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one no more than the physical features of her sitters. But luckily she feels the art has other things to do than hold mirrors up to nature. It is plain that
Honolulu has set her imagination on fire, and her later paintings are symbolic, rather than representational. Vivid prismatic colors, and a gargantuan sense of form, are the dominant features of her later style. Not so much massive as fantastically round, clad in voluminous draperies of almost painfully intense color, give one a sense of tropical exuberance not confined to paint her art could be described as an experiment in amplitude.
266:. Having settled in Cape Town by 1894, the Cooks took a lively interest in comparative creeds that embraced many religions, as well as in matters of psychic and astrological trend. Madge and her sister Violet were nurtured in this stimulating, creative environment, learning to read and write at an early age. Agnes was an accomplished pianist who taught Madge, in particular, to play. Her parentsâ efforts to promote tolerance among various races and creeds left a lasting impression on her.
494:(1936), she achieved an ethereal intensity with softer hues and blurred, iridescent forms. In these later works, whirling wisps of complementary oils fuse the figures to their floral surroundings, visualizing the resilient bonds that Madge Tennent perceived between the body and spirit of Hawaiʻi. In the summer of 1935, all six canvases traveled from Honolulu to Europe for a series of major one-woman exhibitions that established Mrs. Tennent's presence on the global art circuit.
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eloquently painted, sketched, and drawn the
Hawaiian Woman as has Tennent. In the physical form of a larger Hawaiian woman, she established the basis upon which to build a lasting, universal aesthetic statement. She gave her life effort and her great talent to the elaboration of this vision." In 2005, Tennent was named one of the 100 most influential contributors to the city of Honolulu. Her large-scale oils on canvas and board have reportedly sold for over $ 1 million.
535:, demonstrates this stark contrast to the polychromatic blaze of her earlier works and evidences her lasting belief that âevery true artist knows that his work must evolve or die therefore, the moment he has perfected some type of style of expression peculiar to himself he must move on or he becomes academic.â Working on a smaller scale in the 1950s, for example, Madge Tennent executed a series of portraits featuring Hawaiian
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290:. In competition with older students from five academies, a 13-year-old Madge placed fifth with her full length charcoal drawing of a nude model. Her drive to draw and paint well was sustained without pause as she worked long hours each day. With her family she often visited the Louvre, where she could check her own progress in the realm of the masters.
439:(1930), each a synthesis of European modernism's languid, architectonic femininity with Tennent's own racial fixation. Generously applying paint with a palette knife, she avoided sensuousness in the representation of skin texture, instead imbuing the trademark sense of strength and grandeur tinged with fragility apparent in
323:, the village where Madge and Hugh lived while he awaited further military orders. On 11 June 1916, she gave birth to Arthur Hugh Cowper Tennent, the first of two sons. When orders came, Hugh was posted to France in support of the allied effort in World War I. Madge relocated to her parents-in-law's home in
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The Cooks were steeped in the cultural life of Paris, but due to financial reverses, they returned to Cape Town in 1907. Madge was soon appointed the headmistress in art for several girls' schools in different cities of South Africa and the director of a government art school in Cape Town. At age 18,
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Although she had attended an
English boarding school and, later, a French convent school in Paris, she otherwise had little formal schooling. Her talent for drawing prompted her parents to enroll her at age twelve in the Cape Town School of Art, where classes were limited to drawing from casts, still
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One can see that it would be the easiest thing in the world for Mrs. Tennent to draw and paint with literal accuracy, and leave it at that. She has the equipment of an exceptionally gifted artist, and to prove it she includes one or two heads done with an academic, though masterly touch, which gives
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A renowned art educator as well as painter of modern figurative canvases of
Hawaiian subjects, Madge Tennent had a distinguished career based primarily in Hawaiʻi from where she sent paintings to the mainland United States for exhibitions in New York City and Chicago between 1930 and 1939. She was
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During the mid-1950s, Madge
Tennent suffered the first of several heart attacks, prompting her to shift from large-scale undertakings on canvas to smaller works on paper. She was diagnosed with a permanent heart ailment in 1958, and by 1965 she had discontinued working and moved into the Maunalani
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By 1913, Madge had established her own art school and resumed her piano recitals. Attending one was Hugh Cowper
