{"id":19846,"date":"2018-02-15T09:23:49","date_gmt":"2018-02-15T14:23:49","guid":{"rendered":"https:\/\/www.marybakereddylibrary.org\/research\/des-femmes-ayant-marque-lhistoire-violet-oakley\/"},"modified":"2022-04-21T13:40:08","modified_gmt":"2022-04-21T17:40:08","slug":"des-femmes-ayant-marque-lhistoire-violet-oakley","status":"publish","type":"post","link":"https:\/\/www.marybakereddylibrary.org\/fr\/research\/des-femmes-ayant-marque-lhistoire-violet-oakley\/","title":{"rendered":"Des femmes ayant marqu\u00e9 l\u2019Histoire : Violet Oakley"},"content":{"rendered":"

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Bain News Service, Editeur\/Pris de La Biblioth\u00e8que du Congr\u00e8s.<\/p>\n

[\/et_pb_text][et_pb_text admin_label=”Violet pullquote” background_layout=”light” use_border_color=”off” background_position=”top_left” background_repeat=”repeat” background_size=”initial” _builder_version=”3.0.91″ text_orientation=”left”]<\/p>\n

\n

Ma foi en un monde organis\u00e9, gouvern\u00e9 par des lois internationales, remonte \u00e0 ma premi\u00e8re lecture de la vie de William Penn et de sa \u00ab sainte exp\u00e9rience \u00bb, nom qu’il donnait au Commonwealth de Pennsylvanie, sans fortifications en 1682.
\n<\/strong>\u2014Violet Oakley<\/strong><\/p>\n<\/blockquote>\n

[\/et_pb_text][et_pb_text admin_label=”Blog Text” background_layout=”light” use_border_color=”off” background_position=”top_left” background_repeat=”repeat” background_size=”initial” _builder_version=”3.0.91″ text_orientation=”left”]<\/p>\n

\nViolet Oakley (1874-1961) est aujourd’hui largement reconnue pour ses talents d’illustratrice, de cr\u00e9atrice de vitraux, d’enlumineuse, de peintre portraitiste, d’auteur et de conf\u00e9renci\u00e8re. Cette femme remarquable s’impose en tant qu’artiste \u00e0 une \u00e9poque o\u00f9 les \u0153uvres des femmes sont g\u00e9n\u00e9ralement consid\u00e9r\u00e9es comme inf\u00e9rieures \u00e0 celles des hommes. Elle \u0153uvre en faveur de la reconnaissance des femmes au sein d’institutions artistiques et litt\u00e9raires domin\u00e9es par les hommes.<\/p>\n

Violet Oakley est une illustratrice prolifique. Ses illustrations pour des magazines r\u00e9put\u00e9s contribuent \u00e0 mettre en valeur des femmes s\u00fbres d’elles-m\u00eames et instruites. Cependant, ses \u0153uvres les plus c\u00e9l\u00e8bres demeurent sans doute ses peintures murales. Elle est la premi\u00e8re Am\u00e9ricaine \u00e0 recevoir une commande publique pour une peinture murale. Elle prouve ainsi qu’une femme peut non seulement obtenir le succ\u00e8s, mais \u00e9galement cr\u00e9er des chefs-d’\u0153uvre dans un domaine artistique domin\u00e9 par les hommes. La qu\u00eate de la paix et de la libert\u00e9, servie par la vigilance et le z\u00e8le \u2013 deux qualit\u00e9s importantes auxquelles elle attache un grand prix dans la qu\u00eate universelle de la paix \u2013 est un th\u00e8me majeur qui inspire toutes ses \u0153uvres. Celles-ci empruntent \u00e0 divers styles, y compris le pr\u00e9rapha\u00e9lisme et l’Art d\u00e9co.<\/p>\n

