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first to the last. Although constant reworking made it difficult to discern, her paintings were infrequently purely abstract. In fact she was primarily a still life painter and almost always used objects in her studio as a starting point for each work. Late in her career, a critic noted that her paintings were neither "abstract" nor "figurative," but something in between. She herself said, "I was never conscious of painting representationally or not painting representationally. I was always involved in spacial forms, which naturally lead you somewhat into abstraction. You have to handle your responses to what you're seeing. I was putting down what I saw and how I felt about what I found as connecting links."
439:. Piper had two older sisters, Helen E. and Eleanor L. Piper. In 1925, Piper's mother and the three girls, aged eighteen, fifteen, and nine, spent the winter in France and it was there, at a pension in Cannes, that Piper decided she would become an artist. During the winter of 1933–34, following the elaborate activities required for the introduction to society of Helen and Eleanor as well as Helen's marriage to Henry B. Coxe, Piper's mother again took the three daughters to France. In the meantime, the three had been names as principal beneficiaries in the will of a wealthy maiden aunt, Elizabeth L. Piper, each to receive $ 30,000 on their eighteenth birthdays, and Piper had become a boarding student at
127:, she gave color precedence over representation. Shortly after her death a critic said "throughout her career Piper worked within a relatively narrow aesthetic range. She was interested in spatial organization and in creating space through color — concerns of another painter she admired, Henri Matisse. There's a sense of Matisse in her later work, but no indication that she was trying to imitate him; the resonance reflects shared concerns." From her first exhibition in 1943 through the end of her life she was given a total of thirty-four solo exhibitions in Philadelphia, New York, and other East Coast galleries and her works have been collected by major museums including the
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yourself for long periods of time, working in the isolation of a studio." She was unusually disciplined and rarely took time off. Despite family responsibilities (raising two daughters and moving the family about as her husband's career evolved), she once said a six-month hiatus was the longest time she had spent out of the studio. "Observers should feel that the act of painting was effortless – that it happened, it just happened," she said in a 1977 magazine interview. "Which of course," she added, "is not true." A few years later she said, "Painting is a pleasure, even though painful. It will always be a pleasure for me, because it is the thing I want to do the most."
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the
Bonestell Gallery in 1947. Other commercial solo shows included the Dubin Gallery (Philadelphia, 1954), Parma Gallery (New York, 1958), Cherry Stone Gallery (Wellfleet, Mass., 1971), Bodley Gallery (New York, 1981), Mangel Gallery (Philadelphia, 1987), and Rising Tide Gallery (Wellfleet, Mass., 1990). Beginning in 1971, she also had eight solo exhibitions at the Gross-McCleaf Gallery in Philadelphia. Throughout the course of her career, Piper was given thirty-four solo exhibitions in commercial and non-commercial galleries in Philadelphia, New York, and Cape Cod.
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orange and red tints and clear blues and greens, give an original picture of her domestic environment and nature's bounty and profuse growth." This critic continued: "Clearly, this gifted artist has had success creating a living and working environment that has a direct relationship to her creative life as an artist." In 2010, nineteen years after her death, Piper was called "one of
Philadelphia's finest painters" and three years later she was called "one of Philadelphia's most prominent modernist painters."
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praise as "poetic light-filled abstractions." At the height of her career in 1983 a reviewer found that "her abiding lyrical connection with nature and the domestic environment, and pursuit of a unique, individual perception, place her firmly within a strong
American tradition, although she remains spiritually separate from any trend or movement." A few years later she was recognized for an "original, daring approach" that was "firmly in the tradition of great American still life painting."
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466:, in the winter of 1943. His family, like hers, was prominent in Philadelphia society and, like her, he had attended prestigious private boarding school. Subsequently he had obtained Ivy League undergraduate and graduate degrees and, following service as a military intelligence officer in the South Pacific, had become a highly-respected professor of sociology.
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paintings for the "space structured by color, using still-life motifs" that they conveyed. Early in her career most of Piper's paintings were made in oil on canvas. Later, she mainly used acrylic colors which she liked because of the quality of the whites. The shorter drying time was also important to her as she repainted continually as her paintings evolved.