Tennent, a chartered accountant from New Zealand who was stationed in Cape Town with the Natal Light Horse regiment. One of 11 children born to Robert and Emily Tennent, Hugh courted the
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Tennent's prolific output spanned paintings, drawings, and sculpture. Her reverent fascination with
Hawaiian women inspired the sweeping aesthetic quest that would culminate in an iconic signature style: enormous paintings of voluptuous female figures that synthesized brilliant, swirling hues into
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in oils, prints, and watercolors; she treated
Hawaiian royalty as descendants from the gods, possessed of heroic proportions and serene facial features that conveyed âa gentleness that tends to make a predominance of convex lines, only seen in the great art of the world.â Until her death in 1972,
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Even the enveloping holoku cannot hide the small wrists, the curled back slender fingers and the columnar arm of even the largest lei woman. Her lifted arms, her wistful smile, the ember-like glow of her sunny flesh, are a perpetual and queenly benediction from one in an honored profession in the
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While her husband worked to build his accountancy firm, Madge
Tennent supported her family as a portrait artist. With remarkable success, she drew countless child and adult portraits, mainly of Caucasian families. There was little challenge in this, however, and her imagination was already ablaze
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wrote that
Tennent died, "still, twenty years ahead of all of us." "Even if the Hawaiians were to vanish as a race, they would live forever in the paintings of Madge Tennent," remarked noted Native Hawaiian scholar and author John Dominis Holt. "No other artist in Hawaiʻi has so consistently and
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Her refusal to feel entirely satisfied with her output, even in the face of widespread acclaim, reflected her conviction that the artist âevolves through conscious effort.â This conscious evolution became strikingly apparent in the early 1940s, whereupon Mrs. Tennent's famously vibrant, swirling
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Stimulated by the pure colour flourishes of van Gogh, the fire and ice of CĂ©zanne, and the opalescent, jeweled, flower-tinted harmonies of Renoir, this experience of experimentation in colour was a joyous one for me, though it was often the reverse for onlookers, many of whom prophesied a dire
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graceful, harmonious compositions. A prominent figure on the international circuit, Tennent exhibited to critical and popular acclaim around the world. At the time of her death, many critics considered her the most important individual contributor to Hawaiian art in the 20th century.
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Madge Tennent was born Madeline Grace Cook in Dulwich, England, the first of two daughters born to Arthur and Agnes Cook. Her father was an architect, seascape painter, and fine craftsman in woodcarving, while her mother owned, edited, and wrote for a weekly magazine titled
334:, which he chose to accept. The Tennents lived in Samoa for six years, during which time Madge was able to indulge a fascination with the native people of Polynesian descent. Madge was able to devote much of her time to drawing charcoal portraits of Samoans.
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with the beauty she recognized in the Native Hawaiian and variously multiracial peoples she longed to portray. Influences of seminal European antecedents conspicuously permeated Madge Tennent's transitional paintings of the late 1920s and early 1930s, such as
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Madeline Grace Cook; June 22, 1889 â February 5, 1972) was a naturalized American artist, born in England, raised in South Africa, and trained in France. She ranks among the most accomplished and globally renowned artists ever to have lived and worked in
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In 1923, en route to England to enroll their sons in school, the Tennents stopped over in Honolulu. It was to have been a brief stop, but they soon were persuaded by members of the local cultural elite, including poet
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life, and portraiture; within a year, she had mastered and surpassed the curriculum. Her parents thus decided to relocate the family to Paris, where Madge could pursue more advanced training in the disciplines of art.
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By the mid-1930s, Madge Tennent's works had evolved into the mammoth oils of majestic Hawaiian women that remain her signature to this day. She tapped a brilliant, decidedly tropical color palette to create
744:
WHEREAS, better than any artist to date, Madge Tennent was able to capture and honestly express in her many paintings and drawings the subtle charm and quiet grace and dignity of the Hawaiian people; and
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layer by layer in paint, she built her canvases to equally monumental proportions; when standard issue could no longer satisfy her vision, she sewed pieces of canvas together to attain the desired size.
