Waiting for the desired case dedicated to visiting artists like Matisse and Rodin, whose final translation into one or more items in this publication shall be the subject of joy for their readers and readers, and by way of refreshment with which mitigate these torrid afternoon of intense heat, Today's stop on an author who, although not known to the general public of our country, obtained at the time the recognition of his countrymen in the industrial city of Pittsburgh, Pennsylvania (United States of America North): Johanna Hailman (1871-1958).
He was born into a wealthy family of Pittsburgh, social status strengthened by her marriage to a steel industrialist. However, strong and energetic personality, certainly supported by its privileged economic status, led her to make an important career to be considered, already in the thirties of the twentieth century, as “the leading female artist of Pittsburgh”. His first exhibition was in 1896 when he was twenty years made an annual, except two years, up 1955, three years before his death at age eighty-seven.
His watercolor Cordoba, which gives the honor to be part of the gallery of this famous travelers Taberna, he must do it at a young age, between twenty and twenty-four years old, surely taking a trip by European lands. Consider interesting watercolor, not only represent the state of Cordoba Roman Bridge before the first reforms of the twentieth century, but because it represents in vivid colors, which continues to be a fortunate contrast to the faded photograph of the time.
In addition to the recurring theme of vases and landscape bourgeois court, Hailman shares the enthusiasm of his countryman Aaron Henry Gorson (1872-1933) by industrial theme, as is apparent in his Mills, Trains, and Barges (Molinos, trains and barges) of 1940.