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Appreciation of such work as this is largely a matter of individual feeling and preference. It is certain to give pleasure to many beholders; to others it may convey little in the way of an impression. The only needful warning in regard to most of these pictures is not to look for a definite depiction of any special object.
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Piper kept her maiden name for professional uses and her married name for other uses. She and
Baltzell had two daughters, Eve, born in 1944, and Jan, born in 1948. Following his discharge from the Navy in 1945, the young family moved from place to place as Baltzell's career evolved. In 1963 Piper and
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As we walked through the Art
Alliance's galleries this week, moving from the bright world and the sculptured pigment of Howard Silverman to the planned harmonies and discords in Jane Piper's poetic inferences and controlled color movements, we wondered how the layman adjusted to these differences in
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Some remarkable instances of children's work is now to be found at the
Plastic Club in the output of Grace Gemberling's class ... Perhaps the most astounding manifestation of all among Miss Gemberling's pupils is the series of which "Jealousy" is the theme. Six of the students (all girls, need it be
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Piper's paintings appeared in group and solo exhibitions of the
Philadelphia Art Alliance in 1943, 1944, 1955, and 1967. She was shown at the Pennsylvania Academy of Fine Arts in 1945, 1947, 1953, 1956, and 1986. Other non-commercial appearances included the Friends' Central School (1943), Woodmere
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Regarding her time in the Barnes collection Piper later said, "I didn't know such paintings existed. I had seen some things that were involved with color abstraction, some
Picassos and Bracques, but when I saw the Matisses I didn't know what hit me. The experience threw me into a whole new emotional
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In addition to rich colors, her mature work was noted for her use of white pigment, which she used as negative space in order to better define her subjects. She was said, like
Matisse, to be "interested in spatial organization and in creating space through color," and a critic appreciated her late
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in 1985. In 1943 Piper was given her first appearance in a commercial gallery. Remarkably, this debut was a solo exhibition. The venue was the Robert Carlen
Gallery in Philadelphia. She was given a second solo show at Carlen in 1959. Her first solo exhibition in a New York commercial gallery was at
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Although Piper was a productive artist, fiercely devoted to her work, she had no need of income from sales and showed as frequently in non-commercial as commercial galleries. Her first appearance in a public exhibition occurred in 1931 when a painting of hers was included in a children's art show at
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Of the two teachers Piper later wrote, "Carles and Hofmann understood each other very well, but Hofmann's method of teaching was so different from Carles. I felt I knew what Hofmann was talking about, but I did not understand the language he was using. I could have learned more from him than I did,
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A private person who worked in solitude, she worked intensely, believing, as Carles had maintained, that in painting "you put everything in your life into it." Speaking of students she had taught, she said it took more than just talent to sustain a professional career: "You must be able to tolerate
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and neighboring Williamsport. On her mother's side her grandparents were prosperous Williamsport merchants. Edmund B. Piper was a well-known obstetrician and gynecologist who gained recognition for a forceps he designed (and which bears his name). Elizabeth Gibson Piper led an active social life,
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In addition to the pervasive influence of her mentor Carles, Piper's early paintings were said to show the influence of Matisse and CĂ©zanne. The influence of Carles and Matisse persisted as well in her late and final work. Color appears as the organizing principle in most of her paintings from the
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In 1986 a curator who had organized a retrospective exhibition of her work wrote that "she retains a sense of wonder while developing ever new complex harmonies of form and color" and a reviewer, calling Piper one of Philadelphia's best artists, said her paintings "with her preference for yellow,
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Of this experience Piper later said: "I was nine years old, and we lived in a pension in Cannes with mostly retired English people. There was a Victorian type of woman from Scotland with high shoes. She went out every day and did watercolors. She never spoke to anybody. I figured that she was the
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In 1935 Piper befriended Moy Glidden in Daniel Garber's class in the Pennsylvania Academy of Fine Arts. The two frequently shared the same studio and attended the same classes until Glidden left Philadelphia in 1940. They both continued to study with Arthur Carles throughout this half decade and
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Her Pictures are without specific titles and are merely classified as Abstractions, with attendant numerals for convenience sake. In designing, patterning and color they are admirably adapted for the adornment of modern rooms, though the artist does not think of her work in terms of decoration.
