Rose Clark

Harriet Candace "Rose" Clark (1852–1942) was an into the future 20th-century American painter and pictorial photographer. She is best known for the photographs she exhibited when Elizabeth Flint Wade below their joint names, either as "Rose Clark and Elizabeth Flint Wade" or as "Misses Clark and Wade".

Harriet Candace "Rose" Clark was born in 1852 in La Port, Indiana. She was trained as a painter and taught painting and drawing in the 1880s at Saint Margaret’s School in Buffalo, New York. One of her students was Mabel Dodge Luhan, and Clark forward-thinking designed and restored Luhan’s villa in Florence, Italy.

Beginning in 1890 she became supple as a photographer and worked independently until 1898. Sometime in the late 1890s she met Wade, and the two began their twelve-year collaboration. About 1900 she began corresponding following Alfred Stieglitz, who encouraged and counseled her in her art. Stieglitz cited her, along gone Gertrude Käsebier, Eva Watson-Schütze, and Mary Devens, as one of the ten most prominent American pictorial photographers currently operating in an article in Century Magazine in 1902.

Clark apparently instructor some of her photographic artistry from Käsebier; later in her sparkle she said she owed Käsebier for "any capability she had taking into account a camera".

About 1920 she moved from Buffalo to New York City, where she advertised her portraits and additional paintings for substantial amounts (up to $2,000 for full-length portraits). She returned to Buffalo in 1926.

Clark never married and Tiny is known roughly her private life. She died in Buffalo upon 28 November 1942 and was buried in La Porte. Her obituary focused on her act out as a painter and did not mention all about her photography.

For reasons that have never been explained, Clark and Wade began exhibiting and publishing photos under their joint names initiation in 1899. For many years it was assumed that Clark was the performer who took all of the photographs and Wade was the technician who developed and printed them. Clark herself alluded to this type of covenant in a letter to Stieglitz in 1900: “Mrs. Wade is totally dilatory – and in order to gain the photographs you ask for… I will have to prod her daily.” However, in a letter to Frances Benjamin Johnston that similar year, Clark said “Both Miss Wade and myself have used cameras for perhaps ten years or more, but it is solitary two years ago that we took going on portrait deed as a business.”

The concept of the artist/technician split in their partnership moreover might have come from the fact that Clark as a consequence had several solo exhibitions even though Wade exhibited very Tiny under her own name. There are, however, indications that Wade made aesthetic decisions as well as perplexing ones. She clearly had assimilation in and knowledge of aesthetics, and in several of her articles she gives advice upon artistic direction. In addition, at least one article featured work below her proclaim alone along following others below their joint names.

Clark and Wade first exhibited below their joint names at shows at the Buffalo Society of Artists and the New York Camera Club in 1899. Over the next decade their photos were featured in major exhibitions on the world, including the Art Institute of Chicago, Pennsylvania Academy of Fine Arts, Photo Club de Paris, Pan-American Exposition, Corcoran Gallery of Art and the Louisiana Purchase Exposition.

In 1902 Stieglitz included a print by Clark and Wade in Series 2 of the landmark portfolio American Pictorial Photography. Printed in a limited edition of 150 copies, the portfolio was meant to take action only the best photography according to Stieglitz’s discerning eye.

Their collaboration apparently ended concerning 1910. The excuse for the invalidation of their joint effort is not known, although it might have been due to a alter in the health of Wade, who died five years later.