535:. Ames illustrated the work with line drawings and watercolors. One reviewer said the book was "not really about Hartley at all, though he is certainly a part of the tale. The book is really about friendship, about living and dying, and about how we respond to the death of a loved one. Another reviewer wrote that "Miss Ames's prose is rarely pretentious, and it has always a pleasant flavor of her artist's eye as she sets the scene for Katie's own story. The drawings and watercolors are likewise simple, appropriately reflecting both the homeliness of Hartley's final residence and the sense of absence without him." A watercolor of the church in Correa, shown above at right, is one of the book's illustrations.
458:. The school's directors believed that children learn best when their activities are self-directed and hands-on. In 1939, Ames wrote a journal article on this topic from an art teacher's point of view. She said students should choose their own subjects when making art. They should be taught technique by indirect means, such as showing foreshortening by holding a pencil upright on the floor and asking the student to draw it from above. She said this approach would allow students to create works of art that were not just accurately drawn but also aesthetically pleasing. She gave private lessons in her studios, first in New York and then in Chicago.
488:, complained an "incongruous jumble in the galleries" having "no continuity and no sequence". Ames agreed that there was chaos but said it was not the artists' fault. She believed collectors and galleries were the cause and artists the victims. In a strongly worded letter, she said the creative energy of artists would persevere despite the "trickery, wars, and material lack of integrity" of collectors and galleries. She also presciently predicted that, "in spite of all the panic of the little egos to be heard (through the wonderful and terrible devices of publicity), we are on the verge of our own great creative era".
477:(then known as Elise Armitage), who wrote that there was no future in abstract art because it mattered only to "a few perspicacious artists, collectors and laymen." Taking a position that she shared with the critic Jewell, she said, "There is no great art that is not abstract." In her view, modern abstract artists could be seen as working to recover the Old Masters' "unity of spiritual and artistic expression". She saw contemporary artists as continuing a tradition that stretched back to ancient times and said it was unhelpful to pigeonhole them by using divisive terminology.
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473:'s art collection and its planned Museum of Non-Objective Art. Although the debate started as a consideration of non-objective (or subject-less) art versus all other, it developed into a discussion of the full range of abstract art, pitting abstract modern art against art that was considered to be traditional and time-tested. In her contribution, Ames responded to a letter from the dancer, comedian, and film actress,
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abstraction, she once told a reporter, that throughout history "all good art has abstract elements". In another context she said, "It is my experience that the actual process of painting is what is most important because in the elusive search to catch the movement of light and space on a flat surface, one falls so short. It is always the next canvas we hope will surely say what we are after."
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131:, her painting was, as one critic said, "not derivative". Critics noted her effective handling of color and one said she was "particularly noted for her work in creating movement through space by the use of color perspective." In her carved wood sculpture, critics generally noted the influence of her teacher,
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printed a photo of Ames calling her "an artist who doubles the excellence of her technique with sentiment, tenderness, and feeling for beauty." That year, she also held a solo show of paintings and sculpture at
Chicago's 1020 Art Center. This exhibition received one of the few negative reviews of her
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called her paintings "literal and prettified, thin surface records" and called her sculptures "derivative, indecisive carvings in the de Creef style." At least one person appears to have disagreed with this review in that three works, a sculpture and two paintings were stolen from the gallery during
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Ames showed a still life in the annual
Society of Independent Artists exhibition of 1935. Noting that her painting was "interesting and promising", a critic praised its "especially notable" use of color. The review did not name the painting. "Still Life #2"", shown above, no. 1, is an example of her
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Ames's group shows during this period included an exhibition of
Chicago artists at the Portrait Center (1960) and an exhibition of contemporary portraits by Renaissance Society members (1960) as well as exhibitions at the Illinois State Museum (1961), Chicago Society of Artists (1963), and Chicago
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in the
Netherlands Antilles with the Dutch-born sculptor, Jacoba Coster, and there was given a solo exhibition at the city's Cultural Center. After her return, she showed some of her portraits in a two-artist exhibition with the sculptor, Marie Taylor, at the Carroll-Knight Gallery in St. Louis. A
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Ames participated in group exhibitions during the 1940s, including appearances at a new gallery called "Number 10" and at a gallery in the clubhouse of the
American Women's Association in New York, both in 1940. She participated in a members' exhibition at the American British Art Center, a group
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Ames was both painter and sculptor. Her sculptures were mainly in carved wood and sometimes in cast bronze. Her painted subjects included landscapes, still lifes, and both semi- and pure abstractions. She was best known for her portraits, particularly ones having children as subjects as well as
442:; and fashion model Marion Morehouse. A reviewer once said Ames did not aim for realism in her portraits believing that "the painting of a human being has the same approach as a landscape or still life—it is the movement created through the color that is more important than the subject."