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Critical reception of Piper's work was at first tepid but grew stronger as her career progressed. Reviewing her first show in 1943, a critic complained that the paintings were overly-abstract and decorative, "admirably adapted for the adornment of modern rooms." In 1956 her paintings received
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When he retired from the University of Pennsylvania, Baltzell received praise as "both inventor and exemplar" in his field. Called "a man of contradictions," he was called anti-egalitarian but also liberal in political affiliation, a member of the social elite but also a critic of the white
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whose instruction she felt to be the most useful of all her teachers and whose artistic influence remained with her for the rest of her career. In 1936 she also enrolled for private study with the artist and collector Earl Horter. In his studio, her frequent close contact with paintings by
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said), Jane Piper, Mary Maguire, Cecilia Drinker (a niece of Cecilia Beaux), Sally Fisher, Alida Loeb and Nancy Riddle have devoted themselves to the interpretation in paint of that emotion which has wrought such havoc in the world, and the results are in themselves emotionally overwhelming.
418:. Of her teaching method she said, "In teaching I relate to the students one to one. I try to wait until they've done something, and then I talk to them about what they've done. I think they get much more from the setups or from looking at other paintings than they do from a lecture."
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Piper's unnamed and unsigned painting of 1942-43, called "Composition in Red," indicates the style of her work at the beginning of her professional career. During her career she participated in exhibitions held by non-commercial organizations included group and solo shows at the
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Leaving an estate valued at $ 100,000 and upward, Elizabeth L. Piper, 1936 Spruce St, who died June 29 at Williamsport Pa named her great-nieces, Eleanore Lear Piper, Helen Elizabeth Piper, and Jane Gibson Piper, and a nephew, Edmund Brown Piper, and his descendants,
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Art Museum (1983), Philadelphia Arts Festival (1962), Swarthmore College (1966), Lehigh University (1968), Philadelphia Center for Architecture (1971), Cheltenham Art Center (1986), Wallingford Community Arts Center (1986), and New York Studio School (1991).
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Mrs. Edmund B. Piper, with her daughters, Miss Helen E. Piper, Miss Eleanore L. Piper and Miss Jane Piper, of 1936 Spruce street, who have been spending the winter in Europe, will return to the country in June. Miss Helen Piper will be a debutante of next
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lady I wanted to get to know. I'd hang around her, and later she let me go out with her painting. I'd sit and watch her do watercolors. At Christmas she gave me a sable brush and explained to me how to take care of it, how very valuable it was."
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Anglo-Saxon Protestant establishment which, he wrote, "has too often placed the desire for material comfort and security above the duties of political and intellectual leadership." He is remembered as the person who popularized the initialism "
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Her technique is modern. She abstracts through color her own essence of still life. Yet what is interesting and fulfilling about her work is that her original, daring approach is firmly in the tradition of great American still life painting.
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In 1945 the family moved from Philadelphia to New York where Baltzell studied for and achieved a Ph.D. in 1947. When he began teaching at the University of Pennsylvania, they returned to Philadelphia (1947) and then settled in
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Largely self-educated, Earl Horter was an artist, printmaker, and collector whose acquisition of modernist art made his Philadelphia studio a valuable resource for budding artists such as Piper. In addition to the Europeans,
1819:"United States Social Security Death Index," database, FamilySearch; citing U.S. Social Security Administration, Death Master File, database (Alexandria, Virginia: National Technical Information Service, ongoing)
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where, observing an amateur artist at work, she became infatuated with painting and afterwards convinced her reluctant father to enroll her in an art class. After a few years' study under the Philadelphia artist
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Regarding the influence of Wallace Stevens on her work Piper said, "He's creating structure with the imagery. He, like Matisse, is searching for the right sensation, to recognize the completion of a work."
234:. Grace Gemberling mounted the show to put works by her young students on display. Piper's contribution was in a set of pictures on the theme of jealousy. Reviewing the show, C. H. Bonte of
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451:. During the remaining years of the 1930s she was an active participant in Philadelphia society, participating in a charity ball, being a bridesmaid in wedding ceremonies, joining the
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in Middlebury, Connecticut. In February 1935 Piper's father died at the age of fifty-four, in May she graduated from Westover, and in November she was honored as a débutante when a
633:(1948). Their daughters having grown up and Piper being able to devote more time to painting, they moved back to Philadelphia in 1966 where they remained the rest of their lives.
