Mary Foote
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Mary Foote (November 25, 1872 – January 28, 1968) was an American painter and producer of notes of Carl Jung's seminars. As an artist, she lived and worked in New York's Washington Square, Paris and Peking. From 1928 to the 1950s she lived in Zürich and created and published notes of Carl Jung's seminars until World War II. She returned to the United States in the 1950s and spent her later years in Connecticut, where she died.
Early lifeEdit
Mary Foote was the daughter of Charles Spencer Foote and Hannah Hubbard Foote.<ref>Daughters of the American Revolution. Lineage Book - National Society of the Daughters of the American Revolution. Daughters of the American Revolution; 1904. p. 331.</ref><ref name="Cemetery">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> She was born in Guilford, Connecticut, as was her younger sister, Margaret Foote Hawley, who also became an artist<ref name="Heller p. 1862" /> and painted a profile portrait of a girl named Mary Foote.<ref>Art World. Kalon Publishing Company; 1917. p. 402.</ref><ref>Philadelphia Water Color Club. Catalogue of the ... Philadelphia Water Color Exhibition. 1918. p. 8, 14.</ref> After the girls were orphaned, Margaret was raised by her aunt, Harriet Foote Hawley and her husband in Washington, D.C.<ref name="Heller p. 1862">Jules Heller; Nancy G. Heller. North American Women Artists of the Twentieth Century: A Biographical Dictionary. Taylor & Francis; 19 December 2013. Template:ISBN. p. 1862.</ref> Mary was taken in by an aunt who lived in Hartford, Connecticut after she became an orphan at the age of 13.<ref name="Knight p. 81" />
Her cousin was Lilly Gillette Foote, who was governess to Mark Twain's children.<ref name="Knight p. 81">Joan MacPhail Knight. Charlotte in Giverny. Chronicle Books; 4 January 2013. Template:ISBN. p. 81.</ref> For a period of time Mary Foote lived in the Mark Twain (Samuel L. Clemens) household and was friends with Susy Clemens.<ref name=Pence /><ref>Frank Abate. Connecticut Trivia. Thomas Nelson Inc; 1 September 2001. Template:ISBN. p. PT36.</ref>
Mary Foote was a member of the Daughters of the American Revolution, the great-great-granddaughter of General Andrew Ward (1727-1799) and Diana Hubbard Ward. Ward, who was born and died in Guilford, Connecticut, was commended for his bravery by George Washington. Foote's grandparents were George Augustus Foote and Eliza Spencer and her great-grandparents were Eli Foote and Diana Ward.<ref>Daughters of the American Revolution. Lineage Book - National Society of the Daughters of the American Revolution. Daughters of the American Revolution; 1904. pp. 331–332.</ref>
CareerEdit
ArtEdit
Beginning in 1890, she studied art at Yale School of Art.<ref name="Knight p. 81" /><ref name=Yale>Mary Foote. Intimate Circles: American Women in the Arts. Yale Library. Retrieved May 2, 2014.</ref> In 1894, the Alice Kimball English Prize, which was established to support summer travel, was awarded to Foote. The William Wirt Winchester Prize, which funded two years of study in Europe, was awarded to Foote in 1897; It was considered the "largest prize of its kind" in the United States at that time.<ref>Betsy Fahlman. John Ferguson Weir: The Labor of Art. University of Delaware Press; 1 January 1997. Template:ISBN. p. 139.</ref> Foote travelled to Paris, France and studied with John Singer Sargent.<ref name=Yale /> She was a student of Frederick MacMonnies at the Académie Carmen in Paris and at Giverny; the gardens there became the subject of many of her paintings.<ref>Joan MacPhail Knight. Charlotte in Giverny. Chronicle Books; 4 January 2013. Template:ISBN. p. PT 81.</ref> She also made a portrait painting of MacMonnies.<ref name="Book News">Book News: An Illustrated Magazine of Literature and Books .... J. Wanamaker.; 1905. p. 710.</ref> Her friends included art patron Mabel Dodge, dancer Isadora Duncan, author Henry James, writer Gertrude Stein,<ref name="McGuire p. 16" /> James McNeill Whistler, Ellen Emmet Rand, and Cecilia Beaux.<ref name=Pence />
In 1901, she returned to New York City to set up a studio on Washington Square where she earned a comfortable living from her portrait commissions;<ref name="Knight p. 81" /> her list of clients reads as a Who's Who of the art scene of her day. Foote painted a wide range of subjects including portraits, figures, florals, and landscapes.<ref name=Pence>Mary Foote. John Pence Gallery. Retrieved May 4, 2014.</ref>
Her work was exhibited at the Pennsylvania Academy of Fine Arts, along with the works of Robert Henri, Cecilia Beaux, Edmund Tarbell and other noted artists.<ref name=Stickley /> Her work was described as follows:
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Foote lived and worked in Peking, China from December 1926 into early 1927.<ref name="McGuire p. 16">William McGuire. Bollingen: An Adventure in Collecting the Past. Princeton University Press; 1989. Template:ISBN. p. 16.</ref><ref>The Yale University Library Gazette. Yale University Library; 1974. p. 229.</ref>
