Edmonia Lewis (1844-1907)
I have completed my fourth mixed media three-dimensional collage in my Tribute to Women Artist Series, entitled “Wildfire,” an accolade for Edmonia Lewis, a Neo-classical sculptor. The construction of the box measures 8.5” x 10.5” x 2”. The imagery is symbolic of her life and work in Rome using mixed media: polymer clay, pencil drawing on a gesso board, acrylic paint, small stones, paper, felt, thread, balsa wood, and wire.
I read the biography of Edmonia Lewis written by Professor Kirsten Pai Buick entitled Child of Fire, published by Duke University Press in 2020. There are other good resources to view her work online; for example, the Smithsonian exhibits several sculptures.
Edmonia was born to a free-Black father and a Chippewa mother in Niagara Falls, New York. There is little knowledge of her parents, but she was orphaned at nine and raised by her mother’s tribe. Her heritage plays a significant role in her neo-classical sculptures.
I research each collage idea looking for symbolism, which I incorporate into the work. In “Wildfire,” the pendant of Madonna represents Edmonia’s Catholic faith, as well as her training with medallion and bust carving. It also represents Edmonia’s empathy toward her subject matter. In her own words, Edmonia said, “I have a strong sympathy for women who have struggled and suffered.”
After the Civil War, Edmonia went to Rome, Italy, to establish herself as an artist for opportunities unavailable to her in America. I researched maps of Rome during that time and designed my composition based on diagonal lines of city streets. I discovered the photo of her business or “calling” card with her studio address, then googled the actual location. I drew the archway and building to represent her studio.
The Niagara landscape represents Edmonia’s Ojibwa childhood with a waterfall and baskets her tribe made for tourists. Wildfire was the name given to her because, in her own words, she said, “I was declared to be wild – they could do nothing with me.”
In” Wildfire,” Hagar appears to be sculpted from a block of marble with chippings and tools scattered on a stone floor. Hagar’s gaze toward the Madonna was unintentional; it was one of those “happy accidents” artists experience in their work. Edmonia sculpted Hagar with praying hands and an empty jug, asking God to help her and her son, Ishmael. This Biblical reference of Sarah sending her female slave Hagar into the wilderness represents faith and strength in a period of hopelessness.
I do not know if this has any significance, but it was interesting that Edmonia sculpted Hagar to be the same height as herself, approximately four feet tall. Edmonia may have been small in stature, but it is important to note she was strong and persistent in her career. Like Georgia O’ Keefe, she wanted to be known as an ARTIST.
Visit my instagram to see progress post of Wildfire. IG @murieledenartist
https://americanart.si.edu/artist/edmonia-lewis-2914
https://www.dukeupress.edu/child-of-the-fire
Photo Credit: https://art.thewalters.org/detail/82751/portrait-of-edmonia-lewis-1844-1907