Violet Oakley na\u00eet le 10 juin 1874, \u00e0 Jersey City, dans l’Etat du New Jersey, au sein d’une famille d’artistes, notamment ses deux grands-p\u00e8res. A 21 ans, elle s\u00e9journe avec sa famille en France, o\u00f9 elle est sensible aux \u0153uvres des grands impressionnistes. Elle s’inscrit aux cours de l’Acad\u00e9mie Montparnasse, et \u00e9tudie sous la direction des peintres Rapha\u00ebl Collin et Edmond Aman-Jean. De retour en Am\u00e9rique, elle \u00e9tudie \u00e0 la Pennsylvania Academy of the Fine Arts, \u00e0 Philadelphie, ville o\u00f9 elle habitera jusqu’\u00e0 la fin de sa vie. Elle d\u00e9cide d’\u00e9tudier l’illustration \u00e0 l’Institut Drexel, sur l’insistance de sa s\u0153ur Hester qui fr\u00e9quente cet \u00e9tablissement depuis peu. L\u00e0, elle devient l’\u00e9l\u00e8ve du c\u00e9l\u00e8bre illustrateur Howard Pyle, qui reconna\u00eet ses potentialit\u00e9s. Cet enseignement va permettre \u00e0 son talent de s’\u00e9panouir.<\/p>\n

En 1902, l’architecte Joseph Huston propose \u00e0 Violet Oakley de d\u00e9corer le nouveau Capitole de l’Etat de Pennsylvanie, \u00e0 Harrisburg, \u00ab uniquement du fait de son immense talent \u00bb. Cette commande exige qu’elle consacre beaucoup de temps \u00e0 un travail de recherche ; elle voyage en Europe et \u00e9tudie en profondeur la vie de William Penn, lequel figure en bonne place dans la peinture qu’elle r\u00e9alise pour la salle de r\u00e9ception du gouverneur, The Founding of Liberty Spiritual<\/em> [Le fondement de la libert\u00e9 spirituelle]. Au cours des ann\u00e9es suivantes, on lui demande de r\u00e9aliser des peintures murales pour la rotonde du Capitole et pour les chambres du S\u00e9nat et de la Cour supr\u00eame. Au total, ce sont 43 peintures murales qui orneront les murs des b\u00e2timents d’Etat \u00e0 Harrisburg. Elles seront r\u00e9alis\u00e9es tout au long d’une p\u00e9riode de 25 ans.<\/p>\n

\"Penn's<\/a><\/p>\n

Penn’s Vision<\/em> [La vision de Penn] de Violet Oakley (peinture \u00e0 l’huile sur fond imprim\u00e9) d\u00e9core la salle de r\u00e9ception du gouverneur, dans le Capitole de l’Etat de Pennsylvanie.<\/p>\n

On peut voir dans ces peintures murales un t\u00e9moignage de l’id\u00e9al moral et spirituel de l’artiste. Elev\u00e9e dans l’Eglise \u00e9piscopale, Violet Oakley se convertit au quakerisme et \u00e0 ses valeurs d’\u00e9galit\u00e9 et de paix \u2013 deux th\u00e8mes majeurs dans son \u0153uvre. Elle admire particuli\u00e8rement la vision utopique qu’entretenait William Penn pour le Commonwealth de Pennsylvanie. A l’\u00e9poque o\u00f9 elle re\u00e7oit cette commande pour le Capitole, elle se voit confort\u00e9e dans son id\u00e9al par les enseignements de la Science Chr\u00e9tienne, que Mary Baker Eddy a fait conna\u00eetre au public durant la jeunesse de Violet. La citation suivante de Mary Baker Eddy, tir\u00e9e de Science et Sant\u00e9 avec la Clef de Ecritures<\/em>, a s\u00fbrement trouv\u00e9 un \u00e9cho particulier chez elle : \u00ab Le code civil \u00e9tablit des distinctions tr\u00e8s injustes entre les droits des deux sexes. La Science Chr\u00e9tienne ne fournit aucun pr\u00e9c\u00e9dent \u00e0 une telle injustice, et la civilisation l’att\u00e9nue quelque peu. N\u00e9anmoins, il est surprenant que l’usage accorde \u00e0 la femme moins de droits que n’en accorde, soit la Science Chr\u00e9tienne, soit la civilisation. \u00bb (p. 63)<\/p>\n

L’espoir de gu\u00e9rir des crises d’asthme dont elle souffre depuis l’enfance incite certainement Violet Oakley \u00e0 \u00e9tudier la Science Chr\u00e9tienne. De fait, elle attribuera sa gu\u00e9rison \u00e0 la Science Chr\u00e9tienne. Apr\u00e8s des ann\u00e9es d’enfance et de jeunesse marqu\u00e9es par la maladie et par une protection excessive de la part de ses parents, elle jouit enfin de la libert\u00e9 et d’une pleine sant\u00e9. Elle reste scientiste chr\u00e9tienne jusqu’\u00e0 la fin de sa vie. Elle suit le Cours Primaire de Science Chr\u00e9tienne et fr\u00e9quente Deuxi\u00e8me Eglise du Christ, Scientiste, \u00e0 Philadelphie, d\u00e8s sa cr\u00e9ation en 1912. Ses illustrations pour le po\u00e8me de Mary Baker Eddy, \u00ab Christ, mon refuge \u00bb, publi\u00e9 en 1939, traduisent avec force ce message de lumi\u00e8re et d’inspiration.<\/p>\n