During the 1920s, she shared her studio and had a relationship with Frederick MacMonnies. She went into a deep depression after it ended.<ref name="Bair">Template:Cite book</ref> She sought treatment from Smith Ely Jelliffe, and in 1927, closed down her studio.<ref name="Bair" /> One of her friends, Robert Edmond Jones, a stage designer in New York, had been a analysand of Carl Jung and Toni Wolff. He advised Foote, who has been described as neurotic, to seek the treatment of Jung in Zürich, Switzerland.<ref name="McGuire p. 16" />
Carl JungEdit
After closing her studio, Foote went to Zürich to see Swiss psychoanalyst Carl Jung. Beginning in 1928, she worked for Jung, first transcribing his seminars and editing Jung's English phrasing, and then producing the bound copies for their participants.<ref name="Bair"/> For instance, her notes became the basis for The Visions Seminars, which was published in 1976.<ref name=Yale /> Her secretary and assistant from the 1930s until the seminar series ended with the start of World War II was an Englishwoman, Mrs. Emily Köppel, who was married to a man from Switzerland. The work was paid for by subscriptions, and supplemented initially by Mary Foote, and later by Mary and Paul Mellon and Alice Lewisohn Crowley.<ref name="Jung pp. xi-xii">C.G. Jung. Dream Analysis 1: Notes of the Seminar Given in 1928-30. Routledge; 28 October 2013. Template:ISBN. pp. xi–xii.</ref>
In the 1930s, Foote had a secret liaison with Harvard-educated German businessman and Nazi, Ernst Hanfstaengl. She returned to Connecticut shortly before her death; her obituary listed her as having been Jung's "secretary."<ref name="Bair"/>
She was among the social circle of Mabel Dodge Luhan and visited her at her Villa Curonia.<ref name=Yale /> A fellow friend, Muriel Draper, said of Foote:
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She was also described as a tall, elegant woman.<ref name="McGuire p. 16" /> Mary Mellon, wife of Paul Mellon, said of her, "She has great style. From her you will learn about the feeling relationships among people there. She is very frail, and I'm afraid not very well. Take her to dinner at the Baur-au-Lac and feed her on champagne and caviar."<ref>William McGuire. Bollingen: An Adventure in Collecting the Past. Princeton University Press; 1989. Template:ISBN. pp. 111–112.</ref>
Later years and deathEdit
In the 1950s, Foote returned to Connecticut.<ref name="Jung p. xi">C. G. Jung. Dream Analysis 1: Notes of the Seminar Given in 1928-30. Routledge; 28 October 2013. Template:ISBN. p. xi.</ref> She died among friends on January 28, 1968, and is buried in the Foote-Ward Cemetery in Guilford, Connecticut.<ref name="Cemetery" /><ref name="Jung p. xi" /> Her papers are with the Yale University Library.<ref name="Jung p. xi" />
WorksEdit
- August Florian Jaccaci, oil, Century Association 7, New York<ref name=SIRIS />
- Augustus Saint-Gaudens, oil, National Academy of Design<ref name=SIRIS />
- Carrie Chapman Catt (1859-1947), oil on canvas, 1927, Smithsonian Institution National Portrait Gallery<ref name=SIRIS />
- Floral Still Life, oil, Lagakos-Turak Gallery, Philadelphia, Pennsylvania in 1987<ref name=SIRIS />
- Frederick MacMonnies, made by 1905<ref name="Book News" />
- Girl and Reflection, oil on canvas<ref name=Pence />
- John Crosby Brown, 1914, Chamber of Commerce of the State of New York<ref name=SIRIS />
- Jose Santo and Mother, oil on canvas, Smithsonian Institution National Museum of the American Indian<ref name=SIRIS />
- Lady in Lavender, oil, Template:Circa<ref name=Pence />
- Mabel Dodge Luhan, oil on canvas, Yale University<ref name=SIRIS />
- Naiad, Paris, oil on canvas<ref name=Pence />
- Oriental Girl with Doll, oil on canvas, Template:Circa<ref name=Pence />
- Paul Draper<ref>Charles Holme; Guy Eglinton; Peyton Boswell. International Studio. New York Offices of the International Studio; 1918. p. lxxxii.</ref>
- Portrait of Mrs. Wilfred Worcester, oil on canvas, Template:Circa<ref name=Pence />
- Rio Grande Woman, oil on canvas, Template:Circa, National Museum of the American Indian. Made in New Mexico.<ref name=SIRIS />
- Ruth Dana Draper (1850-1914), oil on canvas, Template:Circa, She was the wife of William H. Draper.<ref name=SIRIS />
- Ruth Draper (1884-1956), oil on canvas, Smithsonian Institution National Portrait Gallery. She was an actress.<ref name=SIRIS />
- Taos Man, oil on canvas, Template:Circa, National Museum of the American Indian. Made in New Mexico.<ref name=SIRIS />
- Thomas Hastings, oil, National Academy of Design<ref name=SIRIS />
- William H. Dunwoody, oil on canvas, 1913, Minnesota Historical Society, St. Paul, Minnesota<ref name=SIRIS>Search: Mary Foote. SIRIS. Smithsonian Institution. Retrieved May 5, 2014.</ref>
ReferencesEdit
External linksEdit
- Mary Foote, American Women in the Arts, Yale University (includes photographs of Mary Foote)
- Mary Foote Papers. Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library.