Violetta by Maxfield Parrish

Imagine a world bathed in impossibly blue skies, where beautiful people in flowing robes lounge in dreamlike landscapes. That’s the world of Maxfield Parrish, a major player in the illustration game during the early 1900s. Parrish (1870-1966) wasn’t just your average artist. He was a rockstar of illustration, churning out gorgeous paintings for magazines like Harper’s Bazaar and Scribner’s. These weren’t just any illustrations, mind you. They were everywhere, plastered on calendars, posters, and prints that filled American homes. What made Parrish’s work so special? A special blend of meticulous layering! He’d build up his paintings with thin, translucent glazes on top of a detailed underpainting, creating a luminous effect and colors that practically glowed. Forget drab landscapes, Parrish’s worlds were bathed in an almost supernatural blue sky – “Parrish Blue” it came to be called. Throw in some graceful figures in flowing togas and maybe a sprinkling of mythology, and you’ve got the Parrish recipe for success. Paintings like “Daybreak” (1922), a picture of a young woman bathed in golden light overlooking a gorgeous view, became mega-hits, solidifying his place as a top illustrator. But Parrish wasn’t a one-trick pony. He could also capture a story perfectly, like in his illustrations for children’s books. He even dabbled in ads, creating iconic posters that are as American as apple pie. Even though his work was everywhere and insanely popular, Parrish never stopped being a true artist. He was always trying new things and perfecting his craft, even building a special studio with fancy north-facing windows to get the perfect light for his work. Maxfield Parrish’s legacy is all about creating worlds of beauty. He was an illustrator who could make characters leap off the page, an innovator who pushed the boundaries of commercial art, and a painter who continues to inspire with his captivating visions.