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Malone, Blondelle (1877–1951)
Newport
Oil on canvas
12 1/8 x 20 1/8 inches
1907
After three years of studies at Converse College, Blondelle Malone wrote to her parents: “I have finally decided on art as a profession and I mean to work at it as hard as I can and see if I can be an artist some day. Think this way of girls going to school and getting married nonsense.” Upon her arrival in New York, the South Carolinian matriculated at the Art Students League. It was while visiting a former League classmate in Rhode Island that she later executed this plein air painting. Illuminated by pale sunshine, a low stone wall and thin row of trees create a strong diagonal in the otherwise horizontal composition. Both the loose brushwork and atmospheric mood are characteristic of Impressionist landscapes. The lavender field flowers reflect Malone’s penchant for floral scenes, works that led to her moniker as “the garden artist of America.”
s published in:
Central to Their Lives: Southern Women Artists in the Johnson Collection
As exhibited in:
The League of Extraordinary Artists, 2024, Richardson Family Art Museum, Wofford College, Spartanburg, South Carolina
Central to Their Lives: Southern Women Artists in the Johnson Collection, 2018–2021, Georgia Museum of Art, Athens; Mississippi Musuem of Art, Jackson; Huntington Museum of Art, West Virginia; Dixon Gallery and Gardens, Memphis, Tennessee; Gibbes Museum of Art, Charleston, South Carolina; Wofford College, Spartanburg, South Carolina; Taubman Museum of Art, Roanoke, Virginia.
Blondelle Octavia Edwards Malone lived an interesting and independent life and came into contact with some of the era's most noted artists. She was born into a prosperous family near Bostwick, Georgia, and spent her childhood in Columbia, South Carolina. In 1892, she entered Converse College in Spartanburg, where she studied art. In 1897, desperate to expand her horizons, she went to New York and enrolled at the Art Students League where she took classes with noted impressionists William Merritt Chase, John Henry Twachtman, and Robert Blum. She spent the summer of 1899 in the artists’s colony of Cos Cob, Connecticut, where she continued study with Twachtman and gained exposure to other Connecticut impressionists whose work greatly informed her development.
At the request of her parents, she briefly returned home to South Carolina, but eventually convinced them to let her return to New York where she resumed studies with Twachtman, and began to gain some recognition with book cover designs. Again she was persuaded to return home, but only for a brief period before she left for California, and then went on to visit Japan, for one year; and to Europe. She initially visited Italy in 1904 and spent an extended period in Venice. She also traveled in France, England, Holland, and Ireland. In France, she sought out prominent artists, such as Auguste Rodin and Mary Cassatt, as well as dignitaries and aristocrats. The highlight of her sojourn, however, was a visit in December 1904 with the artist she held in the highest esteem—Claude Monet, who lived in Giverny. She gained his acquaintance, solicited a critique of her work, and was allowed to paint in his famed garden. She also encountered other American expatriates working in the area, including Frederick MacMonnies and Theodore Butler.
While in Europe, Malone grew more serious about her art, exhibiting in some notable venues and dedicating herself to working in a modified impressionistic approach. She is best known for colorful floral landscapes. Her carefree existence came to an abrupt end when she received word from her father in December 1915 that her mother had died and that she must return home. She acquired a home and studio in Aiken, South Carolina, in 1916, but in 1920, she moved back to New York. After her father passed away in 1930, she purchased property in Alexandria, Virginia, became active in historic preservation, and continued painting into the 1940s. In her last years plagued with health problems, Malone returned to Columbia, South Carolina, where she lived out the remainder of her life in a nursing home until her death in 1951. She left a sizable bequest to the Columbia Museum of Art; her work is also represented in the permanent collection of the Morris Museum of Art.
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All the Small Things
TJC Gallery, Spartanburg SC
February 19, 2025 – April 4, 2025
thejohnsoncollection.org/all-the-small-things/
Size matters in art. The scale of a work when seen in person can be an essential ingredient in its visual impact. And the received canon of fine art in the West has a clear bias for BIG things—from the monumental statuary of antiquity to the massive canvases in the contemporary art scene. Indeed, for the past four hundred years, artists have been highly incentivized to “go big,” as larger works commanded more prestige. Within the hierarchy of art genres inherited from the seventeenth century and the standardized measurements that evolved in the art industries of the nineteenth century, the largest canvases and commissions have traditionally been reserved for imposing landscapes and full-length portraits. Against this grain, the present exhibition celebrates the wondrous world of small art—in this case, paintings of no more than twenty inches.