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critic, Edith Weigle. She summarized Ames's career and commented favorably on her style, quoting Ames on "the elusive search to catch the movement of light and space on a flat surface", a search that she said always "falls short". The review was accompanied by a photo of Ames with three large
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said the diversity of Ames's works showed her to be "consciously seeking individual expressions for her obvious talents." In 1943 and 1944, Ames was given two more solo exhibitions, the first at the Puma
Gallery and the second at the Eleanor Smith Gallery in St. Louis. The latter included oil
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Ames discussed the importance of color in other contexts as well. In 1937 she wrote that "color, form, and light" were the "pure elements" of a painter's medium. She asked, "If the form does not grow out of the color itself, of what significance is color in painting?" Regarding the use of
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called attention to a painting of hers called "The Gift" at a Salons of
America exhibition, saying it ranked "as one of the more notable pictures" in that large and diverse show. In addition to the critic's review, the magazine included an image of the painting (shown above, no. 2).
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of Curaçao". Ames spent most of 1948 and 1949 in Europe. During that time, she held a solo exhibition at Cercle
Universitaire-Interallie, Aix-en-Provence, and after her return was given solo exhibitions at Galerie Chardin in Paris and the Esher-Surrey Gallery, The Hague, Holland.
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507:. Set in the period at the end of his life when he lived in the home of a Maine lobsterman and his wife, it was written as if through the eyes of the wife, Katie Young, a long-term resident whose foreign birth set her apart from the other inhabitants of the tiny village of
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During her youth and well into her career, she called herself Polly Ames. Toward the end of the 1930s, she began to use
Scribner Ames for professional purposes and thereafter was sometimes called by that name and sometimes by her full birth name, Polly Scribner Ames.
1062:"New York, New York Passenger and Crew Lists, 1909, 1925-1957," database with images, FamilySearch; citing Immigration, New York City, New York, United States, NARA microfilm publication T715 (Washington, D.C.: National Archives and Records Administration, n.d.)
426:. Many, perhaps most, of the portraits were commissioned. Of those having children as subjects, the best-known shows the two children of Mr. and Mrs. Lloyd W. Powers Jr. seated at the piano. The best known of her celebrity portraits include concert saxophonist,
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511:. Ames had met Katie and her husband Forrest when she visited Hartley in the chicken-coop studio the Youngs had lent him. After writing it, she kept the typed manuscript among her possessions until 1959 when she donated it to the Smithsonian
389:(1957 and 1959), the Arts Club (1958 and 1959), and Cromer & Quint (1959). The 1958 Arts Club show included a painting, "Dark Birds", which one critic called "powerful, richly toned" and which was reproduced in an article on Ames in the
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She spent the summer of 1938 traveling in
Scandinavia. A year later, she was given her first solo exhibition, a display of paintings and carved-wood sculptures at the Bonstell Gallery in New York. The show received excellent reviews in
575:(1898–1985). Demaris lived in the Washington D.C. area where her husband worked for State Department. Adelaide lived in Copenhagen with her artist husband. Van Meter was a Professor of Philosophy at the University of Cincinnati.
