Margaret Jordan Patterson (1867-1950) stands as a significant figure in early 20th-century American art, a versatile artist who excelled as both a painter and a pioneering printmaker. Her legacy is particularly noted for her sophisticated use of color and design, especially in the medium of color woodcut, which she helped popularize in the United States. Born into a world of maritime adventure and later immersed in the burgeoning art scenes of Boston and Paris, Patterson forged a unique artistic path, balancing her creative output with a dedicated career as an influential art educator.
A Seafaring Start and Early Artistic Inclinations
Margaret Jordan Patterson’s life began with an unconventional entry into the world, born aboard a ship captained by her father, Alfred Patterson, in colonial Soerabaja, Java, on December 12, 1867. Her mother was Sarah Frances (Jordan) Patterson. This early exposure to the vastness of the sea and distant lands perhaps instilled in her a lifelong love for travel and a broad perspective that would later inform her art. Her formative years were spent primarily in Boston and Castine, Maine, environments that offered both urban cultural exposure and the rugged beauty of the New England coastline.
Patterson's initial artistic education was pursued through correspondence courses, a testament to her early determination. This self-driven learning laid the groundwork for her formal studies. She was not one to be confined by traditional expectations, and her pursuit of art in an era when professional careers for women were less common speaks to her independent spirit. The landscapes of Maine, with their dramatic shores and changing seasons, undoubtedly provided early inspiration for her keen observational skills.
In 1895, her commitment to art led her to enroll at the prestigious Pratt Institute in Brooklyn, New York. This was a pivotal moment, as it brought her under the tutelage of Arthur Wesley Dow. Dow was a revolutionary art educator and artist, heavily influenced by Japanese aesthetics and the principles of Ernest Fenollosa. He emphasized composition, harmony, and the abstract qualities of line, color, and "notan" (the Japanese concept of light-dark balance) over strict academic realism. Dow's teachings would have a profound and lasting impact on Patterson’s artistic philosophy and her approach to design. Other notable artists who studied with Dow, and thus shared a similar foundational influence, include Georgia O'Keeffe and Max Weber.
Parisian Immersion and the Mastery of Color Woodcut
Like many American artists of her generation, Patterson recognized the importance of experiencing European art firsthand. She traveled to Paris, the undisputed center of the art world at the time, to further hone her skills. In the French capital, she studied with the Spanish painter Claudio Castelucho, known for his vibrant genre scenes and portraits, and also reportedly with an artist named Emil Angelastro-Cammas. Paris offered a stimulating environment, exposing her to Impressionism, Post-Impressionism, and the burgeoning modern art movements.
A particularly transformative experience in Paris was her introduction to the art of color woodcut. She learned the fundamental techniques from Ethel Mars, an American expatriate artist living in Paris who, along with her partner Maud Hunt Squire, was an active participant in the Parisian avant-garde and a skilled printmaker. Mars was known for her bold, simplified forms and decorative use of color in her woodcuts, often depicting scenes of Parisian life. Learning this medium from Mars was crucial for Patterson, as color woodcut would become one of her most celebrated forms of expression.
The color woodcut process, often involving multiple blocks (one for each color), required meticulous planning, precise carving, and a keen sense of color interaction. It aligned well with Arthur Wesley Dow's emphasis on design and flat areas of color, influenced by Japanese ukiyo-e prints by masters like Hokusai and Hiroshige. Patterson embraced this medium with enthusiasm, recognizing its potential for creating works that were both graphically strong and chromatically rich.
Artistic Style: A Harmony of Color, Line, and Design
Margaret Jordan Patterson’s artistic output is characterized by its remarkable consistency in quality and its distinctive aesthetic. Whether working in oil, watercolor, or woodcut, her primary concerns were the harmonious arrangement of color, the rhythmic interplay of lines, and the creation of pleasing, well-balanced compositions. Her subjects were often drawn from nature – landscapes, seascapes, and floral still lifes – but her approach was less about literal representation and more about capturing the essential character and decorative potential of her chosen motif.
