Editing Maxfield Parrish

{{Short description|American painter and illustrator (1870–1966)}}
{{About|the American painter and illustrator|the British fashion label|Maxfield Parrish (clothing)}}
{{Use mdy dates|date=July 2018}}
{{Infobox artist
| name             = Maxfield Parrish
| image            = Maxfield Parrish portrait.jpg
| caption          = Maxfield Parrish in 1896
| birth_name       = Frederick Parrish
| birth_date       = {{Birth date|1870|7|25}}
| birth_place      = [[Philadelphia, Pennsylvania]], U.S.
| death_date       = {{Death date and age|1966|3|30|1870|7|25}}
| death_place      = [[Plainfield, New Hampshire]], U.S.
| nationality      = American
| field            = Painter, illustrator
| training         = [[Haverford College]], [[Pennsylvania Academy of the Fine Arts]], [[Drexel University|Drexel Institute of Art, Science & Industry]]
| movement         = 
| works            = 
| spouse           = {{marriage|Lydia Ambler Austin|1895|1953|end=died}}
| patrons          = 
}}

'''Maxfield Parrish''' (July 25, 1870&nbsp;– March 30, 1966) was an American painter and [[illustration|illustrator]] active in the first half of the 20th century. His works featured distinctive saturated hues and idealized neo-classical imagery. The [[National Museum of American Illustration]] deemed his painting ''[[Daybreak (painting)|Daybreak]]'' (1922) to be the most successful art print of the 20th century.<ref>{{cite web |url=https://www.americanillustration.org/pressRelease/NMAI_Press_7_7_06.html |title=Press Release |publisher=The National Museum of American Illustration |date=July 5, 2006 |archive-url=https://web.archive.org/web/20060718150631/http://www.americanillustration.org:80/html/press/press_7_5_06.html |archive-date=July 18, 2006 }}</ref>

==Early life and education==
Maxfield Parrish was born in [[Philadelphia]] to painter and etcher [[Stephen Parrish]] and Elizabeth Bancroft.<ref name="center for book" /> His given name was Frederick Parrish, but he later adopted Maxfield, his paternal grandmother's maiden name, as his middle, then finally as his professional name.<ref name="National Museum">{{cite web|title=Maxfield Parrish (1870-1960)|url=http://www.nationalacademy.org/collections/artists/detail/193/|website=Artists & Architects|publisher=National Academy Museum|access-date=June 15, 2016|archive-url=https://web.archive.org/web/20160617101427/http://www.nationalacademy.org/collections/artists/detail/193/|archive-date=June 17, 2016}}</ref> He was raised in a [[Quaker]] society.<ref name="center for book">{{cite web|last1=Yurkoski|first1=Natalie M.|title=Parrish, Maxfield|url=http://pabook2.libraries.psu.edu/palitmap/bios/Parrish__Maxfield.html|website=Pennsylvania Center for the Book|publisher=Penn State|access-date=June 14, 2016|archive-url=https://web.archive.org/web/20160218233913/http://pabook2.libraries.psu.edu/palitmap/bios/Parrish__Maxfield.html|archive-date=February 18, 2016}}</ref>{{rp|110}} As a child he began drawing for his own amusement, showed talent, and his parents encouraged him. Between 1884 and 1886, his parents took Parrish to [[Europe]], where he toured [[England]], [[Italy]], and [[France]], was exposed to architecture and the paintings by the [[old masters]], and studied at the Paris school of Dr. Kornemann.<ref name="after the hunt">{{cite book|last1=Conzelman|first1=Adrienne Ruger|title=After the Hunt: The Art Collection of William B. Ruger|publisher=Stackpole Books |isbn=9780811700375|url=https://books.google.com/books?id=HZHLHn2F1R0C&pg=PA110|access-date=June 14, 2016|year=2002}}</ref>{{rp|110}}

He attended the [[Haverford School]] and later studied architecture at [[Haverford College]] for two years beginning in 1888.<ref name="center for book" /> To further his education in art, from 1892 to 1895 he studied at the [[Pennsylvania Academy of the Fine Arts]] under artists [[Robert Vonnoh]] and [[Thomas Pollock Anshutz]].<ref name="after the hunt" />{{rp|110}} After graduating from the program, Parrish went to [[Annisquam, Massachusetts]], where he and his father shared a painting studio. A year later, with his father's encouragement, he attended the [[Drexel University|Drexel Institute of Art, Science & Industry]]<ref name="center for book" /> where he studied with [[Howard Pyle]].<ref name="Abbott 1935 p. 289">{{cite encyclopedia |last=Abbott |first=Charles David <!--Identified as CDA on p. 390; full name at p. vii--> |title=Howard Pyle |editor-first=Dumas |editor-last=Malone |editor-link=Dumas Malone |encyclopedia=Dictionary of American Biography |volume=15 |year=1935 |oclc=1256465953 |url=https://archive.org/details/dictionaryofamer019330mbp/page/289/mode/1up |page=289}}</ref>

==Career==
[[File:Maxfield Parrish The Lantern Bearers 1908.jpg|thumb|upright|"The Lantern Bearers" (1908), created for ''[[Collier's]]'' magazine, shows Parrish's use of glazes and saturated color in an evocative night scene. [[Crystal Bridges Museum of American Art]]]]