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she began exhibiting her work widely. In response to one such exhibition, a critic observed, "One must be a mystic to recognize the meaning with which the pictures are invested."
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486:(1935), one of the few paintings with which Mrs. Tennent was "almost satisfied," marked a turning point in the development of her distinctive style; there, as in the concurrent
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To discover fourth-dimensional interest and to make it animate, bringing it down from its imaginative dimensions to a three-dimensional technique in color, form, and rhythm.
764:, for instance, as a most graphic delineator of Hawaiian types, cannot compare him to Tennent as an artist, anymore than an aficionado of either, links Gershwin to Wagner.
428:, exemplifies Tennent's enchantment with color and use of the bright, warm hues endemic to Hawaiʻi. She adapted line and form to the appropriately vivid medium of oil.
1338:
347:, to stay. Madge Tennent was immediately taken with the Hawaiian people, and she would devote the remainder of her life to rendering them in paintings and prints.
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among the first artists to embrace native Hawaiians as a primary subject matter, whom she depicted as large and robust with audacious, swirling forms and colors.
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BE IT RESOLVED by the Senate of the Sixth Legislature of Hawaii, Regular Session of 1972, that this body solemnly notes the passing of a great artist and person.
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1943:
1908:
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Following Tennent's death, numerous cultural luminaries opined on her outstanding contribution to the cultural landscape of Hawaii. Fellow island artist
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WHEREAS, Madge Tennent, having spent a half century in Hawaii, leaves behind a rich legacy of art, which shall forever belong to Hawaii; and therefore,
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26-year-old Madge for three months following their introduction on 25 July 1915. The two were married and, shortly thereafter, embarked to New Zealand.
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To achieve through a fundamental and traditional procedure and a personal technique, in an abstract way (so called), the story of the Hawaiian people.
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To paint each picture in its most suitable rhythm, these rhythms to be a personal expression, used to give a sense of perpetual vibration or motion.
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Hugh returned from France in 1917 with a badly wounded arm. An accountant by trade, he was offered a position as treasurer to the government of
1903:
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Tennent would continuously diversify across media and scale, but never once did she stray from or grow tired of her beloved Hawaiian subjects.
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WHEREAS, Madge Tennent, one of Hawaii's most important artists, died on February 5, 1972 in the 82nd year of her long and eventful life; and
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805:(London) are among the public collections holding works by Madge Tennent. The single largest intact collection of her works resides at the
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WHEREAS, Madge Tennent was also a warm and generous person, who gave often and generously of her works to friends and to charity; and
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in 1992; from July 2014 until January 2015, this important early work appeared alongside two other Tennent canvasses in the museum's
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To paint without thought of pleasing, to keep faith with my furthest discrimination in art, and to make no compromise aesthetically.
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240:, stoked her pioneering vision. Having served as an art educator in South Africa, New Zealand, and British Samoa, she settled in
1923:
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832:
mounted a sweeping retrospective of Tennent's work that spanned over 40 works produced over five decades of her life. Titled
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in its early days, where she was a frequent lecturer, and where she was included in most of the academy's early group shows.
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A child prodigy, Tennent spent her formative teenage years in Paris, where she honed technical mastery under the tutelage of
1933:
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614:, is an early example of her large paintings of Hawaiian women. Her influence was increased by her association with the
1938:
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The majestic, explicitly Polynesian women that would figure in Mrs. Tennent's iconic imagery surfaced in works such as
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In the visual arts Madge Tennent has no equal among the under-appreciated artists of Hawaiʻi. Those of us who salute
726:. After a decade of gradually declining health, Tennent died in Honolulu on 5 February 1972. Her funeral was held at
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To build up color shapes in a three-dimensional painting much as one builds with bricks in a three-dimensional world.
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To organize and paint a big subject as one would conduct a symphony. The two in a last analysis being very much akin.
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482:(all 1934), depicting native women engaged in lei-making, dancing, and similarly island-specific activities.
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Again Madge directed an art school, having been appointed head instructor at the Government School of Art in
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To make an aesthetic, not a static, expression in paint, and to keep a large organization in paint, lyric.
