Emily Mary Osborn Research Paper
Emily Mary Osborn, who was born in 1828 and lived through 1925, was one of the most well known English painters of the Victorian era. The reason I chose Emily is because, like most the other women who had achieved getting any of their work displayed and known, she did not have a long career. Her dedication is what made want to explore her life beyond the textbook. Emily was born in Essex where she grew up was able to gain success quickly. Emily grew up surrounded by countryside at a residence at the top of Gun Hill. She was oldest of the nine children in the family of a clergyman, which put a lot of financial stress upon her family. Emily’s’ mother, Mary Osborn, encouraged her to continue painting as her mother talent developing in her daughter at an early age through her paintings of her brother and sisters. She was fortunate enough that her parents possessed a love for painting and had encouraged Emily to pursue art as a form of making a living. She pursued an education as a painter at Dickinson’s Academy located in London, shortly after
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Marcia gave the first invitation to Liza to show off her work in 1996. Though the first art work took Lou almost six years to complete, selling it enabled her to create more pieces and Lou began her second major artwork “Backyard”, a suburban lawn composed of 250,000 individually beaded blades of grass. Though her colorful early work has dealt with feminism and mass culture thematic, later pieces – such as Cell in 2006, dealt with an unsettlingly luminous re-creation of death-row and darker explorations of violence and confinement. Lous’ intent often seems either to glorify something humble or beautify something awful and tragic. (Bagley) Over the years her work has been displayed in a variety of different museum like Museum of Contemporary Art San Diego, SCAD Museum of Art Georgia, Lever House New York, Bass Museum of Art Miami, and
Marcia gave the first invitation to Liza to show off her work in 1996. Though the first art work took Lou almost six years to complete, selling it enabled her to create more pieces and Lou began her second major artwork “Backyard”, a suburban lawn composed of 250,000 individually beaded blades of grass. Though her colorful early work has dealt with feminism and mass culture thematic, later pieces – such as Cell in 2006, dealt with an unsettlingly luminous re-creation of death-row and darker explorations of violence and confinement. Lous’ intent often seems either to glorify something humble or beautify something awful and tragic. (Bagley) Over the years her work has been displayed in a variety of different museum like Museum of Contemporary Art San Diego, SCAD Museum of Art Georgia, Lever House New York, Bass Museum of Art Miami, and