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Ames wrote other manuscripts including poetry, short stories, and some nonfiction articles. She also wrote a memoir called "A Chance of My Making" about her post-war travels and the exhibitions she was given in Paris and The Hague.
523:. The book was edited by Richard S. Sprague, an English professor at the university who was also responsible for acquiring the typescript and arranging for publication. The book had a foreword by the art critic and historian
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department store in Urbana, Illinois (1967). A local critic called the portrait of Geraldine Page a "true triumph" in the Cincinnati show. The exhibition at the Chicago Public Library drew forth a lengthy review from the
1671:"Illinois, Cook County, Birth Certificates, 1871-1940," database, FamilySearch; Chicago, Cook, Illinois, United States, reference/certificate 33535, Cook County Clerk, Cook County Courthouse, Chicago; FHL microfilm
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said of Ames, "She works lightly in a high key. Her brush, it would seem, just flicking the canvas, first here, then there. But in the end, the matter is gathered understandingly within the frame." The critic for
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An advocate for progressive education, Ames taught art for many years in a private school and in her own studio. She was an author, although her publications were few. She wrote and illustrated a book called
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abstract paintings (shown in the box at the top of this article). The department store exhibition was a large one: 51 works in all, including oil paintings, watercolors, sculptures, and drawings.
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Edward Alden Jewell (1937-10-29). "Assaying the Abstract Controversy: Being an Inventory of the Opinions Brought Forth During the Discussion of Non-Representational Art--Some Conclusions".
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Scribner Ames (1945-03-04). "Letters: Two Questions Rising Tide Short "O" Radio Announcers Stabilizer; Lynne du Bois Norden, Scribner Ames, C.H. Kent, Ernest R. Clark, Abraham Steers".
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critic called the flower studies and small abstractions of the Cromer & Quint exhibition "unusually interesting". She was able to borrow her commissioned portrait of the actress
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and she wrote journal articles and letters to the editor on art education, abstraction in art, and the pernicious tendency of collectors and commercial galleries to promote bad art.
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Edward Alden Jewell (1937-07-04). "Guggenheim Foundation's Plans: Proposals for the Promotion of Modern Abstract Art Raise Important Issues Anew--Interpretation by the Curator".
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During her college years, Ames was an active participant in university organizations (sports, rhythmic dancing, a literary club called Mortar Board), but did not do studio art.
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During the 1960s, Ames had solo exhibitions at Clossen's Gallery in Cincinnati (1961), the Bresler Galleries in Milwaukee (1961), the Chicago Public Library (1962), and at the
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Ames was born in Chicago on February 16, 1908. Her birth name was Polly Scribner Ames. Her father was Edward Scribner Ames (1870–1958), a professor of philosophy at the
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She was given solo shows at the Cromer & Quint Gallery in 1958, at the Little Gallery in 1959 (both in Chicago), and at New York's Poindexter Gallery in 1960. The
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found one of the landscape paintings she showed to be an "outstanding" discovery in this show. When the society held another membership show the following year, the
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local critic noted in particular paintings she had made in Curaçao of a composer, Paul Nordoff, and a Dutch-born educator, Frater Radulphus, who was revered as the "
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church. Her mother was Mabel Van Meter Ames (1869–1953). Ames had two sisters, Demaris (1901–1985) and Adelaide (born 1905), and a brother,
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In 1953, Ames moved from New York to Chicago to look after her aging father and thereafter began to participate in the city's art scene. She joined the
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and later returned to her birth city. She also made repeated trips to Europe and, once, to the West Indies. Although she admired the work of
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paintings, drawings, watercolors and wood sculptures. In reviewing it, a local critic said a portrait of the Danish-American opera singer,
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Arts Club (1961 and 1966). A bronze sculpture named "Young Satyr and Friend" received a purchase prize at the Illinois State Museum show.
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also called attention to the portrait, calling its subject a "flaming saxophonist". A sketch for this painting is shown above, no. 3.