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515:(1940). Thereafter followed paintings in shades of ocean blues and earthy island sepias on linen, such as
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He Makana, The Gertrude Mary Joan Damon Haig Collection of Hawaiian Art, Paintings and Prints
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Holt, John Dominis. "An Appreciation of the Artistic Achievement of Madge Tennent".
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To attempt something profound and universal in a usual and typical Hawaiian subject.
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836:, the exhibition was the largest public show of the artist's work since 1976.
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282:, Madge was quickly identified as a child prodigy and invited to study under
228:; simultaneous exposure to the city's leading avant-garde artists, including
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To compose with light, apart from color, making light as important as color.
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colors and thick, granular strokes gave way to a subdued monochrome, as in
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32:
1309:, Honolulu, Department of Education, State of Hawaii, 1985, pp. 7â14
925:
Encounters with Paradise : Views of Hawaii and Its People, 1778-1941
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1323:, Hawaii State Foundation of Culture and the Arts, 2013, pp. 59â61
60:
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praised Tennent's 1937 one-woman exhibition at the Wertheim Gallery:
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1434:
Painters and Etchers of Hawaii-A Biographical Collection-1780-2018,
1314:
Encounters with Paradise: Views of Hawaii and its People, 1778-1941
1252:"Rhythm in the Round: The modernism of Madge Tennent opens Sept. 9"
809:, which in 2005 was named caretaker of the Tennent Art Foundation.
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Troubled Paradise: Madge Tennent at a Hawaiian Crossroads (Thesis)
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commemorated the artist's vision, accomplishments, and influence:
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1471:
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1111:
Tennent, Arthur (1976). Angus, Donald; Kingrey, Kenneth (eds.).
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Hartwell, Patricia. "Tennent's Exhibition 'Sure Thing' in Art".
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1448:
1426:, Hana Hou! (Hawaiian Airlines, 5.5), October/November 2002,
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The Donald Angus Collection of Oil Paintings by Madge Tennent
1362:, Honolulu, HI, Honolulu Academy of Arts, 2003, p. 22,
1141:
Nakaso, Dan (30 October 2005). "City honors 100 notables".
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Islands possessing the most beautiful people of the world.
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Troubled Paradise: Madge Tennent at a Hawaiian Crossroads
1051:
Newton, Eric (July 1937). "Painter of South Sea Beauty".
970:. Honolulu: University of Hawaii Press. pp. 373â376.
1277:. Kamuela, HI: Hawaii Preparatory Academy. pp. 2â5.
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To make color perform, where possible, the work of tone.
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The Tennents arrived in Honolulu on November 14, 1923.
286:, a prominent artist-educator closely identified with
1036:
Tennent, Madge. "The World's Most Beautiful People".
927:. Honolulu: University of Hawaii Press. p. 267.
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To give vibration and chloral movement, as in nature.
1302:, Contemporary Arts Center of Hawaii, Honolulu, 1968
1096:"Madge Tennent: Paintings from Remembered Sources".
985:. Honolulu, HI: Honolulu Star-Bulletin. p. 635.
447:(early 1930s). Just as Mrs. Tennent constructed her
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1410:
Madge Tennent: Autobiography of an Unarrived Artist
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Rhythm in the Round: The Modernism of Madge Tennent
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Rhythm in the Round: The Modernism of Madge Tennent
897:. Honolulu: University of Hawaii Press. p. 9.
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Rhythm in the Round: The Modernism of Madge Tennent
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1328:Artists of Hawaii: Nineteen Painters and Sculptors
981:Hilleary, Perry Edward; Judd, Henry Pratt (1954).
895:Artists of Hawaii: Nineteen Painters and Sculptors
1273:Hustace, Mollie M.; Sandulli, Justin M. (2016).
621:Mainland and international exhibitions include:
1355:, Kamuela, HI: Hawaii Preparatory Academy, 2016
1339:Hawaii State Foundation on Culture and the Arts
1213:Isaacs Art Center at Hawaii Preparatory Academy
820:a seminal survey of Hawaiâi art mounted at the
758:
497:
355:
1487:
730:in Honolulu. Three days after her death, the
8:
1949:South African emigrants to the United States
1115:. Honolulu: Island Heritage Ltd. p. 22.
