Medium: oil on canvas
Size: 24" x 36"
Frame: 30" x 42"
Condition: overall great condition, a bit or bar marks and cracks
Circa: 1950-1969
est. 2500-4500
Provenance, Private collection in New Jersey.

Artist: Marie Hull (1890 - 1980)

Marie Atkinson Hull was active/lived in Mississippi. Marie Hull is known for portrait and landscape painting, illustration.

Born in Summit, Mississippi, Marie Hull received her early formal art training at the Pennsylvania Academy of the Fine Arts in 1912 under Daniel Garber and Hugh Breckenridge, and then returned to her native state to teach at Hillman College in Clinton. In 1917 she married a Jackson architect and began assisting him with architectural renderings, while attending summer workshops in landscape and figure painting at the Colorado Springs Art Center with John Carlson and Robert Reid, two of the leading American teachers and artists of the time. Hull also studied at the Art Students League in New York in 1922, and took an extended study and work trip to Europe in 1929 with a group of artists led by George Elmer Browne, an experienced teacher and guide.

In the 1920s, Hull painted portraits, landscapes, and seascapes, some of them done in Florida, where she and her husband lived in the mid-1920s. While solidly based on her academic training, her painting ranged from realism in portraiture, to a colorful, lyrical modernism in landscapes and nature studies.

During the depressed 1930s, Hull turned to painting the black and white tenant farmers and sharecroppers of the rural South and regarded these paintings highly in her work, remarking: "They were, I think, among the finest things I've ever done, but I was doing them for quality, not for sentimental appeal." (Norwood, p. 15) Negro Cabin belongs to this period. It is dated and identified on the reverse of the original backing board: "Painted Spring 1934 Negro cabin on grounds of Elizabeth College, Natchez, Miss. Elizabeth College is oldest Women's College in America."

In the 1940s and 1950s, Hull became increasingly interested in abstract design, and began to experiment with various mediums, including casein. By 1955 her work was often totally nonobjective—rendered in her trademark bold color and lush brushwork.

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