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Artist To Artist

Georgia O'Keeffe (American artist) 1887 - 1986
Red Hills with Pedernal, White Clouds, 1936
oil on canvas
50.8 x 76.2 cm. (20 x 30 in.)
private collection
© photo Christie's

Catalogue Note Christie's
Combining emotional response with meditation on form and color, Georgia O’Keeffe uniquely infused her panoramic landscapes of the American Southwest with a sense of spiritual wonder. While faithful to creating representative paintings of her surroundings, O’Keeffe distilled each scene to evoke, as Sarah Greenough has described, “the passion and intensity of the life in the Southwest but also its ultimate mystery and impenetrable sense of otherness” (Modern Art and America: Alfred Stieglitz and his New York Galleries, Washington, D.C., 2000, p. 460). Capturing in vibrant hues one of the artist’s favorite formations of the New Mexico landscape, Red Hills with Pedernal, White Clouds conveys O’Keeffe’s deep love and appreciation for this enchanted land.

O’Keeffe made her first prolonged visit from New York to New Mexico in 1929. She felt an instant connection to the region, which stirred her to return for extended stays almost annually before eventually moving permanently in 1949. After initial years staying in Taos and Alcalde, in 1934 she was looking for a new home base in the area and discovered the perfect location at Ghost Ranch, located in the Chama River Valley approximately sixty miles northwest of Santa Fe, near Abiquiu. Renting a cottage on the land for several summers, she eventually bought her own house on seven acres of the Ranch in 1940.

One of O’Keeffe’s favorite natural wonders visible along the horizon line at Ghost Ranch was the Cerro Pedernal. Covered with dark green pines and deciduous trees, the top of the mesa is nearly ten thousand feet above sea level and has been worn to an odd angle by erosion. Infatuated by the form and stimulated by the spirituality of the site, O'Keeffe began to use the mesa as a recurrent motif in her paintings. Between 1936 and 1958, she executed twenty-seven depictions of the Pedernal, twenty of which are in public collections, including the Brooklyn Museum; Gilcrease Museum, Tulsa; Georgia O’Keeffe Museum, Santa Fe; Minneapolis Institute of Arts; Munson-Williams-Proctor Art Institute, Utica; Museum of Fine Arts, Boston; National Museum of Modern Art, Tokyo; New Mexico Museum of Fine Arts, Santa Fe; Norton Museum of Art, West Palm Beach; Orlando Museum of Art; Whitney Museum of American Art, New York; and Yale Museum of Art, New Haven. She spiritedly expressed her love of this natural landmark when she declared, “It's my private mountain. It belongs to me. God told me if I painted it enough, I could have it” (quoted in L. Lisle, Portrait of an Artist: A Biography of Georgia O'Keeffe, New York, 1980, p. 235).

It’s my private mountain. It belongs to me. God told me if I painted it enough, I could have it.
Georgia O’Keeffe

One of her first paintings of the site, Red Hills with Pedernal, White Clouds captures the beloved Pedernal in the distance, with the crisp outlines and subtle modeling of forms simultaneously creating a sense of sculptural depth and flattened design. The work explores how the Southwestern light enabled O’Keeffe to see clearly over great distances, with the horizontal format and layered composition conveying a striking sense of the region’s expansive panoramic views. O’Keeffe also delights in painting the nuances of this unique landscape; for example, she illustrates the area at the top of the blue Pedernal that had suffered a forest fire, leaving a green area of deciduous growth in the summer in a shape she described as a “deer leaping over the mountain” (Maria Chabot—Georgia O’Keeffe, Correspondence, 1941-49, Santa Fe, 2003, p. 200). Similarly, the warm coral hills in the foreground are bisected by a painterly gray stripe, representing a contrasting silt layer within the local rock formations.

While the landscape is recognizable as a specific place, in Red Hills with Pedernal, White Clouds O’Keeffe distills each representational element to its essence in order to create her most impactful, personal recording of the scene. With its wide range of hues, from warm reds to cool blues, the present work is among O’Keeffe’s most vibrant and joyful New Mexico landscapes, providing a glimpse into her passion for the views that would endlessly inspire during her long and storied career.

* * *

Born near Sun Prairie, Wisconsin, O'Keeffe first came to the attention of the New York art community in 1916. She made large-format paintings of enlarged blossoms, presenting them close up as if seen through a magnifying lens, and New York buildings, most of which date from the same decade. Beginning in 1929, when she began working part of the year in Northern New Mexico—which she made her permanent home in 1949—O’Keeffe depicted subjects specific to that area. O'Keeffe has been recognized as the Mother of American Modernism.