294:Return to Cape Town and Marriage (1907-1915)
1412:, Columbia University Press, New York, 1949
1351:Hustace, Mollie M. and Justin M. Sandulli,
1070:. Honolulu: Edward Enterprises. p. 53.
418:Olympia of Hawaii (with Apologies to Manet)
376:Olympia of Hawaii (with Apologies to Manet)
327:for the duration of Hugh's service abroad.
1494:
1480:
1472:
1462:Pioneering Art of Madge Tennent on Display
1376:, Honolulu, Honolulu Museum of Art, 2014,
1305:Department of Education, State of Hawaii,
1016:
1014:
1012:
1010:
661:Wertheim Gallery, London - 1935 & 1937
634:12th International Watercolor Exhibition,
31:
20:
1346:Literary Conversations with Madge Tennent
1316:, Honolulu Academy of Arts, 1992, 210-268
994:
992:
664:Painters & Sculptors of Los Angeles,
315:New Zealand and British Samoa (1915-1923)
302:Tennent in her Cape Town studio, ca. 1914
1428:https://hanahou.com/5.5/larger-than-life
1330:, University of Hawaii Press, 1974, 9-15
918:
916:
914:
629:California Palace of the Legion of Honor
1372:Papanikolas, Theresa and DeSoto Brown,
955:. National Museum of Women in the Arts.
893:Haar, Francis; Neogy, Pritwish (1974).
865:
845:
686:Contemporary Art of the United States,
244:with her husband and children in 1923.
185: 1915; died 1967)
1348:, Ku Pa'a Incorporated, Honolulu, 1989
1003:. New York: Columbia University Press.
888:
886:
884:
1098:Honolulu: A Topical Tropical Magazine
207:
91:British, naturalized American in 1936
7:
1914:British emigrants to the Cape Colony
1403:The Art and Writing of Madge Tennent
1341:, Honolulu, Hawaii, 1987, p. 47
1113:The Art and Writing of Madge Tennent
1001:Autobiography of an Unarrived Artist
799:National Museum of Women in the Arts
641:Society of American Artists Annual,
1944:South African expatriates in France
1401:Tennent, Madge and Arthur Tennent,
1391:, Durham, NC: Duke University, 2016
1326:Haar, Francis and Prithwish Neogy,
1254:. West Hawaii Today. 30 August 2016
873:"The History of Today: 150 Years".
828:exhibition. In September 2016, the
645:, New York - 1931, 1932, & 1936
625:Ferargil Galleries, New York - 1930
358:aesthetic end for me as an artist.
117:Painting, drawing, mural, sculpture
1909:20th-century English women artists
787:Fine Arts Museums of San Francisco
738:IN HONOR OF THE LATE MADGE TENNENT
598:(1934) represented Hawaiʻi at the
513:Three Musicians Subdued in Harmony
14:
1405:, Island Heritage, Honolulu, 1977
1293:Madge Tennent: Colorful Hawaiians
1398:, Arthur Tennent, Honolulu, 1982
1333:Hartwell, Patricia L. (editor),
1164:Kam, Nadine (18 November 2004).
666:Los Angeles County Museum of Art
154:
953:Clara Database of Women Artists
182:
150:
1419:, Tennent Art Foundation, 1966
1025:. Durham, NC: Duke University.
351:Artistic Evolution & Style
264:South African Women in Council
1:
1904:20th-century English painters
1468:(Big Island Video News: 2016)
983:Men and Women of Hawaii, 1954
801:(Washington, D. C.), and the
648:Northwest Annual Exhibition,
1021:Sandulli, Justin M. (2016).
678:Oakland Museum of California
525:Three Hawaiians in a Library
1954:20th-century women painters
1209:"Madge Tennent (1889-1972)"
683:Drake Hotel, Chicago - 1939
672:Civic Center, San Francisco
608:Two Sisters of Old Hawaiʻi,
531:, in the collection of the
424:, in the collection of the
1970:
966:Peterson, Barbara (1984).
803:Victoria and Albert Museum
600:1939 New York World's Fair
549:To make heavy forms lyric.