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Miss Jane G. Piper, daughter of Dr. and Mrs. Edmund B. Piper, ... who is attending Westover School, will arrive home on March 5 to spend the spring vacation with her parents.
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Every school of artistic thought is represented, from the well-disciplined impressionism of Daniel Garber, to the poetic light-filled abstractions of Jane Piper ...
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Piper was born in Philadelphia on August 21, 1916. Her father was Edmund B. Piper and her mother Elizabeth Gibson Piper. They were married in 1906 and settled in
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681:"It's What You Make, Not What You Get; Color is the organizing principle of Jane Piper's work, which builds upon the tradition of early Modernist painting"
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In her work Piper wished to express her emotions rather than give a pictorial narrative. At the height of her career she responded to the poems of
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1550:"Manuscripts and Archives of the Historical Medical Library of The College of Physicians of Philadelphia | CPP | Edmund B. Piper papers"
751:"Manuscripts and Archives of the Historical Medical Library of The College of Physicians of Philadelphia | CPP | Edmund B. Piper papers"
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Miss Jane G. Piper, photo by Bachrach. Miss Piper, a popular member of the younger set, is the daughter of Mrs. Edmund B. Piper of Spruce st.
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119:(1916–1991) was an American artist known for her abstract treatment of still lifes. Building on the French modernist tradition of
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Edward Soanski (1995-05-26). "BELATED RECOGNITION FOR A DISTINGUISHED ARTIST: THE WOODMERE MOUNTS A JANE PIPER RETROSPECTIVE".
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Piper's paintings are held in the permanent collections of the Philadelphia Museum of Art, Pennsylvania Academy of Fine Arts,
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found the work in general to be natural and spontaneous and the jealousy set in particular to be emotionally overwhelming.
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1236:"ART GROUP TO SHOW WORK BY MEMBERS: National to Offer Second Half of Annual Display—Museum to Open Print Exhibition".
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Jane Piper : poetic distillations , 9 May to 15 July 2005 (New York, N.Y. : Hollis Taggart Galleries, 2005)
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Richard J. Boyle; Bill Scott; Hollis Taggart Galleries (2005). "Jane Piper: Poetry and Place by Richard J. Boyle".
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Piper was raised in a prosperous and well-connected Philadelphia family. At the age of nine she spent a year at a
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Richard J. Boyle; Bill Scott; Hollis Taggart Galleries (2005). "Inspiration, Pleasure, Painting by Bill Scott".
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in Middlebury, Connecticut. Graduating in 1935, she returned to Philadelphia where she studied at the
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1724:"MISS MURTON DU PONT IS WED IN DELAWARE: Daughter of Eugene E. du Pont Bride of W. S. Carpenter 3d".
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on Cape Cod and two years later, having bought a house there, Piper built a studio on the property.
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Piper's untitled painting of 1961 indicates the non-objective style of her work late in her career.
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278:. A traveling exhibition, "Jane Piper: Retrospective Paintings, 1940–1985," was first mounted in
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Tom Long (1996-08-19). "E. Digby Baltzell, 80; sociologist known as 'upper-class populist'".
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on her work was also enhanced by informal study in Paris in 1937 and periods of study in the
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Victoria Donohoe (1987-01-24). "N. C. WYETH MURALS OF PLYMOUTH COLONY GLOW IN RESTORATION".
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Victoria Donohoe (1986-10-17). "HARD DECISIONS THAT PAY OFF IN AN ARTIST'S CONSTRUCTIONS".
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William P. Scott (November 1978). "Continuity and Change: Conversations with Jane Piper".
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1758:"JANE G. PIPER AFFIANCED: Westover Graduate Will Be Wed to Air Cadet E. D. Baltzell Jr".
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430:. Her grandparents on her father's side were members of an old and prominent family of
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Piper's "Fruit and Flowers of 1974 shows her handling of objects in an abstract style.
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Victoria Donohoe (1983-10-14). "ABSTRACTIONIST EDNA ANDRADE'S WORKS AT MARIAN LOCKS".
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valuing the way in which they expressed emotions "in a moment's clarity of thought."