\"Christ<\/a><\/p>\n

Oakley est une artiste prolifique, qui semble avoir travaill\u00e9 jusqu’au dernier jour de sa vie. A 81 ans, elle pr\u00e9sente \u00e0 un large public venu de Philadelphie l’ensemble des \u0153uvres qu’elle a r\u00e9alis\u00e9es \u00e0 Harrisburg. Politiquement engag\u00e9e, elle soutient la Soci\u00e9t\u00e9 des Nations, les Nations Unies et le d\u00e9sarmement nucl\u00e9aire durant la Guerre froide. Elle est \u00e9galement membre du petit groupe des \u00ab Red Rose Girls \u00bb [Filles de la rose rouge] qui, avec les artistes Elizabeth Shippen Green et Jessie Willcox Smith, a transform\u00e9 l’auberge de la Rose rouge en une galerie d’art communautaire, o\u00f9 des femmes vivent et travaillent ensemble \u2013 d\u00e9marche tout \u00e0 fait r\u00e9volutionnaire qui bouscule la stricte r\u00e9partition des r\u00f4les attribu\u00e9s \u00e0 chaque sexe, \u00e0 l’\u00e9poque. Elle joue un r\u00f4le majeur dans l’\u00e9tablissement du \u00ab Plastic Club \u00bb de Philadelphie (destin\u00e9 \u00e0 promouvoir \u00ab l’art pour l’art \u00bb) et du \u00ab Philadelphia Art Alliance \u00bb.<\/p>\n

Violet Oakley meurt \u00e0 Philadelphie le 25 f\u00e9vrier 1961. Durant une grande partie de sa vie, elle sera consid\u00e9r\u00e9e comme la femme artiste peintre la plus \u00e9minentes des Etats-Unis. Son nom tombe dans un relatif oubli apr\u00e8s la Deuxi\u00e8me Guerre mondiale, cependant, au d\u00e9but des ann\u00e9es 70, les styles artistiques qu’elle a d\u00e9fendus suscitent un regain d’int\u00e9r\u00eat, remettant ainsi \u00e0 l’honneur ses \u0153uvres et celles des artistes de la m\u00eame mouvance. Depuis 1977, l’atelier de Violet Oakley, \u00e0 Philadelphie, fait partie du \u00ab National Register of Historic Places \u00bb [Catalogue national du patrimoine historique], en reconnaissance du g\u00e9nie \u00e0 multiples facettes de cette artiste.<\/p>\n

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D\u00e9couvrez une artiste prolifique et pleine de talent qui a contribu\u00e9 \u00e0 l’avancement des femmes dans cette profession.<\/p>","protected":false},"author":44,"featured_media":47295,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"

Bain News Service, P. Violet Oakley<\/cite>. , . [No Date Recorded on Caption Card] [Photograph] Retrieved from the Library of Congress, https:\/\/www.loc.gov\/item\/ggb2004006489\/<\/a>.<\/p>

My own faith in an organized world governed by international law dates from my first study of the life of William Penn and his 'Holy Experiment,' as he called the unfortified Commonwealth of Pennsylvania in 1682.
<\/strong>\u2014Violet Oakley<\/strong><\/p>

\u00a0<\/p>

Violet Oakley (1874-1961) is now widely known for her talents as an illustrator, stained glass designer, manuscript illuminator, portrait painter, author, and speaker. This remarkable woman gained prominence as an artist at a time when women's artwork was generally considered inferior to that of men. She worked for the recognition of women in male-dominated institutions in the arts and literature.<\/p>

Oakley was a prolific illustrator. Her images, appearing in prominent magazines, helped promote women as confident and educated. But perhaps her most widely known accomplishments are as a muralist; she was the first American woman to receive a public mural commission and proved that a woman could not only succeed but create masterpieces in a medium dominated by men. Grand themes of the quest for peace and freedom, undergirded by vigilance and diligence\u2014two qualities she greatly valued in mankind's quest for peace\u2014resonate through her works, which take on a number of different styles, including Pre-Raphaelite and Art Deco.<\/p>

