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Marie Hull

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Marie Atkinson Hull (1890 - 1980) was active/lived in Mississippi.  Marie Hull is known for Portrait and landscape painting, illustration.

Painter, sculptor and print maker Marie Atkinson Hull was active in and around Jackson, Mississippi until her death in 1980.  She was a revered and influential figure in Mississippi and generally in the South.  In 1975, the Governor of Mississippi proclaimed "Marie Hull Day" because of her impact on art in that state.  Hull was also a writer, and taught music and art.

In 1890, she was born in Summit, Mississippi, a small town within 80 miles of Jackson and 120 miles of New Orleans, so she had early exposure to the fine arts of both of these towns.  Her family was cultured and had roots in that state for generations back.  At the age of four, her family took her to hear Polish pianist Jan Paderewski in New Orleans, and this was a life-long inspiration for her.  She studied music at Bellhaven College in Jackson.  However, art took over as her major interest.

Her first art teacher was Aileen Phillips of Jackson, who had studied at the Penn   ...  [Displaying 1000 of 8916 characters.]  Artist bio

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Similar artists

.  There are 24 similar (related) artists for Marie Hull available:    Walter Inglis Anderson,  William R Hollingsworth Jr,  Ellsworth Woodward,  Theora Alton Hamblett,  William Ralph (Bill) Dunlap,  William Woodward,  William Buck,  Emil Holzhauer,  Clarence Millet,  John McCrady,  Alexander John Drysdale,  Clementine Reuben Hunter,  Adele Marion Gawin Lemm,  Mildred Bernice Nungester Wolfe,  Ida Rittenberg Kohlmeyer,  Karl (Ferdinand) Wolfe,  Will Henry Stevens,  Alberta Kinsey,  Jean-Joseph Vaudechamp,  Noel Rockmore,  George Viavant,  Lamar William Dodd,  Knute (Sven August) Heldner,  Charles Reinike



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Facts about Marie Hull

   Marie Hull  Born:  1890 - Summit, Mississippi
Died:   1980 - Jackson, Mississippi
Known for:  Portrait and landscape painting, illustration
Name variants:  Marie (E Marie) Atkinson

Biography from the Archives of askART

Painter, sculptor and print maker Marie Atkinson Hull was active in and around Jackson, Mississippi until her death in 1980.  She was a revered and influential figure in Mississippi and generally in the South.  In 1975, the Governor of Mississippi proclaimed "Marie Hull Day" because of her impact on art in that state.  Hull was also a writer, and taught music and art.

In 1890, she was born in Summit, Mississippi, a small town within 80 miles of Jackson and 120 miles of New Orleans, so she had early exposure to the fine arts of both of these towns.  Her family was cultured and had roots in that state for generations back.  At the age of four, her family took her to hear Polish pianist Jan Paderewski in New Orleans, and this was a life-long inspiration for her.  She studied music at Bellhaven College in Jackson.  However, art took over as her major interest.

Her first art teacher was Aileen Phillips of Jackson, who had studied at the Pennsylvania Academy of the Fine Arts.  In 1912, Marie enrolled in the Pennsylvania Academy and the teachers who made the greatest impression on her were Daniel Garber and Hugh Breckenridge.  She returned to Mississippi and taught at Hillman College, and in 1915, she left that institution and began a life-long career of teaching art out of her home.  In 1917, she married architect Emmett Johnston Hull, and she assisted him with architectural drawings.

She also traveled extensively around the United States and studied at the Colorado Springs Fine Art Center with Robert Reid and John F. Carlson.  In 1922, she enrolled at the Art Students League where her teachers were Frank Vincent Dumond and Robert Vonnoh.  She traveled in Europe under the tutelage of George Elmer Browne which included sketching and studying in France and Spain, and ultimately in Morocco, Canada, and Mexico.  Her works reflected her interest in exotic locales, rich coloration, and varied architectural forms.

Paintings like The Brick Pile and Red Bluff are examples of expressions of her feeling for fiery color and painterly realism combined with emotional expression and sophisticated design awareness.  Hull, however, was open-minded and experimental, ever-exploring materials, techniques and abstraction.

She exhibited at numerous venues including the Art Institute, Chicago; American Watercolor Society; Butler Art Institute, Youngstown, Ohio; Ringling Museum, Sarasota, Florida; Southeastern Annuals, Atlanta; Delta Annuals, Memphis; All-American National Shows, New York City; Autumn Salon, Paris; New York World's Fair (1939) and the San Francisco Golden Gate Exposition (1939).  A major exhibition of her work was held at the Mississippi Museum of Art in 2000.

Her work is in the collections of the Mississippi Museum of Art, Jackson; Southwestern Texas Normal School; Witte Memorial Museum, San Antonio, Texas; and the Mississippi Art Association.

Marie Hull died in Jackson, Mississippi on November 21, 1980.

