by Artist (743)
Zelda Sayre Fitzgerald (aka Zelda Sayre Fitzgerald)
American, 1900–1948
Over the years, Zelda Fitzgerald painted a significant number of paper dolls and costumes, the first of them for her daughter, Scottie (Frances Fitzgerald) in the 1920s. These early paper dolls were apparently made specifically as play things for her child. The seven dolls and their costumes in the Museum collection, however, most likely date from very late in her life, and perhaps after Scottie's marriage in 1943.
The paperdolls of the 1940s reveal both the artist's distinctive style, as well as her craftsmanship. The works are both whimsical, as well as creative. Five of the dolls in the Museum's collection depict figures from the legend of King Arthur, with a theatrical flair. The figures themselves are carefully conceived, drawn in pencil, and then washed with watercolor and gouache. All are reminescent of the muscular, but graceful figures she painted in her oils recalling her ties to the ballet and stage design.
American, 1900–1948
Morgan Le Fay (Paper Doll)
about 1941
Object Type:
Painting
Creation Place:
North America, American, Alabama
Dimensions:
11 5/16 x 5 1/4 in. (28.73 x 13.34 cm)
Medium and Support:
Watercolor and graphite on academy board
Accession Number:
1986.0004.0006.0002
Credit Line:
Gift of Mrs. Frances Fitzgerald Smith
Over the years, Zelda Fitzgerald painted a significant number of paper dolls and costumes, the first of them for her daughter, Scottie (Frances Fitzgerald) in the 1920s. These early paper dolls were apparently made specifically as play things for her child. The seven dolls and their costumes in the Museum collection, however, most likely date from very late in her life, and perhaps after Scottie's marriage in 1943.
The paperdolls of the 1940s reveal both the artist's distinctive style, as well as her craftsmanship. The works are both whimsical, as well as creative. Five of the dolls in the Museum's collection depict figures from the legend of King Arthur, with a theatrical flair. The figures themselves are carefully conceived, drawn in pencil, and then washed with watercolor and gouache. All are reminescent of the muscular, but graceful figures she painted in her oils recalling her ties to the ballet and stage design.
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Shown with costumes
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Morgan Le Fay (Costume)
1986.0004.0006.0001
Morgan Le Fay (Costume)
1986.0004.0006.0003
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