Born June 10, 1874 in Jersey City, New Jersey, Violet came from a family of artists, including both her grandfathers. When she was 21, the family traveled to France, where she was inspired by her exposure to works of the great Impressionists. She attended the Acad\u00e9mie Montparnasse, studying with the painters Rapha\u00ebl Collin and Edmond Aman-Jean. When her family returned to America, she studied at the Pennsylvania Academy of the Fine Arts in Philadelphia, the city that would remain her home for the rest of her life. It was after her sister Hester began studying illustration at the Drexel Institute, and urged Violet to join her, that Oakley became a student of famed illustrator Howard Pyle, who recognized her talent. Under his instruction she\u00a0blossomed.<\/p>

In 1902 architect Joseph M. Huston chose Oakley to decorate the new Pennsylvania State Capitol in Harrisburg, \"purely because of her immense talent.\" Oakley invested a great deal of time researching for the assignment, traveling to Europe and delving extensively into the life of William Penn, who features prominently in her painting for the Governor's Reception Room, The Founding of the State of Liberty Spiritual.<\/em> In the years that followed, she was commissioned to paint murals for the Capitol Rotunda and for the Senate and Supreme Court chambers. In all, 43 of Oakley's murals adorn the walls of state buildings in Harrisburg; they were painted over the course of 25 years.<\/p>

\"Penn's<\/a><\/p>

Penn's Vision\u00a0<\/em>by Violet Oakley (oil paint over printed base) adorns the Governor's Reception Room at the Pennsylvania State Capitol.<\/strong><\/p>

The murals can be viewed as a testimony to Oakley\u2019s moral and spiritual ideals. Raised an Episcopalian, Oakley embraced Quakerism and its advocacy of equality and pacifism\u2014two major themes in her artwork. She particularly admired William Penn's utopian vision for his Pennsylvania commonwealth. Then, about the time she received the State Capitol commission, she found a stronger validation of her own ideals in the teachings of Christian Science, which Mary Baker Eddy had brought into prominence during the time Oakley was growing into adulthood. It's likely that these words of Eddy in Science and Health with Key to the Scriptures<\/em> especially resonated with her: \"Civil law establishes very unfair differences between the rights of the two sexes. Christian Science furnishes no precedent for such injustice, and civilization mitigates it in some measure. Still, it is a marvel why usage should accord woman less rights than does either Christian Science or civilization\" (p. 63).<\/p>

Certainly the prospect of a cure for her lifelong bouts of asthma attracted Oakley to study Christian Science, and she credited it with her healing of that disease. After a childhood and youth marked by illness and excessive sheltering by her parents, she now enjoyed freedom and strength. She remained a Christian Scientist for the rest of her life, taking Christian Science class instruction and attending Second Church of Christ, Scientist, in Philadelphia from the time it opened in 1912. Her illustrations for Mary Baker Eddy's poem \"Christ My Refuge,\" published in 1939, vividly depict its message of uplift and illumination.<\/p>

\"Christ<\/a><\/p>

Oakley was a prolific artist, and it is said that she worked up to the last day of her life. At age 81 she led a large group from Philadelphia on a tour of her work in Harrisburg. She was politically active, supporting the League of Nations, the United Nations, and Cold War nuclear disarmament. She is also known as one of the \"Red Rose Girls,\" who along with fellow artists Elizabeth Shippen Green and Jessie Willcox Smith transformed the Red Rose Inn on the Philadelphia Main Line into a communal art gallery, where the women lived and worked together\u2014something quite revolutionary that pushed against the strict gender roles of \u00a0the time. She was instrumental in establishing The Plastic Club in Philadelphia (to promote \"art for art's sake\"), as well as the Philadelphia Art Alliance.<\/p>

Violet Oakley died in Philadelphia on February 25, 1961. During much of her lifetime, she was considered the most distinguished woman painter in the United States. But her name fell into relative obscurity after World War II. By the early 1970s, however, there was an increased interest in the artistic styles she championed, and that has led to a deeper interest in her works and those of her colleagues. In 1977 Oakley\u2019s studio in Philadelphia was listed in the National Register of Historic Places, as recognition for her multifaceted genius.<\/p>

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