284:William-Adolphe Bouguereau
222:William-Adolphe Bouguereau
104:William-Adolphe Bouguereau
818:Encounters with Paradise,
610:in the collection of the
587:International Recognition
460:Hawaiians Hanging Holoku,
30:
1798:Cornelia MacIntyre Foley
1682:Eduardo Lefebvre Scovell
1667:Ernest William Christmas
1432:Hustace, James J.
1417:Madge Tennent Miscellany
1415:Tennent, Madge G. Cook,
1396:Madge Tennent, My Mother
1068:Madge Tennent: My Mother
1066:Tennent, Arthur (1982).
636:Art Institute of Chicago
472:Hawaiians Hanging Holoku
1609:Richard Brydges Beechey
1525:Hawaii State Art Museum
1454:: Season 1, Episode 2 (
1437:Library of Congress (C)
1335:Retrospective 1967-1987
1128:Paradise of the Pacific
1100:(October, 1976): 42â43.
1053:London Evening Standard
1040:(December 1944): 33â36.
1038:Paradise of the Pacific
999:Tennent, Madge (1949).
968:Notable Women of Hawaii
816:(1927) was featured in
791:Hawaii State Art Museum
769:Patricia Hartwell,
701:London Evening Standard
612:Hawaii State Art Museum
63:, South London, England
16:British-American artist
1924:English women painters
1919:Académie Julian alumni
1725:Grace Carpenter Hudson
1530:Honolulu Museum of Art
1291:Bruce, Lois Margaret,
1231:Honolulu Museum of Art
1170:Honolulu Star-Bulletin
923:Forbes, David (1992).
822:Honolulu Museum of Art
795:Honolulu Museum of Art
766:
756:
728:St. Andrew's Cathedral
714:
631:, San Francisco - 1932
616:Honolulu Museum of Art
602:
533:Honolulu Museum of Art
502:
466:
426:Honolulu Museum of Art
396:
394:Honolulu Museum of Art
382:
380:Honolulu Museum of Art
360:
303:
140:Bertie Phillips Denham
1778:Marguerite Blasingame
1387:Sandulli, Justin M.,
1295:, Hawaii Origin, 1976
1166:"The art of commerce"
736:
709:
688:New York World's Fair
594:
517:Hawaiian Three Graces
458:
437:Three Filipino Ladies
388:
374:
301:
234:Pierre-Auguste Renoir
1934:Painters from London
1929:Painters from Hawaii
1823:Huc-Mazelet Luquiens
1422:Wagerman, Virginia,
1360:Honolulu Printmakers
1358:Morse, Morse (ed.),
1344:Holt, John Dominis,
1130:(March 1955): 16â19.
732:Hawaiʻi State Senate
529:Three Hawaiian Women
521:Three Hawaiian Women
390:Three Hawaiian Women
338:Honolulu (1923-1972)
167:Hugh Cowper Tennent
153: 1909;
1939:People from Dulwich
1803:Juliette May Fraser
1793:Robert Lee Eskridge
1773:Charles W. Bartlett
1730:William Twigg-Smith
1715:D. Howard Hitchcock
1710:Helen Thomas Dranga
1677:Ogura Yonesuke Itoh
1561:D. Howard Hitchcock
1556:Juliette May Fraser
1515:Bailey House Museum
1143:Honolulu Advertiser
875:Honolulu Advertiser
363:Madge Tennent,
47:Madeline Grace Cook
37:Madge Tennent, 1948
1858:Joseph Henry Sharp
1705:William A. Coulter
1566:Herb Kawainui KÄne
1319:Forbes, David W.,
1312:Forbes, David W.,
1227:"Art Deco Hawai'i"
877:. 5 February 2006.
695:Critical reception
650:Seattle Art Museum
643:Rockefeller Center
603:
476:Lei Queen Fantasia
467:
397:
383:
304:
125:Hawaiian Modernism
1881:
1880:
1838:Alexander MacLeod
1535:Isaacs Art Center
1466:Isaacs Art Center
1452:Artists of Hawaii
1394:Tennent, Arthur,
1384:, p. 126-128
1307:Artists of Hawaii
830:Isaacs Art Center
807:Isaacs Art Center
488:Girl in Red Dress
464:Isaacs Art Center
422:Olympia of Hawaii
270:Paris (1902-1906)
201:
200:
1961:
1672:Charles Furneaux
1644:Mikhail Tikhanov
1639:John Mix Stanley
1496:
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1473:
1424:Larger Than Life
1408:Tennent, Madge,
1374:Art Deco Hawai'i
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1093:
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1085:(November 1974).