Her landscapes, often inspired by her travels in New England, Italy, and France, showcase a sensitivity to atmosphere and light. She adeptly translated the rolling hills of Tuscany, the rugged coast of Maine, or the tranquil gardens of Cape Cod into compositions that emphasize pattern and simplified forms. Her still lifes, particularly those featuring flowers, are vibrant and joyful, celebrating the beauty of natural forms through bold color choices and dynamic arrangements.
In her color woodcuts, Patterson demonstrated a masterful command of the medium. She often employed the "white-line" technique, popularized by artists of the Provincetown Printers group, where the design is defined by the un-inked lines of the block showing through as white, rather than by dark outlines. This allowed for a more integrated and luminous color effect. Her prints are admired for their clarity of design, their subtle yet effective color harmonies, and their overall decorative appeal. They reflect the influence of Japanese prints not only in technique but also in their asymmetrical compositions and flattened perspectives.
Representative Works: Capturing Nature's Essence
While a comprehensive list of all her works is extensive, certain pieces are frequently cited as representative of her skill and style. Among her notable works are "Mountain View" and "Italian Hillside." These titles suggest her engagement with landscape, a recurring theme in her oeuvre.
"Mountain View" likely captures a scene from her travels, perhaps in New England or Europe. One can imagine it rendered with her characteristic attention to atmospheric color and simplified, powerful forms that convey the grandeur of the subject without resorting to minute detail. Her focus would have been on the interplay of light and shadow, the rhythmic contours of the land, and the overall emotional impact of the scene.
"Italian Hillside" evokes the sun-drenched landscapes of Italy, a country she visited and depicted frequently. Such a work would likely feature warm, vibrant colors, perhaps depicting terraced slopes, cypress trees, or vernacular architecture, all arranged into a harmonious and decorative composition. Her Italian scenes often convey a sense of timelessness and a deep appreciation for the picturesque qualities of the Mediterranean landscape.
Other works, often titled with descriptive simplicity like "Summer Flowers," "Windblown Trees," or "Venetian Canal," further illustrate her thematic range. Each piece, regardless of medium, would have been approached with her signature focus on design and color, transforming observed reality into a personal artistic statement.
A Dedicated Educator: Shaping Future Generations
Beyond her accomplishments as a practicing artist, Margaret Jordan Patterson made significant contributions as an art educator. Her teaching career spanned several decades and influenced countless students. From 1909 to 1910, she served as a guiding teacher in the art department of the Boston Public Schools, bringing her progressive ideas, likely informed by Dow's methods, to a wider audience.
Her most enduring educational role began in 1910 when she was appointed Head of the Art Department at the Dana Hall School in Wellesley, Massachusetts. Dana Hall was (and remains) a prominent independent boarding and day school for girls. Patterson held this prestigious position for thirty years, retiring in 1940. During her tenure, she would have shaped the artistic sensibilities of generations of young women, instilling in them an appreciation for design, color, and creative expression. Her long service at Dana Hall indicates a deep commitment to education and a passion for nurturing artistic talent. Her own artistic practice undoubtedly enriched her teaching, providing her students with a role model of a dedicated and successful professional artist.
Connections and Collaborations: The Boston Art Scene and Beyond
Margaret Jordan Patterson was an active participant in the artistic communities of her time. She was a member of several prominent art organizations, including the Boston Art Club and the Boston Society of Arts and Crafts. Membership in these groups provided opportunities for exhibition, professional networking, and intellectual exchange with fellow artists.
She was particularly associated with the Provincetown Printers, America's first group dedicated to color woodblock printing, founded in Provincetown, Massachusetts, around 1915. While she may not have been a founding member in the strictest sense, her work aligns closely with their aesthetic and techniques. Key figures in this group included B.J.O. Nordfeldt, Blanche Lazzell, Ada Gilmore, Mildred McMillen, Ethel Mars (her teacher), Maud Hunt Squire, William Zorach, and Marguerite Zorach. These artists, many of whom had also studied in Paris, were drawn to the expressive potential of the color woodcut and often employed the white-line technique. Patterson's involvement or strong affiliation with this circle places her at the forefront of the American color printmaking revival.