Why might an artist work on a small scale? For some the motivation may be economic. Larger paintings mean more material costs, from more paint to bigger frames and heftier shipping prices. Thus, the size of an artwork potentially reveals unequal financial challenges faced by, for instance, women artists, self-taught artists, or artists of color. At the same time, the cheaper costs of smaller works make them well-suited for preliminary studies (as with Aaron Douglas’s The Toiler) or for trial efforts with new styles and techniques (such as Theodoros Stamos’s experiments with abstraction in Flow). Smaller art is more portable, making it ideal for artists working in the plein-air tradition or those working rapidly for tourist markets. Finally, although petite paintings have historically been relegated to subjects considered mundane or insignificant, these small works can instead confer an intimacy and humanity for the artist and viewer alike.
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See also: www.flickr.com/photos/ugardener/albums/72177720322921517/
THE JOHNSON COLLECTION - A Private Collection for Public Good
thejohnsoncollection.org/the-collection/
Sharing the art it stewards with communities across the country is The Johnson Collection’s essential purpose and propels our daily work. Much more than a physical place, TJC seeks to be a presence in American art, prioritizing access over location. Since 2013, the collection’s touring exhibitions have been loaned twenty-five times, placed without fee in partner museums with a combined annual attendance of over 1.2 million visitors. In its showcase of over 1,000 objects, TJC’s website functions as a digital museum, available anywhere and anytime.
What began as an interest in paintings by Carolina artists in 2002 has grown to encompass over 1,400 objects with provenances that span the centuries and chronicle the cultural evolution of the American South.
Today, The Johnson Collection counts iconic masterworks among its holdings, as well as representative pieces by an astonishing depth and breadth of artists, native and visiting, whose lives and legacies form the foundation of Southern art history. From William D. Washington’s The Burial of Latané to Malvin Gray Johnson’s Roll Jordan Roll, the collection embraces the region’s rich history and confronts its complexities, past and present.
.The contributions of women artists, ranging from Helen Turner—only the fourth woman elected to full membership in the National Academy of Design in 1921—to Alma Thomas—the first African American woman to have a solo exhibition at a major national museum in 1972—are accorded overdue attention, most notably in TJC's most recent publication and companion exhibition, Central to Their Lives: Southern Women Artists in the Johnson Collection. Landmark works by American artists of African descent such as Benny Andrews, Romare Bearden, Elizabeth Catlett, Aaron Douglas, William H. Johnson, Leo Twiggs, and Hale Woodruff pay homage to their makers' barrier-defying accomplishments. Modern paintings, prints, collages, and sculpture created by internationally renowned artists associated with the experimental arts enclave of Black Mountain College, including Josef Albers, Ruth Asawa, Ilya Bolotowsky, Elaine de Kooning, Robert Motherwell, Kenneth Noland, and Robert Rauschenberg highlight the North Carolina school's geographic proximity to the collection's home.
Hailed by The Magazine Antiques as having staged a "quiet art historical revolution" and expanding "the meaning of regional," The Johnson Collection heralds the pivotal role that art of the South plays in the national narrative. To that end, the collection's ambitious publication and exhibition strategies extend far beyond a single city's limit or a territorial divide.
Since 2012, TJC has produced four significant scholarly books—thoroughly researched and beautifully illustrated investigations of Southern art time periods, artists, and themes: Romantic Spirits: Nineteenth Century Paintings of the South (2012); From New York to Nebo: The Artistic Journey of Eugene Thomason (2014); Scenic Impressions: Southern Interpretations from the Johnson Collection (2015); and Central to Their Lives: Southern Women Artists in the Johnson Collection (2018). These volumes are accompanied by traveling exhibitions that have been loaned without fee to partner museums with a combined annual attendance of over 1.7 million visitors.
Smaller curated presentations rotate at the collection's hometown exhibition space, TJC Gallery. Individual objects are regularly made available for critical exhibitions such as La Biennale di Venezia, Afro-Atlantic Histories, Outliers and American Vanguard Art, Leap Before You Look: Black Mountain College, 1933-1957, Alma W. Thomas: Everything is Beautiful, Riffs and Relations: African American Artists and the European Modernist Tradition, and Bold, Cautious, True: Walt Whitman and American Art of the Civil War Era and featured in important publications and catalogues, including The New Encyclopedia of Southern Culture: Art & Architecture, and The Civil War and American Art.
