In 1919, Palmer became the first woman elected president of the Chicago Society of Artists. The New York Times, in 1938, upon her death, noted that many art critics celebrated her as one of the most important painters in America.
She was known for her portraits, but also did landscapes and still-life oils. Her work was widely exhibited during her lifetime.
Born in 1867, she died in Norway while on a trip to Europe with her sister.
“Art made by women represents a tiny fraction of what contemporary museums show and collect. This has always been an unwavering prejudice, though in the late nineteenth century and for several decades thereafter change was in the air. Women achieved new levels of education and professional employment, and enthusiastically turned their attention to art. This show highlights a small group of artists who spent summers in Ogunquit, studying with Charles Woodbury, founder of the town’s first art colony. Because they made art their life’s work, these women were exceptional for their time.”
From building hospitals to caring for the homeless, these are the untold stories of the wives of the men who governed Ireland before independence from Britain. Portraits of the women are on exhibit at Dublin Castle.
Capet “attracted the attention of one of the great ladies of French painting, Adélaïde Labille-Guiard, who accepted her as a student in her studio. Marie-Gabrielle soon took precedence over Adélaïde’s numerous other female protégés. There were nine of these in total, collectively referred to as Les Demoiselles, and they included the talented Marie-Victoire d’Avril and Marie-Marguerite Carreaux de Rosemond.”
A highlight for me was a painting by Adélaïde — a self-portrait — in which she included two of her students, one being Marie-Gabrielle Capet.