Maxfield Parrish embarked on his artistic journey at the age of 25, initially working as an illustrator, where he was responsible for magazine covers, advertisements, posters, and various book illustrations. By 1917, he had already established himself as a prominent commercial artist when he was commissioned by General Electric to create a series of illustrations for their annual calendars, which were aimed at promoting the Electric-Edison Mazda Lamps. GE’s executives encouraged Parrish to highlight the different aspects of light—both natural and fantastical—to present their product as innovative. Over the next 15 years, he created a remarkable collection of 17 paintings that depicted the evolution of light, culminating in a national fame that transformed him into a celebrated icon. From 1917 to 1931, these calendar illustrations saw tremendous success, with over 20 million reproductions made in various sizes and colors. The nature of calendar art appealed to Parrish; he appreciated how these works were widely displayed in public spaces like offices, banks, and stores, allowing his art to reach broader audiences. Thus, he transitioned from a noteworthy illustrator to a household name through the Mazda commission.
One noteworthy piece from this period is “Prometheus,” created in 1919 and released shortly thereafter. The painting visually narrates the legendary story of Prometheus, the Titan credited with stealing fire from the gods to bestow upon humanity, spurring the advancement of both civilization and culture. This act elevated Prometheus as the patron of artists and thinkers on Earth, heralding enlightenment. Parrish enhances this heroic narrative by portraying Prometheus in a classical style rich with mythological elegance. The character is enveloped in a warm, golden glow, depicted in an idealized form, conveying both beauty and youthful vigor as he returns to Earth with the divine flame. While the imagery draws significantly from ancient Greek influences, “Prometheus” also incorporates elements from Old Masters and Pre-Raphaelite aesthetics, along with Parrish’s vibrant imagination, merging them into a fantastical vision that resonated with the public and aligned perfectly with GE’s corporate image.
The surreal landscape that accompanies the figure is thought to be birthed from Parrish’s creative imagination. He frequently conjured “Parrishscapes,” combining real and invented natural attributes. A glimpse into the distance reveals an enigmatic mountainous scene, which Parrish’s extraordinary color skills bring to life. The breathtaking moonlight cascades onto a tranquil lake, complementing the rugged formations surrounding it. His use of deep midnight blue hues was inspired by the distinctive light phenomena of New England, as noted when he remarked about the unique blue that pervades the region: “There is an intense blue in New England… put a mountain here, against the east, in a clear sunset glow, and it would be more startling than in Arizona.” The piece is marked by stunning luminosity and color purity, achieved through layers of transparent glazes, a technique that has come to characterize his unique artistic style. “Prometheus” showcases his rich color palette and meticulous attention to detail, solidifying Parrish’s esteemed reputation among American illustrators.
Exhibitions
Parrish’s works have been featured in several notable exhibitions, including:
– Maxfield Parrish, Master of Make-Believe: An Exhibition at the Brandywine River Museum in Pennsylvania (June-September 1974).
– Maxfield Parrish at La Galeria in San Mateo, California (1976).
– The Oaks: Maxfield Parrish Museum in Windsor, Vermont (June-August 1978).
– A Date with Art: The Business of Illustrated Calendars at the Brandywine River Museum (January 25, 2014 – May 18, 2014).
Literature
His artistry has been explored in various literature, with significant works discussing his life and style:
– “Maxfield Parrish” by Coy Ludwig (1973).
– “Maxfield Parrish: The Early Years, 1893-1930” by Paul W. Skeeters (1973).
– “Maxfield Parrish” by Laurence S. Cutler, Judy Goffman (1993).
– “Maxfield Parrish: The Masterworks” by Alma Gilbert (1995).
– “Maxfield Parrish and the American Imagists” by Cutler and Goffman Cutler (2004).
Exploring Art
The illustrations of Maxfield Parrish (1870–1966) represent an ethereal beauty that transcends typical depiction. His work often immerses viewers in a fantastical reality, marked by vivid details and fairy-tale environments that set a high bar for illustration artistry. Parrish’s distinct technique, which starts with a white base to enhance luminosity through layered glazing, enabled him to create some of the most iconic and vibrant works of art. Among the highlights of his oeuvre is “Sing a Song of Six Pence,” a striking mural that extends over 13 feet, originally painted for the Sherman House hotel bar in Chicago. Parrish gained immediate acclaim after completing a mural of Old King Cole for the University of Pennsylvania in 1894, showcasing his ability to infuse immense detail into large-scale works. Techniques such as projecting photographs to accurately depict features were likely crucial to the realism present in his murals.
