Caroline Wogan Durieux
American
(New Orleans, Louisiana, 1896 - 1989)
Caroline Durieux was a native of New Orleans, Louisiana, and attended Newcomb College and the Pennsylvania Academy of the Fine Arts. After her art training, and periods living abroad in Cuba and Mexico, she became active in the New Orleans art scene , where she was a teacher at Newcomb College. In 1939 she was named the director of the Louisiana FAP (Federal Artists Project.) She became a professor of art at LSU in Baton Rouge in 1942, and established a printmaking program there.
She was introduced to the medium of lithography in New York, and continued that practice when she returned to the South. In the 1930s, lithography replaced etching as the most popular medium for printmaking because the larger edition sizes possible meant that impressions could be sold more cheaply, which was an advantage during the years of the Great Depression. Durieux, like many lithographers in the Southeast during the 1930s, sent her stones to the well-known printer George Miller in New York to be printed.
Durieux's subjects were largely genteel white Southerners, depicted with overtones of gentle mockery and satire. Her faces were caricature-like, with features that convey smug, snobbish attitudes that she associated with the social elite.
mlausfeld 6.2.16
Biographical sources:
Lynn Barstis Williams. "Imprinting the South: Southern Printmakers and Their Images of the Region 1920s-1940s." Tuscaloosa, AL: The University of Alabama Press, 2007.
Randolph Delehanty. "Art in the American South: Works from the Ogden Collection." Baton Rouge, LA: Louisiana State University Press, 1996.
"Caroline Durieux: Lithographs of the Thirties and Forties." Essay by Richard Cox. Baton Rouge, LA: Louisiana State University Press, 1977.
American
(New Orleans, Louisiana, 1896 - 1989)
Caroline Durieux was a native of New Orleans, Louisiana, and attended Newcomb College and the Pennsylvania Academy of the Fine Arts. After her art training, and periods living abroad in Cuba and Mexico, she became active in the New Orleans art scene , where she was a teacher at Newcomb College. In 1939 she was named the director of the Louisiana FAP (Federal Artists Project.) She became a professor of art at LSU in Baton Rouge in 1942, and established a printmaking program there.
She was introduced to the medium of lithography in New York, and continued that practice when she returned to the South. In the 1930s, lithography replaced etching as the most popular medium for printmaking because the larger edition sizes possible meant that impressions could be sold more cheaply, which was an advantage during the years of the Great Depression. Durieux, like many lithographers in the Southeast during the 1930s, sent her stones to the well-known printer George Miller in New York to be printed.
Durieux's subjects were largely genteel white Southerners, depicted with overtones of gentle mockery and satire. Her faces were caricature-like, with features that convey smug, snobbish attitudes that she associated with the social elite.
mlausfeld 6.2.16
Biographical sources:
Lynn Barstis Williams. "Imprinting the South: Southern Printmakers and Their Images of the Region 1920s-1940s." Tuscaloosa, AL: The University of Alabama Press, 2007.
Randolph Delehanty. "Art in the American South: Works from the Ogden Collection." Baton Rouge, LA: Louisiana State University Press, 1996.
"Caroline Durieux: Lithographs of the Thirties and Forties." Essay by Richard Cox. Baton Rouge, LA: Louisiana State University Press, 1977.
Artist Objects