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Jane Piper, "Fruit and Flowers," 1974, acrylic and charcoal on canvas, 40 x 60 inches
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Edward J. Sozanski (1986-09-11). "90 WOMEN'S ART BROUGHT TOGETHER IN WALLINGFORD".
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Gerald B. Jordan (1986-03-08). "Museum Showing Its Collection From Cheltenham".
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Leonard W. Boasberg (1986-05-15). "A PENN INSTITUTION TO RETIRE WITH HONORS".
1139:"The Arts; Studios, Exhibits; Youthful Students Enjoy Work by Local Artists".
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Richard J. Boyle; Bill Scott; Hollis Taggart Galleries (2005). "Chronology".
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made her aware of new possibilities in her own work. The influence of French
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Ralph Cipriano (1991-08-10). "JANE PIPER, 74; ART CAREER SPANNED 50 YEARS".
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William P. Scott, "Continuity and Change: Conversations with Jane Piper,"
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Piper died on August 8, 1991, at age 74, and was buried in Philadelphia's
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Jane Piper, "Composition in Red," 1942-43, oil on masonite, 28 x 36 inches
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Victoria Donohoe (1987-10-16). "WORK THAT REFLECTS THE ARTIST'S WORLD".
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Eve became an architect and Jan a professional artist, like her mother.
262:, Cheltenham Art Center, Wallingford Community Center, and galleries in
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Jane Piper, Richard J Boyle, Bill Scott, and Hollis Taggart Galleries,
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in 1938. Three years later she spent the summer months at the school
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221:. Piper appreciated Hofmann's instruction but preferred Carles's.
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Andrew Geller (1983-09-25). "THE UNLOVED ART OF A REBEL GENIUS".
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Cemetery. Baltzell died in Boston at age 80 on August 17, 1996.
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333:, "Hard Decisions That Pay Off in an Artist's Constructions,"
1312:"Jane Piper: Paintings and Drawings from the Artist's Estate"
1099:. Philadelphia, Penn. 1956-10-21. p. Society Section 1.
1075:. Philadelphia, Penn. 1955-12-25. p. Society Section 1.
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Piper was twenty-six when she married a Navy aviation cadet,
1569:"Off to Europe". Philadelphia, Penn. 1925-10-01. p. 12.
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Victoria Donohoe (1983-12-31). "A MOTHER-DAUGHTER EXHIBIT".
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C. Brock (1987-01-15). "Jane Piper Uses Color for Impact".
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1583:"Society". Philadelphia, Penn. 1926-04-04. p. SO28.
907:"Oral history interview with Jane Piper, 1988 Jan. 16–17"
875:"Jane Piper: Winter in Philadelphia, Summer in Wellfleet"
499:(v. 42, no. 436, November 1978, pp. 76–80, 122–124)
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Jane Piper, Untitled, 1961, oil on canvas, 28 x 34 inches
188:, whom she found to be too authoritarian, and then under
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but I thought Carles had said it all in simpler terms."
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Piper remained close to Carles until his death in 1941.
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her name appearing frequently in the society columns of
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a Philadelphia women's cultural organization called the
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Ruth Seltzer (1983-01-21). "Dinner to Honor Ormandys".
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Dore Ashton (1958-10-02). "Art: Paintings by Barnet".
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in the mid-1950s. From 1956 to 1985 she taught at the
1195:"Jane Piper, 74 Still life artist, in Philadelphia".
801:(436). Billboard Publications, Inc.: 76–80, 122–124.
997:C. H. Bonte (1931-10-18). "In Gallery and Studio".
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1041:. New York: Hollis Taggart Galleries. p. 48.
911:Archives of American Art, Smithsonian Institution
1615:"Many Are Now Enjoying the Delights of Travel".
1259:. Philadelphia, Penn. 1954-03-07. p. SO 15.
1058:. Philadelphia, Penn. 1943-03-07. p. SO 14.
1690:"Some Gay Dinner Parties to Honor Debutantes".
1215:"Jane Piper Engaged to E. Digby Baltzell, Jr".
1145:. Philadelphia, Penn. 1943-04-25. p. SO 1.
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1638:. Philadelphia, Penn. 1928-07-05. p. B8.
1713:. Philadelphia, Penn. 1935-10-22. p. 10.
1659:. Philadelphia, Penn. 1932-02-29. p. 5.