In 1918, Patterson was part of a notable endeavor with five other Boston-based women artists: Lucy Scarborough Conant, Laura Coombs Hills (a renowned miniaturist and pastel artist), Jane Peterson (known for her vibrant, impressionistic paintings), Elizabeth Wentworth Roberts (a painter of figures and landscapes), and Mary Bradish Titcomb (a painter influenced by Impressionism). Together, they formed an exhibition group called "The Group" (sometimes referred to as "The Group of Seven" or similar, intending to be a female counterpart to male-dominated groups like "The Ten American Painters"). This collective effort aimed to promote their work and gain greater visibility for women artists. They exhibited together nationally, including at venues like the Worcester Art Museum, the Detroit Institute of Arts, and the Cleveland Museum of Art, showcasing the strength and diversity of women's contributions to American art.
Her travels also facilitated artistic exchange. Summers were often spent sketching on Cape Cod, a popular destination for artists, and her extended stays in Europe, particularly Italy and France, exposed her to a wide range of artistic influences and likely brought her into contact with other American and European artists. She would have been aware of the work of French printmakers like Henri Rivière, who was a master of color woodcut, and the broader influence of Japonisme that captivated artists like Mary Cassatt and James McNeill Whistler.
Exhibitions, Recognition, and Lasting Legacy
Margaret Jordan Patterson's work was widely exhibited throughout her career, both in solo shows and important group exhibitions. Her Parisian debut with her woodcuts at the Galerie Levesque and the Barbazanges Gallery in 1913 quickly garnered positive attention. Back in the United States, she had exhibitions at Hermann Dudley Murphy’s studio and the Copley Gallery in Boston in 1914, followed by a solo show at the Louis Katz Gallery in Boston in 1915.
A significant moment of national recognition came in 1915 when her work was included in the prestigious Panama-Pacific International Exposition in San Francisco. This world's fair was a major showcase for American art and industry, and participation was a mark of distinction. Her continued exhibition activity throughout her career solidified her reputation. In 1939, her skill was formally acknowledged when she received a medal from the Philadelphia Water Color Club, an organization that also recognized excellence in printmaking.
Patterson's dedication to her craft and her distinctive artistic vision ensured that her work would be preserved in numerous public collections. Today, her paintings and prints can be found in the holdings of esteemed institutions such as the Cleveland Museum of Art, the Metropolitan Museum of Art in New York, the Oakland Museum of California, the Smithsonian American Art Museum in Washington D.C., and the Victoria and Albert Museum in London. Other museums with her work include the Albany Institute of History & Art, the Los Angeles County Museum of Art (LACMA), the Studio Museum in Harlem, the Pérez Art Museum Miami (PAMM), and the Whitney Museum of American Art. This widespread institutional acquisition underscores her importance in the canon of American art.
Her contemporary, Gustave Baumann, another master of the color woodcut, shared a similar dedication to craftsmanship and landscape, though their styles differed. Patterson's work, with its emphasis on design and often more delicate color palettes, offers a distinct counterpoint to Baumann's bolder, more robustly graphic approach. Both, however, contributed significantly to elevating the status of the color woodcut as a fine art form in America.
Margaret Jordan Patterson passed away on February 17, 1950, in Boston, Massachusetts. She was laid to rest in the Laurel Hill Cemetery in Saco, Maine, a state whose landscapes had provided her with early and enduring inspiration.
Conclusion: A Pioneer of Color and Design
Margaret Jordan Patterson's career represents a confluence of artistic talent, dedication to craft, and a pioneering spirit. As a painter, she captured the beauty of landscapes and still lifes with a refined sense of color and composition. As a printmaker, she was at the vanguard of the color woodcut revival in America, creating works of enduring charm and technical sophistication. Her long tenure as an art educator at Dana Hall further extended her influence, shaping the artistic development of many young women.
Her ability to synthesize the teachings of Arthur Wesley Dow, the influences of Japanese art, and the innovations of European modernism into a personal and coherent artistic style is a testament to her vision. She navigated the art world with grace and professionalism, contributing significantly to the cultural life of Boston and beyond. Margaret Jordan Patterson's legacy is that of an artist who brought beauty, harmony, and a distinctive modernist sensibility to American art, leaving behind a body of work that continues to delight and inspire. Her contributions, particularly in the realm of color printmaking, secure her place as an important figure in the history of American art.
