107:, she was probably self-taught. Pinny's surviving watercolors include genre subjects, landscapes, portraits, allegories, historical and religious narratives, and memorial scenes, and are characterized by balanced, architectonic compositions, sturdy figures, strong contours and bold colors. Although she was active in the nineteenth century, her protagonists often sport eighteenth-century fashions. As Lipman has noted, "her manner of painting and even the costuming of her figures belong to the 1700s ... It is scarcely stretching the point to consider her an eighteenth-century person who worked in the early nineteenth century."
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the marriage was an abusive one and that before
Holcombe died, the couple had already been divorced. Eunice had two children from this marriage: Hector and Sophia Holcombe (Phelps). In 1797, Eunice married Butler Pinney of Windsor (1766–1850). It appears that the couple initially settled in Windsor but relocated to Simsbury, where Eunice had been born, in about 1844. Eunice and Butler had three children: Norman, Viets Griswold, and Minerva Emeline (Bright). Minerva also was an artist and taught painting at a school in Virginia for several years before her marriage. Eunice died in Simsbury at the age of 79.
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81:, in 1639 and became an active participant in the political affairs of the Colony. The marriage of Eunice's parents, Simsbury natives Eunice Viets and Elisha Griswold, reportedly "brought together two of the most considerable families and estates in the town." Eunice was the fifth of the couple's eight surviving children. Her brother (the couple's second child) was
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in
Colonial Williamsburg, Virginia, appears to have been based on an English copperplate design on cotton. Pinney also may have mined the patterns of rare English toiles for inspiration. Her genre scenes and memorial paintings, however, are wholly original, exhibiting a sophisticated use of color,
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Eunice married Oliver
Holcombe of Granby (born 1769) in approximately 1790. Holcombe died young, in his twenties: he drowned when attempting to ford a stream during a trip to Ohio. Traditionally, scholars have assumed that this event left Eunice a young widow, but recent research has revealed that
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All of Pinney's signed and dated watercolors range from 1809 to 1826, which suggests to scholars that she only began painting later in life, some time after her second marriage, and that the majority of her work was executed in
Windsor and Simsbury. Like her contemporaries Willson and
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published in 1844, offers crucial information about Eunice and her family. According to the author, John S. Stone, D.D., Eunice was "a woman of uncommonly extensive reading" and was "zealously instrumental" in the organization and maintenance of her local
Episcopal church.
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It is unknown if Pinney trained her daughter
Minerva in the technique of watercolor, yet Eunice did send paintings to Minerva when she was teaching in Virginia to provide models for the students.
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Meyer, George H., ed., with George H. Meyer, Jr. and
Katherine P. White (1987). Folk Artists Biographical Index (1st ed.). Detroit: Gale Research Co., p. 206.
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Many of her compositions, especially those featuring historical or literary narratives, may have been based on popular
English engravings. For example, her
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Although many of Pinney's surviving works are owned by her descendants, important examples have entered public collections, including the
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Pinney was a well-educated woman from an influential
Connecticut family. She was a descendant of Matthew Griswold, who emigrated from
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are considered two of the earliest
American painters to work in the medium of watercolor.
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Eunice Pinney memorial, executed in 1813. Watercolor on paper, 42 x 49 cm,
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robust figures and complex compositions. Scholars of American painting such as
49:(February 9, 1770 – 1849) was an American folk artist active in the towns of
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Eunice Pinney: Masonic Mourning Piece for Reverend Ambrose Todd (1981.12.7)
61:, a specialist in American folk painting, Pinney and her contemporary
278:. New York: American Folk Art Museum. Retrieved September 2014.
247:. New York: Clarkson N. Potter, Inc./Publisher, p. 98.
228:
Primitive Painters in America 1750–1950: An Anthology
213:. London: Oxford University Press, 1942, p. 97.
148:due to its vigor and sense of theatricality.
39:, 1810, watercolor, in the collection of the
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230:. New York: Dodd, Mead & Company, p. 22.
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133:Abby Aldrich Rockefeller Folk Art Museum
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310:Lipman and Winchester, 1950, pp. 26–28.
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87:A Memoir of the Life of Bishop Griswold
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194:Miss Willson's Watercolors, 1800–1825
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439:19th-century American women painters
331:Lipman and Winchester, 1950, p. 28.
292:Lipman and Winchester, 1950, p. 26.
261:Lipman and Winchester, 1950, p. 24.
161:National Gallery of Art, Washington
434:American people of English descent
200:. February 3 – March 11, 1944, n.p
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424:People from Simsbury, Connecticut
276:Collections: Early Works on Paper
270:American Folk Art Museum (2014).
429:People from Windsor, Connecticut
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192:New York, Harry Stone Gallery.
47:Eunice Griswold Holcombe Pinney
394:19th-century American painters
322:Black and Lipman, 1966, p. 99.
301:Black and Lipman, 1966, p. 98.
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444:American women watercolorists
57:. According to art historian
211:American Primitive Painting
121:Museum of Fine Arts, Boston
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369:, American Folk Art Museum
419:Painters from Connecticut
346:, National Gallery of Art
165:American Folk Art Museum
83:Alexander Viets Griswold
399:American watercolorists
41:National Gallery of Art
449:Women outsider artists
245:American Folk Painting
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18:Eunice Griswold Pinney
404:American folk artists
129:Couple and a Casualty
55:Simsbury, Connecticut
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79:Windsor, Connecticut
75:Kenilworth, England
37:Lolotte and Werther
222:Lipman, Jean, and
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241:Jean Lipman
198:Jean Lipman
155:Collections
142:Jean Lipman
59:Jean Lipman
388:Categories
171:References
138:Mary Black
243:(1966).
226:(1950).
196:. Comp.
163:and the
373:May 12,
350:May 12,
51:Windsor
98:Career
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53:and
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20:)
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