Rose Clark

Harriet Candace "Rose" Clark (1852–1942) was an in advance 20th-century American painter and pictorial photographer. She is best known for the photographs she exhibited later than 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 unconventional designed and restored Luhan’s villa in Florence, Italy.

Beginning in 1890 she became responsive 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 behind Alfred Stieglitz, who encouraged and counseled her in her art. Stieglitz cited her, along considering 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 scholarly some of her photographic artistry from Käsebier; later in her enthusiasm she said she owed Käsebier for "any talent she had following a camera".

About 1920 she moved from Buffalo to New York City, where she advertised her portraits and supplementary 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 just about her private life. She died in Buffalo upon 28 November 1942 and was buried in La Porte. Her obituary focused on her statute as a painter and did not mention anything about her photography.

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

The concept of the artist/technician split in their partnership furthermore might have come from the fact that Clark next had several solo exhibitions while Wade exhibited very Tiny under her own name. There are, however, indications that Wade made aesthetic decisions as competently as puzzling ones. She clearly had combination in and knowledge of aesthetics, and in several of her articles she gives advice on artistic direction. In addition, at least one article featured work below her publish alone along bearing in mind others below their joint names.

Clark and Wade first exhibited under their joint names at shows at the Buffalo Society of Artists and the New York Camera Club in 1899. Over the neighboring decade their photos were featured in major exhibitions in the region of 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 designed to con only the best photography according to Stieglitz’s discerning eye.

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