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Basket of Chips, page 063

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Identifier /tanner/image/basket_chips.xml
Title A Basket of Chips: An Autobiography
Creator Harwood, James Taylor, 1860-1940
Subject Artists; Painters; Artists' writings
Subject Local Harwood, James Taylor, 1860-1940; Artists--Utah--Biography; Harwood, Harriett Richards, (1870-1922)
Description These memoirs of Utah artist and teacher James T. Harwood cover a wide range of subjects including farming, gardening, bird watching and cooking. But, primarily, "A Basket of Chips" is about his early love, Harriett Richards, and their life together.
Publisher Tanner Trust Fund University of Utah Library, Salt Lake City, Utah
Contributors Olpin, Robert S.; Ward, Margery W.; Cooley, Everett L.; Madsen, Brigham D.; Tyler, S. Lyman
Date 1985
Type Text
Format image/png
Language eng
Relation Is part of: Utah, the Mormons, and the West, no. 12
Coverage 1860-1940
Rights Management University of Utah, Copyright 2001
Holding Institution J. Willard Marriott Library, University of Utah.
Source Physical Dimensions 14.5 cm x 22.75 cm
Source Characteristics Printed Hard Cover Book
Scanning Technician Karen Edge
Metadata Cataloger Kenning Arlitsch; Jan Robertson
Call Number N 6537 H364 A2 1985
ARK ark:/87278/s6zs2vsj
Topic Artists; Painters; First person narrative
Setname uum_ttb
Date Created 2005-04-20
Date Modified 2011-04-07
ID 327930
Reference URL https://collections.lib.utah.edu/ark:/87278/s6zs2vsj

Page Metadata

Identifier 081.gif
Title Basket of Chips, page 063
Description Career, Romance, alzd Family When I arrived in Paris on my first trip, I found that every one drank wine at his meals and the American students readily took to it. They urged me to do the same, claiming that the water was not safe to drink. Knowing that my father-in-law had been in Paris, I wrote him for advice and his answer was that "If the water was bad, the wine was worse." And neither myself nor family discovered any ill effects from the water. After awhile the thing happened that we had not planned for a nd i g ef ri and t proved a blessing . It took there was much littl .e sewing our attention from our to be done and plans to an M.D. were secured but no ques- ade. services of be made. The tion concerning cost was m classmates, colleagues, and former pupils from Utah in whom he took great pride then and later. Alma Brockerman Wright (1875~1952), Lee Greene Richards (1878-1950), and Mahonri Mackintosh Young (1877-1957), born and raised in Utah, were fellow exhibitors in early century Paris Salons and the St. Louis Exposition of 1.904. Young pursued a career largely outside of Utah, but Wright and Richards remained in the area. They were first involved in painting a mural for the Utah State Senate Chamber in the State Capitol in 1916, and then both taught at the University of Utah (Wright from 1931 to 1938 and Richards from 1938 to 1947). Growing up together in the old Twentieth Ward, Wright and Richards both came under the influence of George Ottinger. The two made regu- lar visits to Ottinger's studio in the 1880s and 1890s. Richards's early local training was with Harwood, and Wright attended L.D.S. College from 1892-95, then the University of Utah, 1895-96, where he studied with Haag and Harwood. Working as an "Instructor of Art" at Brigham Young College from 1899, Alma Wright left for European training in 1902. Richards had been abroad as early as 1896 on an L.D.S. mission and came to France for art training the year before Wright. The two enrolled in the French capital with Laurens and Bonnat at the J&m and Ecole de Bentlx-Arts respectively. Richards eventually maintained his own Parisian studio during 1903 and then returned home to Utah the next year. Wright went on to take criticism at the Colnrossi. Mahonri Young studied with Harwood and then at New York's Art Stu- dents League with Kenyon Cox (18994901). He had been forced to return to Utah for financial reasons and took a job at the old Snlt Lake Herald. That same year ( 1901), he went to Paris to study. These years were decisive for Young, and he never lost contact with his Utah friends. The year 1901 was very much Lee Greene Richards's year in the art world. His portrait of Harwood's father-in-law, painted in Paris, was accepted at both the Salon (where it missed a medal by only one vote) and the Societe des Artistes Fram~is exhibition, where it placed very well. Another portrait and two landscapes, were also accepted at the SnZon d' Automne of 1903, and another portrait placed well at the 1904 St. Louis Expo- sition. Haseltine, 100 Years, 42; Hmwood Art Exhibition, 5; Olpin, Dictiomry, 200-1, 280-81, 286-87. 63
Format image/png
Source A Basket of Chips: An Autobiography
Setname uum_ttb
Date Created 2005-04-14
Date Modified 2005-04-14
ID 327543
Reference URL https://collections.lib.utah.edu/ark:/87278/s6zs2vsj/327543