1604:. Philadelphia, Penn. 1929-10-29. p. 12.
1221:. Philadelphia, Penn. 1943-01-17. p. 2.
662:. Philadelphia, Penn. 1935-11-17. p. 2.
656:"Society: About Weddings and Various Fetes".
534:as well as the others mentioned, he acquired
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1747:. Philadelphia, Penn. 1939-07-02. p. 6.
1696:. Philadelphia, Penn. 1935-09-08. p. 2.
1621:. Philadelphia, Penn. 1933-02-05. p. 2.
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986:. Philadelphia, Penn. 1937-11-11. p. 6.
1741:"Jane Piper to Give July 4th House Party".
1428:"Art galleries: Jane Piper at Schmidt/Dean"
447:portrait appeared in the society pages of
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18:
1535:History of Lycoming County, Pennsylvania
1598:"Social and Other Themes of Interest".
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402:She taught painting and drawing at the
885:. Provincetown Arts Press, Inc.: 66–67
254:, Pennsylvania Academy of Fine Arts,
1316:Pennsylvania Academy of the Fine Arts
980:"$ 128,192 Awarded to Son by Court".
966:. New York: Hollis Taggart Galleries.
833:. New York: Hollis Taggart Galleries.
182:Pennsylvania Academy of the Fine Arts
133:Pennsylvania Academy of the Fine Arts
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1876:20th-century American women painters
260:Philadelphia Center for Architecture
470:Baltzell began spending summers in
1815:"Jane Piper Baltzell, 08 Aug 1991"
1477:. Philadelphia, Penn. p. E39.
1003:. Philadelphia, Penn. p. 18.
317:Artistic style and working methods
225:Exhibitions and critical reception
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1891:Burials at The Woodlands Cemetery
1803:. Philadelphia, Penn. p. C1.
1781:. Philadelphia, Penn. p. 21.
1707:"Plans Formed for Charity Ball".
1521:. Williamsport, Penn. 1894-10-19.
1460:. Philadelphia, Penn. p. D4.
1385:. Philadelphia, Penn. p. 38.
1345:. Philadelphia, Penn. p. 27.
1293:. Philadelphia, Penn. p. C3.
1179:. Philadelphia, Penn. p. E5.
1162:. Philadelphia, Penn. p. D4.
1128:. Philadelphia, Penn. p. 36.
739:. Philadelphia, Penn. p. 38.
713:. Philadelphia, Penn. p. 46.
172:, she was able to study art as a
110:(1915–1996), American sociologist
1532:John Franklin Meginness (1892).
1069:"Alliance to Exhibit for Yule".
1039:Jane Piper: Poetic Distillations
964:Jane Piper: Poetic Distillations
831:Jane Piper: Poetic Distillations
388:Mount Holyoke College Art Museum
546:and Native American artifacts.
176:in a private school for girls,
1871:20th-century American painters
1517:"Mrs. Harriet Watson Piper ".
258:, Philadelphia Arts Festival,
1:
1052:"Five Artists Hold Exhibit".
556:world of color and feeling."
1426:Edith Newhall (2016-12-23).
90:The Woodlands (Philadelphia)
1844:. Boston, Mass. p. B5.
1632:"Leaves $ 100,000 Estate".
1201:. Boston, Mass. 1991-08-10.
408:Philadelphia College of Art
219:Provincetown, Massachusetts
1907:
1881:Painters from Philadelphia
1538:. Unigraphic. p. 715.
428:Williamsport, Pennsylvania
404:Philadelphia Museum of Art
376:National Academy of Design
141:National Academy of Design
129:Philadelphia Museum of Art
1800:The Philadelphia Inquirer
1778:The Philadelphia Inquirer
1764:. 1943-01-18. p. 20.
1744:The Philadelphia Inquirer
1730:. 1938-06-26. p. 32.
1710:The Philadelphia Inquirer
1693:The Philadelphia Inquirer
1679:. 1935-01-15. p. 19.
1656:The Philadelphia Inquirer
1635:The Philadelphia Inquirer
1618:The Philadelphia Inquirer
1601:The Philadelphia Inquirer
1474:The Philadelphia Inquirer
1457:The Philadelphia Inquirer
1433:The Philadelphia Inquirer
1382:The Philadelphia Inquirer
1365:. Oswego, N.Y. p. 5.