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111:, and abstractions. Her portrait sitters were often children or well-known men and women in the performing arts. Born and raised in
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show at New York's Puma Gallery, and a show at a gallery run by the Friends of Greece, all in 1943. A review of the Puma show in
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Ruth Green Harris (1939-02-12). "A Round of Galleries: Brief Comment on Some of the Recently Opened Group and One-Man Shows".
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When she moved to Chicago in 1953, her father moved into her apartment and she helped care for him until his death in 1958.
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Polly Scribner Ames (American, Chicago, 1908-1993). Oil on canvas – Full length portrait of Susan Fisher. Signed lower left.
484:, this one over a supposed "chaos" in the New York art world of that time. Writing on March 4, lawyer and art collector,
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Polly Scribner Ames (American, Chicago, 1908-1993). Oil on canvas - Portrait of Anne Fisher Knitting. Signed lower left.
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at the University of Chicago and participated in the artist members' exhibition held there in 1955. A reviewer for the
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Polly Scribner Ames (American, Chicago, 1908-1993). Oil on canvas - Portrait of Anne Edman Fisher. Signed lower left.
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In her day, BPh was the dominant degree received by graduates of the Colleges of Arts, Literature, and Sciences.
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During the late 1950s, Ames continued to participate in group exhibitions in Chicago, including ones at the
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Polly Scribner Ames (American, Chicago, 1908-1993). Oil on wood - Vase with Daffodils. Signed lower left.
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99:(1908–1993) was an American artist known for her paintings and sculpture. Her paintings included
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for the Poindexter show. This painting was made in 1959 during the original Broadway production of "
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Between 1939 and 1942 Ames was an art instructor at a tiny school in Greenwich Village called the
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There are no reports of Ames's participation in exhibitions between 1967 and her death in 1993.
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198:(1)Scribner Ames, Still Life #2, about 1930, oil on heavy paper, 23 1/2 x 17 1/2 inches
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226:(3) Scribner Ames, Sigurd Rasher, about 1942, charcoal sketch on paper, 20 x 16 inches
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Edith Weigle (1958-08-17). "Chcagoans Can Be Proud of Their Art in State Fair Show".
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499:, written and illustrated by Scribner Ames (1972, Orono, University of Maine Press)
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Scribner Ames, Susan Fisher, about 1945, charcoal sketch on paper, 20 x 16 inches
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Edith Weigle (1958-09-12). "Many New Art Exhibitions Are Opening in Chicago".
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In 1937, Ames participated in a debate about abstract art that began when
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mentions Ames's portrait of a then-popular orchestral saxophone soloist,
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and then traveled in Europe, where she studied sculpture in Munich with
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Ames attended schools in Chicago. She entered the freshman class of the
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Eleanor Jewett (1955-06-23). "Renaissance Society Puts on Art Show".
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later that year. A reproduction of this image is shown above, no. 4.
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subsequently printed an image of the painting. Howard Devree of the
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Edward Alden Jewell (1940-11-26). "Modern Museum Has Two Displays".
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Edith Weigle (1956-12-16). "Stone Gives Up to Metal in Sculpture".
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Edward Barry (1963-04-21). "Artists Go All Out in Big Exhibit".
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Edith Weigle (1960-02-28). "News and Views of Those Who Paint".
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Eleanor Jewett (1956-06-24). "Exhibit Is Delighful and Varied".
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167:. Returning to the United States in 1933, she made her home in
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Edith Weigle (1962-12-23). "There's a Show for Every Taste".
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Donation of Dora J. Gage, 1940-2003, Guide to the Collection
531:, a Swedish-American artist known for paintings made in the
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750:"The Fourteenth Annual Exhibition of the Salons of America"
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1131:. Chicago : University of Chicago Press. p. 212.
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Beyond Theology: the Autobiography of Edward Scribner Ames
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Scribner Ames, Water Color of the Church, Corea, ME, from
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Sam A. Lewishohn (1945-03-04). "Is There Chaos in Art?".