Source: Wikipedia

👨🏻‍🎨 Norman ROCKWELL • American 🇺🇸
* 3 February 1894 in New York, N.Y.
✞ 8 November 1978 in Stockbridge, MA.

𝖶𝗁𝖾𝗇 𝗍𝗁𝖾 𝖣𝗈𝖼𝗍𝗈𝗋 𝖳𝗋𝖾𝖺𝗍𝗌 𝗒𝗈𝗎𝗋 𝖢𝗁𝗂𝗅𝖽・ 𝟣𝟫𝟥𝟫・
Oil on canvas
114.9 x 79.4 cm. (45.25 x 31.25 in.)
📍Private collection

𝖲𝖺𝗅𝖾𝗌 𝖼𝖺𝗍𝖺𝗅𝗈𝗀𝗎𝖾 𝗇𝗈𝗍𝖾 ↓
The Upjohn Company recruited Rockwell in the late 1930s to bolster public support for the company's latest evolution: the focus of its research had recently shifted from medicines made from plant-based products to ones derived from animal extracts and chemicals.

This transition presented a marketing challenge as the company endeavored to reassure Americans of their safety. Upjohn recruited Rockwell as much for his artistic ability as for his reputation: not only did his images persuade Americans to buy, but his signature provided an additional endorsement that could enhance a company's image through its association with the immensely popular and wholesome artist.

Rockwell painted When the Doctor Treats Your Child in 1939, and it was reproduced in both the Saturday Evening Post and Life in 1943. Upjohn executives asked Rockwell to paint a doctor writing a prescription for a typical, happy American family. This image epitomizes Rockwell's ability to market new products and technology by tapping into the country's nostalgia for the past. Seeking to inspire uncertain consumers to view their pharmaceutical and healthcare providers with confidence, he presents a vision of American healthcare characterized by personal care and intimacy. Beautifully painted and displaying an acute attention to naturalistic detail, the canvas is imbued with the small details of ordinary people in everyday life.

Although Rockwell's own wife, Mary, served as a model for the mother with her three children, the scene continues to exude a timeless sense of familiarity. Even today, Rockwell's figures — often modeled on his friends and family members — could be our own friends, neighbors, or even ourselves. In this portrayal of responsible parents, healthy children, and attentive physicians, the values of patience and compassion clearly endure, and evoke a time when the world was kinder and simpler. The balance of the composition, the warmth in the palette, and the intangible familiarity of each scene all ultimately work to communicate a message of trust and stability during an era of enormous flux.

Joan Mitchell
Untitled
ca. 1953
Hollis Taggart

Mary Stevenson Cassatt (1844 – 1926) , American

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Artist To Artist

Edward Hopper - High Noon - 1949 Dayton Art Institute (donated by Anthony Haswell).
This painting was made in his studio in Truro.

Ila Mae McAfee (American painter) 1897 - 1995
Animation, s.d.
oil on canvasboard
55.25 x 65.41 cm. (21.75 x 25.75 in.)
signed 'Ila McAfee' (lower left)
private collection
© photo Bonhams

Ila Mae McAfee was born 1897 in the small ranching community of Sargents in southwestern Colorado near Gunnison. She died in 1995 in Pueblo, Colorado, where she moved after leaving her adobe home in Taos, New Mexico in late summer 1993.

She was raised on her family's ranch south of Gunnison, and attended Logan County School, riding ten miles each way to school. In 1916, she graduated from Gunnison High School and then spent time in Los Angeles at the West Lake School of Art and the Haz Art School (1917-1918).

Returning to Colorado, she studied art with Catherine and Henry Ricter at Western State College where she earned a BA degree in 1919. The next year she went to Chicago and became a student of muralist James E McBurney and served as his assistant until 1924. During this time, she was also influenced by sculptor Lorado Taft. In 1925, she attended in New York the National Academy of Design, and 1926, the Art Students League. She also worked as an illustrator and painter of miniature animals during this period.

In 1926, McAfee married Elmer Page Turner, an artist whom she had met on her parent's Colorado ranch, and that same year she visited Taos, New Mexico. Two years later, she and her husband settled there, and in 1929, they built the White Horse Studio, which continued to be her residence until 1993, when she moved to Pueblo, Colorado.