1083:Cultural Climate
1078:
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826:Art Deco Hawaiâi
814:Hawaiian Pattern
773:
771:Cultural Climate
699:Writing for the
506:
410:Girl with Apples
367:
211:
186:
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72:February 5, 1972
56:
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35:
21:
1969:
1968:
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1884:
1883:
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1877:
1848:Shirley Russell
1833:Arman Manookian
1828:Genevieve Lynch
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1754:
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1691:
1687:Jules Tavernier
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1596:
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1571:Jules Tavernier
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1298:Charlot, Jean,
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1191:"Madge Tennent"
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492:Two Lei Sellers
445:Hawaiian Singer
369:
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280:Académie Julian
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226:Académie Julian
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157: 1914)
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1502:Art of Hawaiâi
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1443:External links
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406:Hawaiian Girl
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332:British Samoa
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108:Julian Ashton
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57:June 22, 1889
45:
41:
34:
29:
25:Madge Tennent
22:
19:
1867:
1853:Lloyd Sexton
1808:Hon Chew Hee
1783:Jean Charlot
1634:Titian Peale
1619:Louis Choris
1575:
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1274:
1268:
1256:. Retrieved
1246:
1234:. Retrieved
1230:
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1203:
1194:
1185:
1173:. Retrieved
1169:
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523:(1941), and
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416:(1927), and
413:
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398:
389:
375:
364:
361:
356:
345:Don Blanding
341:
329:
325:Invercargill
318:
309:
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288:Academic art
277:
273:
263:
260:
246:
230:Paul CĂ©zanne
219:
203:
202:
74:(1972-02-05)
18:
1899:1889 births
1894:1972 deaths
1698:the century
1649:John Webber
1597:and Kingdom
1586:John Webber
1549:Key artists
705:Eric Newton
690:- 1939-1940
596:Local Color
490:(1935) and
480:Local Color
441:Holoku Ball
435:(1929) and
378:, c. 1927,
88:Nationality
1888:Categories
1873:John Young
1863:Reuben Tam
1843:Ben Norris
1818:John Kelly
1735:Hubert Vos
1456:PBS Hawaii
1368:093742658X
1286:References
1258:12 January
1236:1 November
812:Tennent's
762:John Kelly
257:Early life
53:1889-06-22
1788:Isami Doi
1761:Modernism
1151:414952614
860:Footnotes
779:Isami Doi
420:(1927).
414:Makuahine
321:Woodville
252:Biography
96:Education
82:, Hawaiʻi
1759:Hawaiian
1147:ProQuest
527:(1943).
519:(1941),
412:(1926),
408:(1926),
404:(1926),
392:, 1941,
242:Honolulu
194:Children
122:Movement
80:Honolulu
1696:Turn of
1595:Contact
1508:Museums
1464:at the
1458:: 1984)
402:Bathers
278:At the
224:at the
215:Hawaiʻi
187:
179:
175:
159:
147:
143:
130:Spouses
61:Dulwich
1380:
1366:
1195:askART
1175:1 June
1149:
931:
901:
797:, the
793:, the
789:, the
717:Legacy
674:- 1938
668:- 1937
652:- 1933
638:- 1932
478:, and
462:1934,
449:wahine
236:, and
840:Notes
724:Manoa
544:Creed
537:aliʻi
181:(
177:
149:(
145:
1378:ISBN
1364:ISBN
1260:2017
1238:2018
1177:2015
929:ISBN
899:ISBN
785:The
443:and
155:div.
69:Died
43:Born
209:née
170:OBE
1890::
1337:,
1229:.
1211:.
1193:.
1168:.
1145:.
1009:^
991:^
951:.
913:^
883:^
703:,
474:,
232:,
217:.
183:m.
151:m.
106:,
102:,
1495:e
1488:t
1481:v
1262:.
1240:.
1215:.
1197:.
1179:.
1153:.
1055:.
937:.
907:.
206:(
197:2
55:)
51:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
