192:(f. 1879), first in evening classes in 1891, then as a full-time student in 1892. This was the first art school in the United States that was part of a university and it relied on the French Beaux-Arts method of curriculum. The courses he took in Drawing, Modeling, Painting, Artistic Anatomy, Perspective, and Composition would have been very similar to what a student in France would have received at that time. Miller was known for his work ethic and excelled at the School of Fine Arts, where he studied under
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has written most extensively on the
American Impressionist movement, compared Miller to his friend, Frederick Frieseke: "Miller almost always stressed drawing and structure more than his colleague. The models he chose were quite distinct from Frieseke's, more poignant and lovely, less in the Renoir mode." Late in his career, his work turned darker in palette and more somber in subject and these paintings are not in the same demand as the sunnier depictions of idle women.
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358:. A number of the paintings he is known to have painted in California are clearly sited there. There is a fountain and a pool at the Fenyes mansion that appear in several of Miller's paintings. Additionally, he painted a portrait of Mrs. Fenyes' grand daughter and a large nude which is in the collection of the Pasadena Museum of History today, located on the grounds of the Fenyes estate.
184:, which was then one of the largest and most prosperous American cities. His father, Richard Levi Miller, was a well-respected civil engineer from Pennsylvania, who specialized in bridges and his mother was Esmerelda Story, a native of Missouri. Miller began drawing and painting as a boy and first worked as an assistant to George Eichbaum, a portrait painter. He studied art at the
334:, who followed him to Giverny in 1909. That same summer he met a young woman painter from Maine, Harriette Adams, who would later become his wife. Miller was back in his hometown of St. Louis in the spring of 1910, but it is not known how long he remained there—probably just a few months—because he was back in Giverny that summer.
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Arts, Miller won many of its prizes and began to exhibit locally in 1894. Because the school was attached to the St. Louis Museum of Fine Arts and on the campus grounds of the school, students had the opportunity to see important historic works as well as exhibitions which included works from contemporary movements like
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330:, another Impressionist painter. While a number of the American artists in Giverny taught, most of their instruction was informal. In contrast, Miller had an excellent reputation as a teacher and a number of his students followed him to Giverny, including John "Jack" Frost, the son of the well known illustrator
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occurred while Miller studied in St. Louis and it is believed that he attended the fair and saw the thousands of contemporary works that were on exhibit, including works by the artists of the emerging
American Impressionist movement and the Tonalist School. During his five years at the School of Fine
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Miller painted landscapes on occasion, but they are rare in Miller's artistic production. The women in his paintings were often depicted looking in a mirror or with a necklace in their hands, doing some sort of activity to keep them from being completely idle. The art historian
William Gerdts, who
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Colony of
American Impressionists. Miller was primarily a figurative painter, known for his paintings of women posing languidly in interiors or outdoor settings. Miller grew up in St. Louis, studied in Paris, and then settled in Giverny. Upon his return to America, he settled briefly in Pasadena,
309:. The large, ambitious works Miller produced at the turn of the century were primarily scenes of Paris cafe life. In these works of stylish Parisian women, the figures are handled in an almost academic fashion with only some areas of the background painted in an indistinct manner.
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Of his classic
American Impressionist paintings, production is divided between works that were done in Paris, usually in darker tonalities, the brightly colored works done in Giverny, a brief but productive period in Pasadena and then his years in Provincetown, Massachusetts.
297:, the private academy where he and many other American artists studied. He lived a modest existence with other students on the left bank. There he was acquainted with the Chicago painter, Lawton Parker, who helped him get his start in Paris. Miller's work was critiqued by
239:. Because of his teachers' orientation and the popularity of what was called the "Tonal School" at that time, Miller's earlier works were of quiet landscapes, Tonalist in orientation. By 1897, he was working as an illustrator for the
354:. When Miller settled in Pasadena, he could not find a studio that was pleasing, with the type of filtered light he liked to use for his painting. So instead, he painted at the home of the wealthy painter and patron of the arts,
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and was saving money to go to Paris to further his studies. He was subsequently honored by receiving the first scholarship to study in Paris awarded by the St. Louis School of Fine Arts
Student Association.
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Miller seemed to turn to highly decorative works of attractive young women in their dressing gowns or kimono about 1904 and these are the works that he is best known for. He would spend summers in the
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Miller moved back to the United States about the time World War I began. Because of his friendship with Guy Rose in
Giverny, Miller moved west to the Los Angeles suburb of Pasadena to teach at the
168:. Over the past several decades, he has been the subject of a retrospective exhibition and his work has been reproduced extensively in exhibition catalogs and featured in a number of books on
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No research confirms that Miller visited, but art historians like Marie Louise Kane presume he would not have missed the massive fair which was a comfortable train journey away.