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still life work at the time. The next year, a critic for
727:"Independents Hold Annual Exhibition of Art and Effort"
1492:"City and Country Builds on Its Progressive Tradition"
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North American Women Artists of the Twentieth Century
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Howard Devree (1943-06-06). "A Reviewer's Notebook".
989:"Scribner Ames, "Sigurd Rasher", at the Puma Gallery"
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Howard Devree (1943-01-31). "A Reviewer's Notebook".
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degree in 1928. After graduating, she studied at the
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863:"Miss Ames' Art to be Displayed Here Till Nov. 11".
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238:(4) Scribner Ames, Dark Birds, image printed in the
1475:Polly Ames (1937-08-15). "Opinions Under Postage".
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1649:Guide to the Polly Scribner Ames Papers 1938-1993
693:(4). University of Chicago: 195. February 1933.
1260:(3). University of Chicago: 33. December 1958.
1211:(5). University of Chicago: 33. February 1957.
782:(2). University of Chicago: 34. November 1938.
210:(2) Scribner Ames, The Gift, image printed in
1387:. Chicago, Illinois. 1967-11-19. p. 162.
1085:. St. Louis, Missouri. 1949-05-28. p. 4.
867:. St. Louis, Missouri. 1944-11-01. p. 9.
8:
1716:. Chicago, Illinois. 1958-07-01. p. 21.
1701:(122). University of Chicago: 3. 1928-06-08.
1417:. Chicago, Illinois. 1962-07-04. p. 26.
1402:. Chicago, Illinois. 1960-06-16. p. 42.
1351:. Chicago, Illinois. 1958-04-17. p. 52.
1311:. Chicago, Illinois. 1958-12-13. p. 17.
652:. Chicago, Illinois. 1956-10-09. p. 33.
480:In 1945, she entered another dispute in the
1712:"Set Memorial Services for Dr. E.S. Ames".
1333:. Cincinnati, Ohio. 1961-10-08. p. 49.
519:press published the manuscript in 1972 as
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1632:Gerard J. Dullea (1973-01-02). "Column".
671:. University of Chicago. 1928. p. 9.
503:In 1945, Ames wrote a short memoir about
1621:. Bangor, Maine. 1973-01-02. p. 17.
1434:"The biography of (Polly) Scribner Ames"
1517:"Children and the Teaching of Painting"
1307:"Union League Club Plans 3d Art Show".
1099:Edward Scribner Ames (September 1950).
814:"Paintings and Sculpture by Polly Ames"
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594:
1655:. University of Chicago Library. 2009.
879:"Gallery Opens With an American Group"
161:School of the Art Institute of Chicago
1748:20th-century American women sculptors
7:
1763:20th-century American women painters
242:, December 1958 (v. 51, n. 3, p. 29)
1587:. New York, New York. p. SM23.
1572:. New York, New York. p. SM10.
1347:"38th Arts Club Show Diversified".
668:One Hundred Fifty-First Convocation
1490:Terese Loeb Kreuzer (2012-11-15).
1479:. New York, New York. p. 145.
1383:"Speaking of Artistic Endeavors".
797:. New York, New York. p. 138.
772:"polly+ames" "News of the Classes"
683:"News of Classes and Associations"
14:
1557:. New York, New York. p. X9.
1542:. New York, New York. p. H7.
1461:. Chicago, Illinois. p. 158.
1293:. Chicago, Illinois. p. 169.
1186:. Chicago, Illinois. p. 166.
1014:. New York, New York. p. X9.
919:. New York, New York. p. X7.
904:. New York, New York. p. 21.
748:Ann Hamilton Sayre (1936-05-09).
1369:. Chicago, Illinois. p. 23.
1275:. Chicago, Illinois. p. 23.
711:. Chicago, Illinois. p. 88.
632:. Chicago, Illinois. p. 54.
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171:and there studied painting with
1753:20th-century American sculptors
1691:"Six Women Win Major "C" Award"
1171:. Chicago, Illinois. p. 7.