In 2016, the state of South Carolina honored The Johnson Collection with the Governor’s Award for the Arts, its highest arts distinction. The commendation paid tribute to the Johnson family's enduring contributions: "Equally dedicated to arts advancement and arts accessibility, the Johnsons generously share their vision, energy, passion and resources to benefit the arts in South Carolina."
"Who can say what ignites a passion? Was it those three red roses frozen in blue? An awakened connection to one's geographical roots? Perhaps the familiarity of the road to Nebo? The nucleus of what was to become our collection was formed by such seemingly unrelated catalysts. Looking back, it was always the sense of place that drew George and me to beautiful pictures—pictures that capture not only the glorious landscape of the South, but that also enliven its unique culture and dynamic history." ~Susu Johnson, Chief Executive Officer.'
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"If you’re looking for a vibe, this is where you’ll find it. Spartanburg is one of South Carolina’s most established, respected, progressive, and diverse art communities with everything from the fine arts—ballet, symphonies, and opera—to the cutting edge—street performers, graffiti, and dance mobs.
Experience the Cultural District
Downtown Spartanburg has even been designated as a cultural district by the South Carolina Arts Commission. Within the cultural district, you can walk to and enjoy world-class art galleries, studios, music venues, breweries, culinary arts, local literature publishers, coffee shops, libraries, museums, and more. Regardless of when you visit, you’re likely to encounter live music in the streets, featuring jazz, rock ‘n’ roll, or beach music.
Come experience how we put the art in SpARTanburg."
Study abroad in Poland for Summer 2011. This was taken in front of a castle in a small town outside of Warsaw.
Share your pride: www.osu.edu/O-H-I-O/
Photograph taken by Julian McBain
Rights: VCU Libraries. Attribution required.
Further information: Communications and Public Relations Office, VCU Libraries, (804) 828-0129
This image was selected in the Annual Student Art Expo 2006 for a Student Selection Award in Photography, Appalachian State University.
Gelatin Silver Print 11x17
Toned:
- Ilford Coper Tone
- Ilford Selenium
Formalist Studies was a project in a special processes class of Photographic Methods. Interpretation of human body in relation to nature.
I did a traditioal page of the competition - washi tape, jewels, ellison die cut of the USA from Archivers, competitor paper and postage stamps that were from my stamp collection. Here is the journaling
A study of the Competition
[On the die cut] Heard someone say this is the best show in the U.S.A. 15 miles from me
Novi, Michigan
All I use is Creative Memories 99%. [under the die cut] Because I am a consultant (exception is X box by Xyron)
Under the Washi tape:
1) I went to the Great Lake mega Meet to see my friend Kathleen and the LOAD group.
2) While there I made a study of The Compeptition 30 Everything on the page is a competitor product from Creative Memories
In Summary:
1) Washi tape is fun 2) Mega Meet did NOT have what I want 3) Saw Kathleen and she is my picture of the day; she is the head of our Picture of the Day Group. 4) Did not see LOAD sisters at Archivers. Wished everyone well.
Springfield College President Mary Beth Cooper serves Dunkin’s beverages as student take a study break during finals at Springfield College on Monday, December 16, 2019..
Undergraduate, 1st year, BFA, illustration
This is part of a series with surreal childhood experiences
My style is also often known by the name pop surrealism. Lowbrow art often has a sense of humor - sometimes the humor is gleeful, sometimes impish, and sometimes it's a sarcastic. Thanks for reviewing.
Jet.
Study for the dream sequence in Spellbound 1944
Oil on panel 58.7 x 84 cm
Private collection, courtesy Hauser & Wirth Zürich London
© 2008 Salvador Dalí, Fundació Gala-Salvador Dalí/Artists Rights Society (ARS), New York
Three versions of a picture showing my study windows and the new addition (along with the "Dartmoor Pixie")
[Screens-P1050576w]
"You need to decide" - the picture shows Baikal with a dark Northern end, where oil would seep in first if the pipeline broke...
Study of a Michelangelo drawing, red pen with white highlights. Blogged about on my humble blog: www.redgreenandpurple.blogspot.com/
I'm studying for my third final. I'm ready to die. I made a 103 on my Social Psychology final and a 100 on my English final. I don't really have the heart to study for history, but I'm trying. Its a big struggle. I make A's in philosophy so that final on Friday is in the bag. Pray for me as I try to struggle through tonight.
I don't think you can really tell in this picture how sick I look. If you were to see me in person you can tell I haven't slept since Sunday. Every night I've gotten about an hour or two of sleep. I'm ready for this semester to be over.
I hate school.