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National
Academician; Bronze Medal, Pan-American Exposition, 1901; Silver Medal, St. Louis World's Fair, 1904; Silver Medal, Paris Salon, 1904; Chevalier de La Legion D'honneur
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Fenyes was a great patron of the arts, serving as a patron for numerous painters in
Pasadena and in the families home in Santa Fe, New Mexico.
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567:, no. 38, February, 1923, pp. 10–11. California Southland was an architectural publication with a limited though exclusive readership.
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The
Pasadena Museum of History in Pasadena has photographs of Miller working on the Fenyes Estate as well as several paintings.
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Seares, Mabel Urmy, "Richard Miller in a California Garden, California Southland, no. 38, February, 1923, pp. 10–11
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in New York and an award-winning painter in his era, honored in both France and Italy, and a winner of France's
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Kane's A Bright Oasis reproduces a few of these early works, which definitely belong to the "Tonal School."
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When Miller went to Paris in 1898 he was already a trained painter and was rapidly making progress at the
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Kane, Marie Louise, A Bright Oasis: The Paintings of Richard Miller, New York: Jordan Volpe Gallery, 1997
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Morseburg, Jeffrey, Richard E. Miller, Fond Impressions, Los Angeles, California (Biographical Essay)
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See Marie Louise Kane's A Bright Oasis, The Paintings of Richard Miller
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Eva Scott Fenyes with granddaughter Leonora Curtin, Pasadena, c. 1912
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Calilifornia Art Club, Home to Several Giverny Impressionists
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Mabel Urmy Seares, "Richard Miller in a California Garden,
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Richard E, Miller N.A.: An Impression and Appreciation
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Richard E. Miller in his Provincetown studio, 1920s
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626:Seares, Mabel Urmy, "Richard Miller in Pasadena"
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636:Cape Cod Mourns Richard E. Miller (obituary)
284:", collection of Terra Museum of American Art
180:Richard Edward Miller was born and raised in
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147:(March 22, 1875 – January 23, 1943) was an
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156:California and then in the art colony of
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374:Miller moved to Provincetown in 1917.
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616:Ball, Robert and Max W. Gottschalk,
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256:, Richard E. Miller, Oil on Canvas,
102:Washington University in St. Louis
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697:American Impressionist painters
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692:20th-century American painters
682:19th-century American painters
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320:American Art Colony of Giverny
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662:Giverny Impressionism Website
464:California Plein-Air Painting
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92:Jean-Joseph Benjamin-Constant
640:January 28, 1943, front page
352:Stickney Memorial Art School
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16:American painter (1875–1943)
657:Village of Giverny Web Site
362:Provincetown, Massachusetts
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702:American portrait painters
162:National Academy of Design
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402:Catharine Carter Critcher
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536:Grant Wingate, Zenobia.
469:Decorative Impressionism
235:as well as the works of
129:Decorative Impressionism
542:Caldwell Gallery Hudson
432:Christian von Schneidau
242:St. Louis Post Dispatch
712:Académie Julian alumni
687:American male painters
638:Provincetown Advocate,
449:American Impressionism
420:Harriette Adams Miller
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170:American Impressionism
149:American Impressionist
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479:French Impressionism
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628:Los Angeles Graphic
538:"Richard E. Miller"
459:California Art Club
216:, (1835–1910), and
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105:School of Fine Arts
52:St. Louis, Missouri
424:Hilda Rix Nicholas
391:Prominent students
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176:Youth and training
406:John "Jack" Frost
303:Benjamin Constant
299:Jean-Paul Laurens
229:Edmund H. Wuerpel
222:Theodore Robinson
220:via the works of
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145:Richard E. Miller
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88:Jean-Paul Laurens
86:, Lawton Parker,
84:Edmund H. Wuerpel
23:Richard E. Miller
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65:(1943-01-23)
722:1943 deaths
717:1875 births
412:(1897–1992)
332:A. B. Frost
676:Categories
607:References
454:Art colony
378:Assessment
44:1875-03-22
79:Education
438:See also
237:Whistler
210:Tonalism
121:Movement
115:Painting
597:Kane's
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153:Giverny
135:Awards
73:, U.S.
54:, U.S.
485:Notes
307:Salon
289:Paris
301:and
270:" Ă—
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60:Died
38:Born
188:in
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