1342:The Philadelphia Inquirer
1290:The Philadelphia Inquirer
1256:The Philadelphia Inquirer
1242:. 1947-03-17. p. 20.
1218:The Philadelphia Inquirer
1176:The Philadelphia Inquirer
1159:The Philadelphia Inquirer
1142:The Philadelphia Inquirer
1125:The Philadelphia Inquirer
1096:The Philadelphia Inquirer
1072:The Philadelphia Inquirer
1055:The Philadelphia Inquirer
1000:The Philadelphia Inquirer
983:The Philadelphia Inquirer
932:"Earl Horter – Biography"
736:The Philadelphia Inquirer
710:The Philadelphia Inquirer
659:The Philadelphia Inquirer
449:The Philadelphia Inquirer
437:The Philadelphia Inquirer
410:. She also taught at the
335:The Philadelphia Inquirer
252:Philadelphia Art Alliance
236:The Philadelphia Inquirer
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422:Personal life and family
280:James Madison University
1493:Princeton Alumni Weekly
1093:"Academy Honors List".
844:Scott Chalfant (2011).
679:Stan Mir (2016-12-24).
384:Provincetown Art Museum
264:Friends' Central School
155:Early life and training
145:The Phillips Collection
1886:American art educators
464:E. Digby Bartzell, Jr.
416:New York Studio School
372:Carnegie Museum of Art
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276:New York Studio School
246:
149:Carnegie Museum of Art
1499:(21): 398. 1906-03-06
1402:"Jane Piper Baltzell"
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35:Formal portrait, 1935
1519:Gazette and Bulletin
1436:. Philadelphia, Penn
1078:spirit and approach.
846:"www.hlchalfant.com"
631:Radnor, Pennsylvania
412:Pennsylvania Academy
1673:"Dr. E. B. Piper".
1653:"People You Know".
392:Woodmere Art Museum
380:Phillips Collection
256:Woodmere Art Museum
1761:The New York Times
1727:The New York Times
1676:The New York Times
1273:The New York Times
1239:The New York Times
873:Richard J. Boyle.
337:, October 17, 1986
307:
292:
268:Swarthmore College
247:
879:Provincetown Arts
544:African sculpture
272:Lehigh University
211:Barnes collection
117:Jane Gibson Piper
114:
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108:E. Digby Baltzell
45:Jane Gibson Piper
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485:Further reading
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178:Westover School
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86:Resting place
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1553:. Retrieved
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1501:. Retrieved
1496:
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1489:"The Alumni"
1483:
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1438:. Retrieved
1431:
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1410:. Retrieved
1408:. 2013-08-09
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1318:. 2010-10-26
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939:. Retrieved
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913:. 1988-01-16
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839:
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754:. Retrieved
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688:. Retrieved
684:
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232:Plastic Club
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215:Hans Hofmann
158:
116:
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78:Philadelphia
72:(1991-08-08)
59:Philadelphia
1866:1991 deaths
1861:1916 births
542:as well as
457:Eagles Mere
398:Art teacher
362:Collections
96:Nationality
1855:Categories
1824:2017-03-17
1555:2017-05-27
1503:2017-04-15
1440:2017-03-17
1412:2017-03-18
1322:2017-03-18
941:2017-05-15
936:Ro Gallery
917:2017-03-18
889:2017-03-17
854:2017-05-13
756:2017-05-14
690:2017-04-18
641:References
432:Watsontown
147:, and the
51:1916-08-21
23:Jane Piper
538:works by
479:Woodlands
472:Wellfleet
207:Modernism
104:Spouse(s)
532:Brancusi
445:Bachrach
414:and the
99:American
1586:winter.
540:Sheeler
528:Duchamp
203:Matisse
195:Picasso
174:boarder
161:pension
125:CĂ©zanne
121:Matisse
390:, and
201:, and
199:Braque
165:Cannes
139:, the
135:, the
131:, the
849:(PDF)
503:Notes
883:2005
608:WASP
530:and
274:and
123:and
67:Died
41:Born
610:."
163:in
1857::
1817:.
1787:^
1575:^
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329:—
53:)
49:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
