Neglected by most American art history texts, West Virginia native Blanche Lazzell is finally receiving due recognition for her artistic achievements and role as modernist pioneer in a forthcoming book to be published by the West Virginia University Press. Scheduled for release in summer 2004, Blanche Lazzell: The Life and Work of an American Modernist, is a compilation of essays along with full-color reproductions of her work which follows Lazzells development as an artist and examines her irrevocable contributions to the American art scene of the early 20th century.
On October 10, 1878, Lazelle was born in Maidsville, W.Va., a small settlement just outside Morgantown. Demonstrating an early interest in self-expression through the arts, Lazzell enrolled in the arts program at WVU in 1901. Studying under WVU faculty, the aspiring artist gained the training which would prove the foundation for all future endeavors.
Obtaining her BFA in 1905, Lazzell next ventured to New York City, enlisting in the liberal Art Students League. Attending classes under the likes of William Merritt Chase, Lazzells artwork garnered much praise from her instructors throughout her two-year tenure at the institution. Furthermore, painting alongside artists such as Georgia OKeeffe, this formative period also witnessed the formation of many relationships that would shape Lazzells career.
From 1912 to 1914, Lazzell embarked upon a tour of Europe, exposing the artist to classic art pieces as well as contemporary movements. Upon her return, Lazzell settled in the art colony of Provincetown, Mass., establishing her studio in 1915. Shortly thereafter, Lazzell and other local modernists, many acquaintances since her days at the Art Students League, founded the Provincetown Printers, pioneering the white-line woodblock print.
Ever interested in the newly emerging trends, Lazzell ceaselessly pursued further artistic instruction from many of the premier artists of the period. In particular, her second trip to Paris (19231924) permitted Lazzell to attend several French academies, studying under the prominent cubists AndrLhote and Albert Gleizestraining which would greatly inform her later works. Moreover, not content with the medium of painting, Lazzell also sought to master various other arts, including textiles and hand-painted china.
Expressing Lazzells significance in American art history, contributing author Susan Doll relates,The metaphor of a bridge works particularly well for her in the history of twentieth century artserv[ing] as a link between the modernists of the first decades of the century and the pure abstract artists of the next generation.
However, despite her prolonged residence outside of the state, Lazzell maintained an ardent affinity toward her native West Virginia. Demonstrating her affection through the various artworks created during her intermittent visits, Lazzell captures the intrinsic beauty of the region, painting such local landmarks as Stewart Hall and the Monongahela River. Upon her death in 1956, Lazzell generously donated numerous pieces to the WVU art collection, many of which will be reproduced in this large-format book.
Filled with exacting reproductions of the many artworks created throughout Lazzells extended career, this magnificent text is ideal for art enthusiasts and historians, as well as those interested in Appalachian culture. Call 304-293-8400 for more information. The complete catalogue of titles offered by the WVU Press is available on-line at http://www.wvupress.com .