422:prominent men and women in the
214:, May 1936 (v. 24, n. 32, p. 5)
1743:20th-century American painters
1254:University of Chicago Magazine
1205:University of Chicago Magazine
776:University of Chicago Magazine
687:University of Chicago Magazine
391:University of Chicago Magazine
382:where the play was performed.
240:University of Chicago Magazine
1:
1125:Edward Scribner Ames (1957).
155:in 1923 and graduated with a
1636:. Bangor, Maine. p. 17.
1143:"Artist Members Exhibition"
1058:"Polly Scribner Ames, 1947"
725:Mary Morsell (1935-04-13).
295:. Ruth Green Harris of the
1779:
1758:American abstract painters
1606:. The Phillips Collection.
332:In 1947, Ames traveled to
839:"Scribner Ames Portraits"
28:
1083:St. Louis Star and Times
1030:Nancy G. Heller (2013).
865:St. Louis Star and Times
551:Personal life and family
521:Marsden Hartley in Maine
513:Archives of American Art
497:Marsden Hartley in Maine
469:wrote an article on the
141:Marsden Hartley in Maine
456:City and Country School
147:Early life and training
1036:. Taylor and Francis.
931:"Pathways Through Art"
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450:Art teacher and author
434:; classical composer,
378:" and was hung in the
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157:Bachelor of Philosophy
115:, she worked first in
1521:Progressive Education
1081:"Other Exhibitions".
962:"Polly Scribner Ames"
849:(14): 26. 1943-04-15.
824:(20): 11. 1939-02-11.
565:University of Chicago
558:
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471:Guggenheim Foundation
358:career. A critic for
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153:University of Chicago
941:(3): 24. March 1943.
889:(8): 12. 1940-11-23.
567:and minister of the
527:and an afterword by
525:Elizabeth McCausland
1515:Polly Ames (1939).
1331:Cincinnati Enquirer
1147:Renaissance Society
569:Disciples of Christ
517:University of Maine
463:Edward Alden Jewell
380:Martin Beck Theater
376:Sweet Bird of Youth
347:Renaissance Society
309:, was outstanding.
175:and sculpture with
45:Polly Scribner Ames
1233:(1): 62. Mar 1956.
1101:"A Family Reunion"
999:(6): 23. May 1943.
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398:Carson Pirie Scott
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1634:Bangor Daily News
1619:Bangor Daily News
1329:"Chit and Chat".
1250:"Chicago Showing"
533:North Maine Woods
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81:Chicago, Illinois
74:December 28, 1993
55:February 16, 1908
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1438:artprice.com
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1201:"Class News"
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76:(1993-12-28)
35:Ames in 1962
1738:1993 deaths
1733:1908 births
648:"Art Tea".
105:still lifes
87:Nationality
1727:Categories
1676:2021-10-01
1501:2021-10-06
1443:2021-10-02
1153:2021-10-01
1105:The Scroll
1067:2021-10-01
971:2021-10-01
843:Art Digest
609:References
363:the show.
315:Art Digest
109:landscapes
51:1908-02-16
1223:"Chicago"
573:Van Meter
438:; actor,
403:Tribune's
368:Tribune's
169:Manhattan
117:Manhattan
101:portraits
1227:Art News
1111:(2): 94.
993:Art News
935:Art News
883:Art News
818:Art News
760:(32): 5.
754:Art News
737:(28): 9.
731:Art News
360:Art News
323:Art News
302:Art News
291:and the
289:Art News
280:Art News
212:Art News
90:American
63:Illinois
465:of the
334:Curaçao
121:CĂ©zanne
113:Chicago
59:Chicago
1149:. 1955
1040:
515:. The
321:, and
127:, and
125:Braque
65:, U.S.
1653:(PDF)
1604:(PDF)
589:Notes
482:Times
297:Times
1496:AMNY
1038:ISBN
71:Died
41:Born
1729::
1699:28
1697:.
1693:.
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53:)
49:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
