Helen Maria Turner (American/New Orleans, 1858-1958), "Coquette", oil on canvas, signed lower left, handwritten inscription with artist, title and remnant of exhibition label en verso, "E.C. Slater" embossed en verso of frame, 22 in. x 18 in., period frame. Note: In the 1880s, the art world opened significantly for women in America, and Helen Maria Turner benefited greatly from the art clubs and associations in both New Orleans and New York, where she studied under artists such as Andres Molinary, Bror Anders Wikstrom, William Merritt Chase, and Joseph De Camp. Maia Jalenak writes, “In this regard, Turner was among a generation of women breaking new ground. Her combination of talent and determination enabled her to move to professional status, support herself, and achieve a distinguished reputation.”
Although many artists of this time period were interested in studying painting abroad, exposing themselves to the French Impressionist paintings, Turner preferred to work with American painters. William Merritt Chase was particularly influential on her style, and her sensitive depictions of her models directly reflect her training with him. By 1900, Turner was teaching both privately and at institutions, as her work became more popular and she gained national acclaim.
In "Coquette," Turner's studies with Chase are apparent in the light, airy palette using mostly pastel colors, as well as the loose brushstrokes that form the hair, dress, and fan that the model holds. Turner often used the same models for multiple canvases; the girl in this portrait is most likely Julia Polk Hunsicker, who also posed for the seminal "Lilies, Lanterns, and Sunshine" in the collection of the Chrysler Museum of Art.
By 1914, the Corcoran Gallery had exhibited and purchased one of her paintings, Girl with Lantern, and The Flower Girl of 1920 won the Second Altman Prize; Turner was the first woman to receive any of the Altman prizes. This award led to her being elected to the National Academy of Design in 1921. In 1917, Turner’s works were included in the exhibition Six American Women, which was comprised of works by the most prestigious female painters in America, including Mary Cassatt and Alice Schille.
While women who painted in the late nineteenth and early twentieth centuries had many more opportunities than their predecessors, there still existed a pervasive notion that women were less qualified to become artists and created “weaker” works. This idea that a woman artist has an inherently female quality that is translated to her work was a popular theory in the early 20th century known as “essentialism.” Because of this concept, art critics would sometimes refer to Turner’s work – with a negative connotation – as having a “feminine quality” to it. Time has been on Turner’s side as the idea of “essentialism” in her work has been rejected over the years as the strength of her painting technique and talent has been increasingly acknowledged and celebrated.
Turner’s presence on a national level speaks to the fact that her works have a universal appeal, and her success then helped to set the stage for future female artists from the region. Not only did she defy the odds by supporting herself as a working artist, but her accomplishments are inspiring. Her solo exhibition at the age of 90 at the New Orleans Museum of Art (then the Delgado Museum of Art) in 1949 likely inspired the next generations of artists such as Ida Kohlmeyer to reach similar heights in their own careers.
Ref.: Bonner, Judith. “Women Artists in Louisiana, 1825-1965: A Place of Their Own.” Arts Quarterly. Volume XXXI, Issue 2. New Orleans, New Orleans Museum of Art, 2009; Faquin, Jane Ward. Helen M. Turner: The Woman’s Point of View. Memphis: Dixon Gallery and Gardens, 2010. Jalenak, Maia. Helen M. Turner: American Impressionist. Louisiana State University Master of Arts Thesis, 2003.