In Taos, she became known for her pueblo paintings and her depictions of horses and other animals as well as Native Americans, ranch scenes, and landscapes. In 1981, she was voted Taos Artist of the Year. She also worked as a WPA artist, completing many commissions for post office locations such as Edmond, Oklahoma, and Clifton, Texas.

Source: Phil Kovinick and Marian Yoshiki-Kovinick, Women Artists of the American West, Published at askART

Sandra Bierman (contemporary American artist, b. 1938)
The Blue Cat

Edgar Alwin Payne (1 March 1883 – 8 April 1947) was an American painter. He was known as a Western landscape painter and muralist.

John White Alexander
(American 1856-1915 born in Pittsburg)
La Fille de Feme

Happy Weekend.❤️🌹❤️🌹
Sweet Victoria.

By Gregory Frank Harris (American, 1953).

Started to do a fundraising birthday thing and it got very oddly wrong. So here is a direct link to the Museum. A 51c3 tax deductible charity. Make a donation, or just learn about our new Art Movies.

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Georgia O'Keeffe (American artist) 1887 - 1986
Calla Lilies, 1924
oil on canvas
41.3 x 31.1 cm. (16.25 x 12.25 in.)
private collection
© photo Christie's

Catalogue Note Christie's
Georgia O’Keeffe first depicted the waxy, architectural bloom known as the Calla Lily in 1923, ultimately creating a series of eight compositions, in both oil and pastel, featuring one or two blooms, throughout that year. Calla Lilies, one of two paintings of the subject in 1924 and the first to depict three blooms in a single composition is one of the most sophisticated and modern of her explorations of the subject. Charles Eldredge wrote of the pictorial and expressive possibilities that O'Keeffe realized in these striking floral subjects, "In the callas O'Keeffe discovered the ideal combination of organic subject and formalist design that was to motivate her finest work. ("Calla Moderna: 'Such a Strange Flower,' B.B. Lynes, et al., Georgia O'Keeffe and the Calla Lily in American Art, 1860-1940, New Haven, Connecticut, 2002, p. 25) Calla Lilies is a sophisticated meditation on color, form and line and a provocative composition that definitively positions O'Keeffe as one of the leading figures of the avant-garde.

O'Keeffe was not the first Modernist to adopt the calla lily as a subject and she credited works by her friend and fellow Steiglitz Circle artist, Marsden Hartley, who had begun depicting the flower in his Still Life No. 9 of 1917 (Frederick R. Weisman Art Museum at the University of Minnesota, Minneapolis, Minnesota), as the genesis of her interest in the blossom, "I had seen Hartley's calla lilies, and thought I would try one to see if I could understand what it was all about." (as quoted in "Calla Moderna: 'Such a Strange Flower,'" Georgia O'Keeffe and the Calla Lily in American Art, 1860-1940, p. 25) Her curiosity in the pictorial possibilities of the flower were accompanied by a cool detachment, "I started thinking about them because people either liked or disliked them intensely, while I had no feeling about them at all." (as quoted in R. Robinson, Georgia O'Keeffe: A Life, New York, 1989, p. 305) This allowed O'Keeffe to focus on the flower's physical attributes, which she explored in a serial format, capturing the blossom at various angles and settings. These works collectively form a counterpoint to another major still life theme of the early 1920s, the weightier and more richly-hued alligator pear.

In Calla Lilies, one of only two compositions of calla lilies to include three blossoms, O’Keeffe has arranged the white flowers, punctuated by their bright yellow stamen, stacked vertically. The flowers are magnified, and set against a background of similar whites and greys, blurring the distinction between calla and background. The verisimilitude of the palette has enabled O’Keeffe to more readily demonstrate her technical prowess. The careful arrangement of like tones, set adjacent to but not a top one another, creates a carefully modulated surface that is among her most sophisticated. The closely cropped composition, which removes the flowers from any outside context, forces the viewer to focus on the blossoms well-delineated forms. Only the verdant stems and yellow stamen interrupt the otherwise white composition, serving as accent marks. As a result, Calla Lilies becomes a strikingly beautiful study of line, color and the relation of forms in space.

