c} Nudelman, 1990, p. eighteen.
9. ^ ^{a b c d} "Search: Artist – Jessie Willcox Smith". Delaware Art Museum. Retrieved Dec 28, 2014.
10. ^ ^{a b} Nudelman, 1990, p. nineteen.
11. ^ ^{a b c} "The Red Rose Girls: An Uncommon Story of Art and Honey". Traditional Fine Arts Organization, Inc. Retrieved December 26, 2014.
12. ^ ^{a b} Nudelman, 1989, p. xi.
13. ^ ^{a b c d e} "Jessie Willcox Smith: American Imagist". National Museum of American Analogy. Archived from the original on February four, 2015. Retrieved December 28, 2014.
14. ^ Nudelman, 1990, pp. 21, 139.
15. ^ Nudelman, 1990, pp. 21–24.
16. ^ Carter, p. 12.
17. ^ Nudelman, 1989, p. 13.
18. ^ Nudelman, 1990, p. 26.
19. ^ Carter.^{[ total citation needed ]}
20. ^ Pennsylvania Academy of the Fine Arts (1914). Catalogue of the Annual Exhibition of Painting and Sculpture. pp. 10–eleven.
21. ^ ^{a b} Nudelman, 1990, pp. 10, 34.
22. ^ ^{a b} Keels, Jarvis, p. 80.
23. ^ Prieto, pp. 145–146.
24. ^ ^{a b} Prieto, pp. 160–161.
25. ^ ^{a b c d} Library of Congress 1999 exhibition of "The Water-Babies" www.loc.gov.
26. ^ Thomson, p. 72.
27. ^ Thomson, p. 149.
28. ^ ^{a b} May, May, and Pyle, p. 89.
29. ^ ^{a b} Thomson, p. 154.
30. ^ The Plastic Club. The Historical Club of Pennsylvania. Retrieved March 4, 2014.
31. ^ Bogart, p. 36.
32. ^ Thomson, pp. 75, 127.
33. ^ Bogart, p. 312.
34. ^ Bogart, p. 23.
35. ^ Bogart, pp. 26, 48, 69–seventy, 141.
36. ^ Nudelman, 1990, pp. 36–37.
37. ^ Robbins, p. 36.
38. ^ Nudelman, 1990, p. 37.
39. ^ Nudelman, 1990, pp. 34–37, 141.
40. ^ Nudelman, 1989, p. 19.
41. ^ Nudelman, 1990, pp. 37–38.
42. ^ Stryker, Smith, Elliot, Oakley, p. 12.
43. ^ Nudelman, 1990, p. 39.
44. ^ "Search: Jessie Willcox Smith + Procter & Gamble". Smithsonian Institution Research Information System. Retrieved December 20, 2014.
45. ^ "Search: Jessie Willcox Smith + Collier's". Smithsonian Institution Enquiry Information System. Retrieved December twenty, 2014.
46. ^ "Search: Jessie Willcox Smith + Charles Dickens". Smithsonian Institution Research Information Arrangement. Retrieved December 20, 2014.
47. ^ Nudelman, 1990, pp. 19, 43.
48. ^ Nudelman, 1990, pp. 45, 141.
49. ^ Nudelman, 1990, p. 141.
50. ^ Pennsylvania University of the Fine Arts.
51. ^ "Hall of Fame Past Inductees". Society of Illustrators. Retrieved December 21, 2014.
52. ^ "Chiffonier of American Illustration". Library of xCongress. Retrieved December 21, 2014.
53. ^ "Search: Jessie Willcox Smith". Library of Congress. Retrieved December 21, 2014.
54. ^ "Jessie Willcox Smith papers, 1901–1931". Smithsonian Institution Research Information System. Retrieved December 20, 2014.
55. ^ "Brandywine River Museum of Fine art". Brandywine River Museum of Art. Retrieved Dec 28, 2014.
56. ^ "Thornton Oakley collection of Howard Pyle and His Students". Costless Library of Philadelphia. January vi, 2015.
57. ^ "Drove". National Museum of American Illustration. Retrieved December 28, 2014.
58. ^ "Jessie Willcox Smith". New York Public Library. Retrieved Dec 28, 2014.
59. ^ "Collection by Artist: Jessie Willcox Smith". Pennsylvania University of the Fine Arts. Retrieved December 28, 2014.
60. ^ "Child in a Blue Adjust (Portrait of Henry P. McIlhenny)". Philadelphia Museum of Art. Retrieved January 10, 2015.
61. ^ "Waterbabies". United States Library of Congress. Retrieved December 28, 2014.
62. ^ "Jessie Willcox Smith, Have You a Scarlet Cross Service Flag?". Academy of Michigan Museum of Art. Retrieved Dec 28, 2014.
63. ^ Twas the Nighttime before Christmas, Jessie Willcox Smith illustration. Gutenberg.org.

