Early Life and Art Training
Dickinson was born and raised in Seneca Falls, New York, in the Finger Lakes area; his family moved to Buffalo in 1897. The death of his mother from tuberculosis in 1903, the suicide in 1913 of his older brother, Burgess, his father's remarriage in 1914 to a much younger woman, and the death of a close friend in combat have all been cited as influences on the themes of his later work. As a boy Dickinson had assumed he would become a minister, like his father, but his brother's suggestion of a career in the navy proved more to his liking. Unfortunately, he failed the entrance exam of the U.S. Naval Academy twice. In 1911 he enrolled at the Art Students League, where he studied under William Merritt Chase. In the summers of 1912 and 1913 he stayed in Provincetown, Massachusetts, where he studied with Charles W. Hawthorne, and continued there year round from 1913 to the summer of 1916, working as Hawthorne's assistant in 1914. From late summer 1916 through year's end Dickinson investigated the possibilities of printmaking in Provincetown with fellow painter Ross Moffett, and made further attempts in the '20s and '30s, but felt his time was better spent painting.
Read more about this topic: Edwin Dickinson
Famous quotes containing the words early, life, art and/or training:
“The science, the art, the jurisprudence, the chief political and social theories, of the modern world have grown out of Greece and Rome—not by favor of, but in the teeth of, the fundamental teachings of early Christianity, to which science, art, and any serious occupation with the things of this world were alike despicable.”
—Thomas Henry Huxley (1825–95)
“... it is a rather curious thing to have to divide one’s life into personal and official compartments and temporarily put the personal side into its hidden compartment to be taken out again when one’s official duties are at an end.”
—Eleanor Roosevelt (1884–1962)
“In our day the conventional element in literature is elaborately disguised by a law of copyright pretending that every work of art is an invention distinctive enough to be patented.”
—Northrop Frye (b. 1912)
“I’m not suggesting that all men are beautiful, vulnerable boys, but we all started out that way. What happened to us? How did we become monsters of feminist nightmares? The answer, of course, is that we underwent a careful and deliberate process of gender training, sometimes brutal, always dehumanizing, cutting away large chunks of ourselves. Little girls went through something similarly crippling. If the gender training was successful, we each ended up being half a person.”
—Frank Pittman (20th century)