A truly modern depiction, Calla Lilies evokes the medium of photography with its abstracted, magnified and cropped composition and limited palette of gray and white tones. Though O'Keeffe denied the direct influence of photography on her art, her relationship with Alfred Stieglitz makes the possibility seem entirely likely. Patterson Sims wrote: "Her direct observation of lush natural details has antecedents on the photographs of de Meyer, Sheeler, and Steichen, and parallels in the contemporary photographs of Blossfeldt, Cunningham, Hagemeyer, and Strand. O'Keeffe's magnifications also developed simultaneously with the beginning of Stieglitz's detail-oriented photo portrait of her. The atmosphere of innovation in which O'Keeffe operated was thus as directed toward photography as it was toward painting." (Georgia O'Keeffe: A Concentration of Works from the Permanent Collection of the Whitney Museum of American Art, New York, 1981, p. 23) In Calla Lilies, the tight cropping as well as the subtly modulated gray tones demonstrate this influence.

Fellow artist Oscar Bluemner wrote of O'Keeffe's proclivity for subtly modulated colors and working in series, "Color, not of dramatic duachrome contrast, not triads demoting mysterious complex of musician or poet, but single color essentially felt, or at most, scales of related colors; one color to one line, one color and one line to one thought, one thought to one painting, a hundred paintings to a hundred different versions of one idea." (as quoted in J.R. Hayes, Oscar Bluemner, New York, 1991, p. 128)

O'Keeffe's lifelong fascination with the forms and colors found in nature manifested itself in her various depictions of diverse physical forms. Natural objects ranging from wonderfully sensuous shells and exotic flowers, to more modest objects such as autumn leaves, skunk cabbage and animal bones found their way equally into O'Keeffe's paintings. In 1944, the artist said: "I have picked flowers where I found them–Have picked up sea shells and rocks and pieces of wood where there were sea shells and rocks and pieces of wood that I liked. When I found the beautiful white bones on the desert I picked them up and took them home too. I have used these things to say what is to me the wideness and wonder of the world as I live in it." (as quoted in E.H. Turner, Georgia O'Keeffe: The Poetry of Things, Washington, D.C., 1999, p. vi)

Calla Lilies reflects the pictorial strategies that O'Keeffe had developed as an avant-garde American Modernist: interest in a type of heightened realism that pushes an image to the edge of abstraction. The image is at once an objective interpretation of a flower as well as a meditation on form and color. It is this near abstraction that evokes the mystical and spiritual qualities, which O'Keeffe associated with her flowers and which are the source of their strength. By magnifying a small, traditionally feminine subject, she creates a bold abstraction. At the same time monumental and intimate, the work reflects the artist's dedication to showing the viewer the beauty and wonder in nature.

It would be possible to read O'Keeffe's skillfully crafted, precisely rendered, almost photographic images as little more than literal renderings of their subjects, concerned solely with verisimilitude and eliminating all traces of the artist. Marjorie Balge-Crozier, however, argues for a more personal reading of these pictures, "combined with the enlarged, close-up view of the object, O'Keeffe's technique offers an assertive brand of realism that prompts a more modern, emotional involvement with the subject, an involvement heightened by the fact that the subject is abstracted just enough to remind us that it is not solely the 'thing' it purports to be. It can be many things, including a surrogate for the artist herself." (Georgia O'Keeffe: The Poetry of Things, p. 74)

As with all of O'Keeffe's best work, Calla Lilies seamlessly combines sensuous beauty with underlying formalist concerns to create a psychologically compelling work that feels as contemporary today as when it was first produced. When O’Keeffe’s depictions of this unusual flower were first shown, they aroused a considerable response due to their utterly unique and bold aesthetic. "They were extraordinarily controversial and sought-after, and made their maker a celebrity. It was the flowers that begat the O'Keeffe legend in the heady climate of the 1920s." (N. Calloway, Georgia O'Keeffe: One Hundred Flowers, New York, 1989, n.p.) The magnified images of flowers that Georgia O'Keeffe painted in the 1920s and 1930s became her best known and most celebrated paintings. These years dedicated to exploration and development of floral themes yielded some of the most important works of her oeuvre. The thoughtful and highly sophisticated study of line and composition as demonstrated by Calla Lilies characterizes her finest work.

After a trip to our friends at the Whitney Museum of American Art, Edward Hopper's "Room in Brooklyn" is back in Boston!

Many of Hopper’s paintings capture the isolation and anonymity of modern urban life. Here, a woman gazes out at a monotonous row of buildings from a sparsely decorated Brooklyn room; New York’s bustling crowds and soaring skyscrapers are nowhere to be seen. Hopper's figure reads or perhaps dozes off in a sunlit room adorned with a lovely bouquet of spring flowers. The scene seems peaceful, but also mysterious, leaving us viewers to wonder about our own role in the story. Are we invited guests? Or unwelcome intruders?

🖼️: Edward Hopper, "Room in Brooklyn" (1932), oil on canvas, on view in the Art of the Americas Wing.

