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78:) for young ladies. In the school, as had been the case from early childhood, Dillaye evinced a talent for drawing, and a genuine artistic appreciation of pictures. So marked was her ability and so strong her desire to be an artist, that she was allowed to devote a year to the study of drawing. She went abroad, but her final work came in connection with the Philadelphia Academy of Fine Arts.
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Dillaye's impressions were vivid and marked by a strong originality. In the rage for etchings that prevailed at the end of the 19th century, Dillaye never condescended to degrade the art to popular uses, but maintained that true painter-etcher's style which first brought her into notice. Dillaye was
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in the technique of etching. It seemed so simple that she unhesitatingly sent in her name as a contributor to an exhibition to be held in the
Pennsylvania Academy of Fine Arts, and went so far as to order her frame. She knew little of the vicissitudes of the etcher, but she was on the way to learn,
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After returning from abroad, she taught in a young ladies' school in
Philadelphia. This enabled her to study for several years at the Philadelphia Academy of Fine Arts. Her fondness was for black and white, and she was attracted toward etching as a specialty. Masters in this branch aided her and
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Dillaye had additional artistic ambitions. Her studio on South Penn Square, Philadelphia, showed talent in various other mediums. Her illustrations and manuscripts found their way into several leading magazines. She occupied many official positions in connection with art matters. She served as
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in the judgment of etchings, and during the exposition's progress, a paper on her art was read by her before the
Congress of Women, which attracted wide attention. Her etchings were also favorably received abroad, having been exhibited successfully in England and in the
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Famous
American Men and Women: A Complete Portrait Gallery of Celebrated People, Whose Names are Prominent in the Annals of the Time, Each Portrait Accompanied by an Authentic Biographical Sketch, Secured by Personal Interview--the Whole Forming a Text Book of National
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Famous
American Men and Women: A Complete Portrait Gallery of Celebrated People, Whose Names are Prominent in the Annals of the Time, Each Portrait Accompanied by an Authentic Biographical Sketch, Secured by Personal Interview--the Whole Forming a Text Book of National
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for, when the exhibition opened, her labor was represented only by an underbitten plate, an empty frame, the name in the catalogue of a never-finished etching, and the knowledge that etching represented patient labor as well as inspiration. The same year,
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movement. She acquired prominence in one of the most difficult of arts, and was accepted in some respects as an authority in a field where far more men than women were in competition.
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American Women: Fifteen
Hundred Biographies with Over 1,400 Portraits : a Comprehensive Encyclopedia of the Lives and Achievements of American Women During the Nineteenth Century
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American Women: Fifteen
Hundred Biographies with Over 1,400 Portraits: a Comprehensive Encyclopedia of the Lives and Achievements of American Women During the Nineteenth Century
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71:, of Syracuse, whose writings on economic subjects such as paper money and the tariff won him an enviable reputation, and Charlotte B. Malcolm Dillaye.
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Vice-President of at least three organizations: Philadelphia Water Color Club, Fellowship of the
Pennsylvania Academy of the Fine Arts, and
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She was educated at Miss Mary L. Bonney and Miss
Harriette L. Dillaye's school (later known as the Ogontz College; still later, known as
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came to her rescue, and by his counsel and assistance, enabled her to work with insight and certainty.
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434:(Public domain ed.). Mast, Crowell & Kirkpatrick. p.
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This article incorporates text from this source, which is in the
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This article incorporates text from this source, which is in the
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Willard, Frances Elizabeth; Livermore, Mary Ashton Rice (1897).
419:(Public domain ed.). C. F. Beezley & Company. p.
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Present House on the Site of Edward Foulke's Original Dwelling
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American Federation of Arts (1914). Florence N. Levy (ed.).
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a contributor to the leading exhibitions in the US. At the
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Biddle, Gertrude Bosler; Lowrie, Sarah Dickson (1942).
365:(Public domain ed.). New York: MacMillan Company.
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Heller, Jules; Heller, Nancy G. (19 December 2013).
412:Waterloo, Stanley; Hanson, John Wesley Jr. (1896).
39:; 1851 – 1932) was a 19th-century artist from the
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95:found an apt pupil. She took one lesson of
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63:Blanche Dillaye was born in 1851, in
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458:at Wikimedia Commons
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362:American Art Annual
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