Darling Vintage Print/Sweet Girl /Baby Brother Boy/Maud Fangel 1933

Here is a darling book print of a cute little girl holding a few flowers. Great color and detail. Backside shows a darling boy with an orange. A cute poem written by Alice Higgins is under each illustration. The famed artist is Maud Tausey Fangel. Please see others in this set. Here is a brief biography of her life. In the 1930s, '40s, and '50s -- if you saw a sketch or portrait of a child on the cover of Ladies Home Journal or Woman's Home Companion, or inside the magazines' advertising, say, Colgate's Talc Powder, Cream of Wheat, or Squibb's Cod Liver Oil, you were probably seeing the work of Maud Tausey Fangel. For a good part of the first half of the twentieth century, Ms. Fangel was the children's artist in our country -- her illustrations of ruddy-cheeked, doe-eyed, curly-locked children were everywhere. Maud Tausey was born on January 1st, 1881. She began drawing in earnest when she was a teenager and studied at Boston's School of Fine Arts before coming to New York City on a scholarship to Cooper Union to continue her studies. Many of Ms. Fangel's pictures were done in pastels, which allowed her to capture the movements of her young subjects in swift, impressionistic strokes. Most of Ms. Fangel's models were children from poor families, from orphanages, and settlement houses. Unaware of this, one newspaper referred to these children as "glamor babies." But Ms. Fangel understood the youngsters who sat and wiggled and dozed in the high chair for her a little more deeply than the correspondent: "I have a strange, persistent feeling that babies have a consciousness that we do not possess," she wrote. "They seem not yet to have lost an intelligence brought with them from another world. They are still wrapped in the mystery of their source." When she died at the age of 87, Ms. Fangel was working on a book about a day in the life of an African American child. But in the racially divided America of the 1950s, every publisher she submitted the project to turned it down, unwilling to move forward on an idea that was years ahead of its time. But that was always true of Maud Tausey Fangel. She and the children she painted were waiting for the future to catch up.

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