Jessie Willcox Smith (American, 1863 - 1935)
The Seven Ages of Childhood- 3rd Age- Then the Epicure with fine and greedy taste for porridge

Henriette Wyeth (American painter) 1907 - 1997
Self Portrait, ca. 1928
oil on canvas
50.8 x 50.8 cm. (20 x 20 in.)
signed 'Henriette Wyeth' (lower left)
painted circa 1928
private collection
© photo Christie's

Catalogue Note Christie's
The eldest daughter of American illustrator N.C. Wyeth, Henriette Wyeth studied at the Normal Art School in Boston and the Pennsylvania Academy in Philadelphia before returning home to Chadds Ford, Pennsylvania to continue studying under her father's guidance. She was the only member of the Wyeth family to leave the East Coast after she met her husband and fellow artist Peter Hurd with whom she moved to New Mexico. Wyeth flourished in the southwest as an accomplished artist and portraitist. Her notable subjects included actresses, authors and even First Lady Pat Nixon. Her works are in notable institutional collections including the Brandywine River Museum, Pennsylvania; Amon Carter Museum of American Art, Fort Worth, Texas and the National Portrait Gallery, Washington, D.C.

* * *

Henriette Wyeth Hurd was an American artist noted for her portraits and still life paintings.
She was born in Wilmington, Delaware, the eldest of the five children of illustrator N.C. Wyeth and his wife Carolyn Bockius. Her siblings Carolyn Wyeth and Andrew Wyeth also became artists. She contracted polio at age 3, which altered her right hand. As a result, she learned to draw with her left and paint with her right. She grew up on the family's farm in Chadds Ford, Pennsylvania, and attended local Quaker schools. She began studying with her father at age 11. At age 13, she was enrolled in the Normal Arts School in Boston, Massachusetts. She subsequently studied at the Pennsylvania Academy of Fine Arts in Philadelphia, Pennsylvania.
Wyeth met her husband, artist Peter Hurd, while he was working as an assistant to her father. The couple married in 1929, and they had three children: Peter Jr., Carolyn and Michael. They moved to a ranch near Roswell, New Mexico in 1938.
Her best known work is the official White House portrait of First Lady Pat Nixon. She exhibited at the Pennsylvania Academy (1927, 1936–44), where she was awarded the 1937 Mary Smith Prize for a portrait of her son Peter. She received other awards for her work, including the Governor's Award in Santa Fe, New Mexico. Much of her work is located at The Roswell Museum and Art Center, in Roswell, New Mexico.
Her papers, and those of her husband (who died in 1984), are in the Archives of American Art at the Smithsonian Institution.

Source: Wikipedia

John Frederick Peto, American painter (1854 -1907)
Self Portrait with Rack Picture -
Crystal Bridges Museum of American Art
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Sarah Goodridge (American painter) 1788 - 1853
Mrs. Thomas Appleton (Beulah Goodridge), ca. 1830
watercolour on ivory
8.89 x 7.24 cm. (3.5 x 2.88 in.)
Museum of Fine Arts, Boston, United States of America
© photo Museum of Fine Arts, Boston

Sarah Goodridge was an American painter who specialized in portrait miniatures. She was the older sister of Elizabeth Goodridge, also an American miniaturist.

Goodridge was born in Templeton, Massachusetts, the sixth child and third daughter of Ebenezer Goodridge and his wife Beulah Childs. At an early age, she began drawing and showed an aptitude for art. Women's educational opportunities were limited at the time and where Goodridge lived, so she was largely a self-taught artist. She attended the local district school. Her early sketches of people around her were on birch bark since she lacked the resources to purchase paper. She stayed with her brother, William M. Goodrich, for a few months in Milton, and attended a boarding school there. She also got a few drawing lessons in Boston where she accompanied her brother. In Boston, she also met Gilbert Stuart who took an interest in her work.

In 1820, she went to live with her sister Eliza in Boston and began receiving lessons and painting miniature portraits of exceptional quality. Her work continued to improve and she earned enough from commissions to support herself and her family for several decades. She eventually specialized in miniatures painted on ivory, getting lessons from a Hartford miniaturist, almost certainly Elkanah Tisdale. Her paintings were exhibited in Boston and Washington D.C.. After her eyesight failed in 1851, she retired from painting and settled in Reading, Massachusetts.