Sources [edit]

• Michele H. Bogart (December xviii, 1995). Artists, Advertising, and the Borders of Art . Academy of Chicago Press. p. 36. ISBN978-0-226-06307-two.
• Carter, Alice A. (March i, 2000). The Ruby Rose Girls: An Uncommon Story of Art and Dear. Harry N. Abrams. ISBN978-0-8109-4437-4.
• Hamburger, Susan (1998). "Jessie Wilcox Smith". American Book and Magazine Illustrators to 1920. Gale Research International, Limited. ISBN978-0-7876-1843-eight.
• The Illustrators Project: Jessie Willcox Smith (1863–1935). The Elizabeth Nesbitt Room (ENR), Information Sciences Library, University of Pittsburgh. Archived from the original on June 4, 2015. Retrieved Dec twenty, 2014.
• Keels, Thomas H.; Elizabeth Farmer Jarvis (2002). Anecdote Hill. Arcadia Publishing. p. 80. ISBN978-0-7385-1061-3.
• May, Jill P.; Robert Due east. May; Howard Pyle (2011). Howard Pyle: Imagining an American Schoolhouse of Fine art. University of Illinois Press. ISBN978-0-252-03626-ii.
• Nudelman, Edward D. (1989). Jessie Willcox Smith: A Bibliography. Gretna, Louisiana: Pelican Publishing. p. 11. ISBN978-ane-4556-0666-5.
• Nudelman, Edward D. (1990). Jesse Willcox Smith: American Illustrator. Gretna, Louisiana: Pelican Publishing. ISBN9780882897868.
• Pennsylvania University of the Fine Arts (1936). Memorial Exhibition of the Work of Jessie Willcox Smith: Pennsylvania Academy of the Fine Arts, March 14 Through April 12, 1936. The Academy.
• Prieto, Laura R. (2001). At Dwelling in the Studio: The Professionalization of Women Artists in America . Harvard University Press. p. 145. ISBN978-0-674-00486-three.
• Trina Robbins (May 23, 2001). Nell Brinkley and the New Woman in the Early 20th Century . McFarland. p. 36. ISBN978-0-7864-5071-8.
• Stryker, Catherine Connell; Jessie Willcox Smith; Elizabeth Shippen Green Elliott, Violet Oakley (1976). The Studios at Cogslea: Delaware Fine art Museum, Feb 20 – March 28, 1976. Delaware Art Museum.
• Thomson, Ellen Mazur (1997). The Origins of Graphic Design in America, 1870–1920. Yale University Printing. ISBN978-0-300-06835-1.
• Joniec, Nicole. (2011). The Jessie Wilcox Smith Collection. Print and Photograph Department of The Library Company of Philadelphia.

Further reading [edit]

• Freeman, Ruth S. Jessie Willcox Smith: Jessie Willcox Smith: Children's Dandy Illustrator. Watkins Glen: Century House, Inc.
• Gedeon, Joanne A. (Leap 2010). "Jessie Willcox Smith". Pennsylvania Centre for the Book, The Pennsylvania State University.
• Goodman, Helen (Spring–Summer 1987). "Women Illustrators of the Gilt Age of American Illustration". Woman'south Art Periodical. viii (one): thirteen–22. doi:x.2307/1358335. JSTOR 1358335.
• Nudelman, Edward D., ed. (1991). The Jesse Willcox Smith Mother Goose: A Careful and Total Selection of the Rhymes. Gretna, Louisiana: Pelican Publishing.
• Plastic Gild; Violet Oakley; Jessie Willcox Smith, Elizabeth Shippen Dark-green (1902). The Plastic Gild Catalogue: Exhibition of Piece of work by Violet Oakley, Jessie Willcox Smith, Elizabeth Shippen Green. Philadelphia: Plastic Gild.
• Reed, Rodger T. "Jessie Willcox Smith". Illustration House.
• Schnessel, Southward. Michael (1977). Jessie Willcox Smith. London: Studio Vista.
• Smith, Jessie Willcox; Albert Sterner; Maxfield Parrish, William Thomas Smedley, Harrison Fisher, F. X. Leyendecker, Arthur Burdett Frost, Edward Windsor Kemble (1906). Eight American Artists: Jessie Willcox Smith, Albert Sterner, Maxfield Parrish, William T. Smedley, Harrison Fisher, F.X. Leyendecker, A.B. Frost, E.W. Kemble. P.F. Collier. {{cite volume}}: CS1 maint: multiple names: authors listing (link)
• Susina, Jan. (1991). Dream Children. The Johns Hopkins University Printing.

External links [edit]

• Media related to Jessie Willcox Smith at Wikimedia Commons
• Works past Jessie Willcox Smith at Project Gutenberg
• Works by or about Jessie Willcox Smith at Cyberspace Archive
• Images and works of Jessie Willcox Smith, Smithsonian Institution Research Information System
• Jessie Willcox Smith at Library of Congress Authorities, with 89 itemize records

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Source: https://en.wikipedia.org/wiki/Jessie_Willcox_Smith

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