Celine Marie Tabary (1908-1993) was a French artist that became active in the Washington, DC area in the mid-20th century. Tabary's work has been recognized for skill and artistic temperament. While her artwork alone should have brought her national notoriety, it was her relationship with Lois Mailou Jones that has brought her into the world of artistic folklore.
Tabary was studying at the Academie Julian in Paris when Jones an African American arrived to study there also. Jones needed assistance, so Tabary served as her interpreter and brought her home to stay. In Paris the both of them studied under Emil Bernard, a post-impressionist painter that had known Vincent van Gogh. In 1938, Tabary arrived here in the U.S. to visit to Jones. Tabary could not return France due to the rising tensions that became World War II.
During these turbulent times, Tabary and Jones taught children art classes. As time progressed, Tabary ended up on the faculty of Howard University in 1945, teaching drawing and painting. Which was amazing during those days, having a white instructor in a predominately African American school. Jones who was also an instructor at Howard, knew and understood extreme prejudice. Jones was an accomplished artist that had studied in Boston and Paris, but the exhibit of her paintings were blocked due to her skin color.
What Tabary was most noted for in art folklore was submitting Jones' painting to the Corcoran Gallery jury that barred participation by African Americans. In 1941, Jones had Tabary enter her painting into the Corcoran Gallery to circumvent the racial rules. Jones ended up by winning the Robert Woods Bliss Award for this painting, yet she did not dare to pick up the award herself. Again, Tabary interceded and made arrangements for Jones to get the award without anyone one knowing that Jones was African American. When it finally came out that Jones, an African American had won, it started the significant breaking of the color barrier at the Corcoran. In 1994, the Corcoran Gallery of Art gave a public apology to Jones at the opening of her own exhibit.
Tabary was no slouch herself, she won the Landscape Prize in 1944 from the National Museum, Washington, DC. She exhibited in Paris, Boston and in the Nation's Capitol. While most of her works are in France, one of her most notable paintings is in the National Museum of Women in the Arts, the painting: Terrasse de Cafe, Paris, 1950 is widely known. It is in the same style as the painting below: Old Cemetery - Artois, France.
This painting was exhibited at American Watercolor Society, No 544, in 1950. The watercolor is made up of fractured forms of geometric shapes. The mourners at the grave side are made up trapezoids, triangles, rectangles and odd squares. With these geometric shapes, she provides depth as the stone walkway progresses into the distance. The flowers almost look like corn stalks with broad leaves shooting out at wild angles. The watercolor is dated 1948, so we surmise that she might be making a political commentary on the loss of loved ones during the war. The contrast of death with bright blues, brilliant greens and touches of pinks and purples remind us that there are better days ahead after tragedy.
Old Cemetery - Artois France
Watercolor on Paper, Approx 18.5" X 23.5" w/Linen Mat and Wood Modeling Frame
Signed LR: C. Tabary 1948 (signature example below)
Exhibited: American Watercolor Society, No. 544, 1950
References:
Tabary was studying at the Academie Julian in Paris when Jones an African American arrived to study there also. Jones needed assistance, so Tabary served as her interpreter and brought her home to stay. In Paris the both of them studied under Emil Bernard, a post-impressionist painter that had known Vincent van Gogh. In 1938, Tabary arrived here in the U.S. to visit to Jones. Tabary could not return France due to the rising tensions that became World War II.
During these turbulent times, Tabary and Jones taught children art classes. As time progressed, Tabary ended up on the faculty of Howard University in 1945, teaching drawing and painting. Which was amazing during those days, having a white instructor in a predominately African American school. Jones who was also an instructor at Howard, knew and understood extreme prejudice. Jones was an accomplished artist that had studied in Boston and Paris, but the exhibit of her paintings were blocked due to her skin color.
What Tabary was most noted for in art folklore was submitting Jones' painting to the Corcoran Gallery jury that barred participation by African Americans. In 1941, Jones had Tabary enter her painting into the Corcoran Gallery to circumvent the racial rules. Jones ended up by winning the Robert Woods Bliss Award for this painting, yet she did not dare to pick up the award herself. Again, Tabary interceded and made arrangements for Jones to get the award without anyone one knowing that Jones was African American. When it finally came out that Jones, an African American had won, it started the significant breaking of the color barrier at the Corcoran. In 1994, the Corcoran Gallery of Art gave a public apology to Jones at the opening of her own exhibit.
Tabary was no slouch herself, she won the Landscape Prize in 1944 from the National Museum, Washington, DC. She exhibited in Paris, Boston and in the Nation's Capitol. While most of her works are in France, one of her most notable paintings is in the National Museum of Women in the Arts, the painting: Terrasse de Cafe, Paris, 1950 is widely known. It is in the same style as the painting below: Old Cemetery - Artois, France.
This painting was exhibited at American Watercolor Society, No 544, in 1950. The watercolor is made up of fractured forms of geometric shapes. The mourners at the grave side are made up trapezoids, triangles, rectangles and odd squares. With these geometric shapes, she provides depth as the stone walkway progresses into the distance. The flowers almost look like corn stalks with broad leaves shooting out at wild angles. The watercolor is dated 1948, so we surmise that she might be making a political commentary on the loss of loved ones during the war. The contrast of death with bright blues, brilliant greens and touches of pinks and purples remind us that there are better days ahead after tragedy.
Old Cemetery - Artois France
Watercolor on Paper, Approx 18.5" X 23.5" w/Linen Mat and Wood Modeling Frame
Signed LR: C. Tabary 1948 (signature example below)
Exhibited: American Watercolor Society, No. 544, 1950
References:
- National Museum of Women in the Arts
- Lois Mailou Jones Wikipedia Page
- Celine Marie Tabary Wikipedia Page
- The Washington Star, Feb. 19, 1950 (newspaper)
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Waller-Yoblonsky Fine Art is a research collaborative, working to track artists that got lost and overlooked due to time, changing styles, race, gender and/or sexual orientation. Our frequent blogs highlight artists and art movements that need renewed attention with improved information for the researcher and art collectors. These photos were created by Mr. Waller and all materials are used under the Fair Use Section 107, Copyright Act, unless otherwise noted. #waller-yoblonskyblogspot #celinetabary #celinemarietabary
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