Sources:
Jules and Nancy Heller, North American Women Artists of the 20th Century
Paul Sternberg Sr. Art by American Women
internet: http://www.hindscc.edu/Departments/Art/Collection/Hull.html
Phil and Marion Kovinick, Women Artists of the American West


Biography from Charleston Renaissance Gallery

MARIE ATKINSON HULL (1890-1980)

Born in Summit, Mississippi, Marie Hull received her early formal art training at the Pennsylvania Academy of the Fine Arts in 1912 under Daniel Garber and Hugh Breckenridge, and then returned to her native state to teach at Hillman College in Clinton.  In 1917 she married a Jackson architect and began assisting him with architectural renderings, while attending summer workshops in landscape and figure painting at the Colorado Springs Art Center with John Carlson and Robert Reid, two of the leading American teachers and artists of the time.  Hull also studied at the Art Students League in New York in 1922, and took an extended study and work trip to Europe in 1929 with a group of artists led by George Elmer Browne, an experienced teacher and guide.

In the 1920s, Hull painted portraits, landscapes, and seascapes, some of them done in Florida, where she and her husband lived in the mid-1920s.  While solidly based on her academic training, her painting ranged from realism in portraiture, to a colorful, lyrical modernism in landscapes and nature studies.

During the depressed 1930s, Hull turned to painting the black and white tenant farmers and sharecroppers of the rural South and regarded these paintings highly in her work, remarking: "They were, I think, among the finest things I've ever done, but I was doing them for quality, not for sentimental appeal." (Norwood, p. 15) Negro Cabin belongs to this period.  It is dated and identified on the reverse of the original backing board: "Painted Spring 1934 Negro cabin on grounds of Elizabeth College, Natchez, Miss.  Elizabeth College is oldest Women's College in America."

In the 1940s and 1950s, Hull became increasingly interested in abstract design, and began to experiment with various mediums, including casein.  By 1955 her work was often totally nonobjective—rendered in her trademark bold color and lush brushwork.

Nancy Rivard Shaw/Roberta Sokolitz

Norwood, Malcolm M., Virginia McGehee Elias and William S. Haynie. The Art of Marie Hull. Jackson: University Press of Mississippi, 1975.


Biography from The Johnson Collection

EMILY MARIE ATKINSON HULL (1890-1980)

Marie Hull was one of Mississippi’s most beloved artists and teachers, probably more popular and better known during the course of her ninety years than since her death. Longevity, productivity, and an indefatigable constitution gave her the extended runway needed to build up a national reputation. She made two lengthy trips to Europe, one in 1913 and another in 1929, and thereafter had dozens of exhibitions and entered scores of competitions across the country, bringing home a bounty of accolades, prizes, and awards.

Anyone even casually familiar with the long arc of Hull’s career will know that she was extremely prolific. There are, however, no more than sixty-five of her oil paintings in museum collections, with perhaps another 250 in private hands. Throughout her very social life, Hull both sold and gave away an untabulated number of works and frequently traded her paintings for those by other artists, such as Georgia O’Keeffe and Ida Kohlmeyer. With few exceptions, there are no records of these hundreds of transactions.

It was not until about 1920 that Hull’s stylistic personality began to emerge. The gestation had been a protracted one because her artistic education (at prestigious institutions such as the Pennsylvania Academy of the Fine Arts, the Colorado Springs Fine Arts Center, and the Art Students League in New York) had been episodic—interrupted by other personal and professional pursuits—and multivalent, influenced by the contradictory forces of traditional academic training and the more avant-garde strategies of European modernism as represented in the Armory Show of 1913. Dating to the years 1919–1929, there survives a handful of small but highly accomplished floral still lifes and landscapes, executed in a vibrant divisionist technique most clearly reliant on the Neo-Impressionism of French painters Henri-Edmond Cross, Maximilien Luce, and Paul Signac.

The artist was working in this vein in late 1925, when the Hulls arrived in St. Petersburg, Florida, where Emmett (whom Marie had married in 1917) opened an architectural practice. The venture was a short one—lasting less than a year—during which time Hull made just a handful of captivating paintings of beaches and fishing boats. On the other hand, she produced hundreds of drawings and watercolors of the exotic birds to be seen in a sub-tropical Eden—as the Gulf Coast of Florida must have seemed in those days. These studies and their extensive companion annotations were later used as points of reference when Hull created a limited number of “portraits” of her favorite specimens. The finished paintings in gouache or oil—on canvas, compressed fiberboard, and wood—are of exceptional rarity in the artist’s oeuvre: only a dozen or so can be accounted for today, including Red Parrots. In this example, she combines the technique of brush and palette knife with solid black outlines, applies gem-like fields of color resembling stained glass, and dramatically asserts the surface plane by means of flattened floral blossoms. The result is highly decorative and the nearest Marie Hull came to working in the fashionable, contemporaneous style of Art Deco.

The Johnson Collection, Spartanburg, South Carolina
thejohnsoncollection.org


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