Among Goodridge's most interesting and personal works is a miniature portrait of her own bared breasts, entitled Beauty Revealed, now in the Metropolitan Museum of Art in New York. It was the inspiration for a miniature painted by the fictional heroine of Blindspot: A Novel (New York, 2008), by Jane Kamensky and Jill Lepore. Executed in 1828, it was presented by the artist to her close friend, correspondent, and occasional subject, Daniel Webster. The work was included in the retrospective, "The Philippe de Montebello Years: Curators Celebrate Three Decades of Acquisitions."

Source: Wikipedia

Sarah Gooll Putnam (American painter) 1851 - 1912
Henry Pickering Bowditch (1840-1911), 1899
oil on canvas
91.4 x 74.3 cm. (36 x 29.25 in.)
signed: u.r.: S. G. Putnam / '99
Harvard University Portrait Collection, Cambridge, United States of America
© photo Harvard University

Sarah Gooll Putnam, a Boston portrait painter, was born in 1851 to Harriet and John Pickering Putnam. Born into a wealthy family with old Boston ties, Putnam lived most of her life in Boston and in summer homes in Andover and Nahant, Mass. In her youth, Putnam moved into the newly filled Back Bay, where she lived for the remainder of her life.
As a young girl, Putnam did sketches and later progressed to more sophisticated work, including oils and watercolors. She studied art in New York, Munich, and Holland. She painted many portraits in oil of family, friends, and other Bostonians of her social standing. During her career, she exhibited her paintings to critical success in Boston, New York, and Chicago, including two shows at Boston's St. Botolph Club. In addition to oil portraits, Putnam used watercolor, pencil, and ink for landscapes, still lifes, cartoons, and sketches.
Putnam kept her diary from age nine until near her death at age sixty-one in 1912. From age fifteen until late in life, she traveled extensively, visiting the American south and west and Europe many times. Sarah Putnam never married.

Source: Wikipedia

CAVALIERS IN ART: “The Letter”, by James Carroll Beckwith (American, 1852-1917).

Willie Betty Newman (American painter) 1863 - 1935
Shore Scene: Sunset, s.d.
oil on canvas
private collection
© photo unknown

Jane Peterson (American painter) 1876 - 1965
Easter Lilies, s.d.
oil on canvas
76.8 x 63.5 cm. (30.25 x 25 in.)
signed Jane Peterson (lower left)
private collection
© photo Sotheby's

Peterson was born in Elgin, Illinois, on November 28, 1876 as the daughter of an Elgin Watch Company employee and a homemaker. Though she was born as Jennie Christine she changed her name to Jane right after she graduated from high school, in 1894.ref name=foxvalleyarts"Fox Valley Arts Hal of Fame". Retrieved 4 February 2015./ref She didn't receive any formal art training as a child, but knew intuitively how to paint everything she saw.
Peterson married a corporate lawyer M. Bernard Philipp, when she was fifty years old. After four years of her husband's death, she married to a New Haven physician James S. McCarty in 1939. Their marriage life only lasted for less than a year.
During her lifetime, Peterson was featured in more than 80 one-woman exhibitions before her death on August 14, 1965.

Peterson taught in Elmira, New York, as a drawing supervisor of public school teachers in Boston, Massachusetts, and the Maryland Institute in Baltimore for three years. In 1907, she extended her artistic career by taking a grand tour in Europe, which was the best way for her to learn from the masters as a young artist. Peterson gained expert knowledge for painting techniques and composition from Frank Brangwn in Venice and London, Joaquin Sorolla in Madrid, and Jacques Blanche and Andre L' Hote in Paris. She was living during the time of Fauvism, Expressionism, Impressionism, and at the beginning of Cubism.
Peterson started to exhibit her works in 1908 at the Societe des Artistes Francais in Paris France. She exhibited at the St. Botolph Club in Boston, Massachusetts, the Knoedler Gallery in New York City, and at the Bandann's Art Gallery in Baltimore, Maryland. From 1910 to 1914 Peterson had her own exhibitions at the Art Institute of Chicago, Illinois. She also participated in many group shows such as the American Watercolor Society and the New York Society of Painters both in New York City and the Baltimore Watercolor Club in Maryland.
In 1912 Peterson started teaching watercolor at the Art Students League and became the Drawing Supervisor of the Brooklyn Public Schools. In 1916 she joined Louis Comfort Tiffany for a transcontinental painting exhibition in his private railway car. Peterson travelled widely, painting from Maine to Florida and as far north as British Columbia. She annually visited Europe and spent six months in Turkey in 1924.

Source: Wikipedia