Parrish entered into an artistic career that lasted for more than half a century, and which helped shape the Golden Age of illustration and American [[visual art]]s.<ref name="parrish house">{{cite web|title=The Parrish House|url=http://www.parrish-house.com/|access-date=June 14, 2016}}</ref> During his career, he produced almost 900 pieces of art including calendars, greeting cards, and magazine covers.<ref name="CW">{{cite web|title=Maxfield Parrish|url=http://www.collectorsweekly.com/visual-art/maxfield-parrish|website=Collectors Weekly|access-date=June 14, 2016}}</ref> Parrish's early works were mostly in black and white.<ref name="morning herald">{{cite news|date=August 16, 1974|title=Maxfield Parrish Exhibit Currently at Chadds Ford, PA|agency=The Morning Herald|location=Hagerstown, Maryland|url=https://www.newspapers.com/image/28325164/?terms=maxfield%2Bparrish|access-date=June 14, 2016}}</ref>

In 1895, his work was on the Easter edition of ''[[Harper's Bazaar]].'' He also did work for other magazines like ''[[Scribner's Magazine]].'' One of his posters for ''[[The Century Magazine]]'' was published in [[Les Maîtres de l'Affiche]]. He also illustrated a children's book in 1897, ''[[Mother Goose in Prose]]''<ref name="center for book" /> written by [[L. Frank Baum]].<ref name="CW" /> By 1900, Parrish was already a member of the [[Society of American Artists]].<ref name="JVJ" /> In 1903, he traveled to Europe again to visit [[Italy]].<ref name="National Museum" />

Parrish took many commissions for commercial art until the 1920s.<ref name="center for book" /> 
Parrish's commercial art included many prestigious projects, among which were [[Eugene Field]]'s ''Poems of Childhood'' in 1904,<ref name="Poems of Childhood">{{cite book|last1=Field|first1=Eugene|title=Poems of Childhood|date=October 1996|publisher=Atheneum|isbn=9780689807572|page=ix|url=https://books.google.com/books?id=inbfOgmIHoIC&q=parrish|access-date=June 15, 2016}}</ref> and such traditional works as ''[[Arabian Nights]]'' in 1909.<ref name="real or repro">{{cite web|title=The Arabian Nights Book Illustrated by Maxfield Parrish Reissued|url=https://www.realorrepro.com/article/Book-illustrated-by--Maxfield-Parrish-reissued|website=Real or Repro|publisher=Ruby Lane Inc.|access-date=June 15, 2016}}</ref> Books illustrated by Parrish are featured in ''A Wonder Book and Tanglewood Tales'' in 1910,<ref name="wonder book">{{Cite book|title=A wonder book and Tanglewood tales for boys and girls |url=https://babel.hathitrust.org/cgi/pt?id=mdp.39015014614195;view=1up;seq=8|website=Haiti Trust Library|access-date=June 15, 2016|publisher=New York |date=2018-10-10}}</ref> ''The Golden Treasury of Songs and Lyrics'' in 1911,<ref name="a golden treasury">{{cite book|last1=Palgrave|first1=Francis Turner|title=A Golden Treasury of Song and Lyrics|date=1911|publisher=Palala Press|isbn=9781355973638|url=https://babel.hathitrust.org/cgi/pt?id=uc2.ark:/13960/t41r6s14z;view=1up;seq=11|access-date=June 15, 2016}}</ref> and ''The Knave of Hearts'' in 1925.<ref name="Knave of hearts">{{cite web|title=The Knave of Hearts|url=http://www.goodreads.com/book/show/6365380-the-knave-of-hearts|website=Goodreads|access-date=June 15, 2016}}</ref>

Parrish was earning over $100,000 per year by 1910, when homes could be bought for $2,000.<ref name="NEHS">{{cite web|title=Maxfield Parrish, A Mechanic Who Painted Fantastically - New England Historical Society|url=http://www.newenglandhistoricalsociety.com/maxfield-parrish-mechanic-painted-fantastically/|website=New England Historical Society|access-date=August 29, 2017|date=March 30, 2014}}</ref>

[[File:Dinky Bird by Maxfield Parrish, 1904.jpg|thumb|upright|left|''The Dinky Bird'', an illustration from ''Poems of Childhood'' by [[Eugene Field]] (1904), exemplifies Parrish's characteristic use of [[androgynous]] figures.]]

In 1910 Parrish received a commission to create 18 panels to go into the Girls Dining Room of the [[Curtis Publishing Company]] building, then under construction at 6th and Walnut in Philadelphia. It would take him six years to finish the monumental project.<ref>{{cite book |last1=Cutler |title=Maxfield Parrish and the American Imagists |year=2007 |publisher=Book Sales, Incorporated |isbn=978-0-7858-2263-9}}</ref> In 1914, before the murals were completed, Curtis commissioned Parrish to design a {{convert|15|x|49|ft|adj=on}} mural for the building lobby. [[Tiffany Studios]] constructed a favrile glass mosaic mural titled ''The Dream Garden'',<ref>{{cite web |title=The Dream Garden by Maxfield Parrish, a Philadelphia Landmark |url=https://www.freemansauction.com/news/dream-garden-maxfield-parrish-philadelphia-landmark |website=Freeman's |access-date=3 September 2019}}</ref> which is now a part of Pennsylvania Academy of the Fine Arts collection.

Parrish worked with popular magazines throughout the 1910s and 1920s, including ''Hearst's'' and ''[[Life (magazine)|Life]]''. He also created advertising for companies like [[Wanamaker's]], [[Mazda (light bulb)|Edison-Mazda Lamps]], [[Colgate-Palmolive|Colgate]] and [[Oneida Limited|Oneida Cutlery]].<ref name="tyler museum">{{cite web|title=Maxfield Parrish: The Gertrude Vanderbilt Whitney Murals|url=http://www.tylermuseum.org/MaxfieldParrish.aspx|website=Tyler Museum of Art|access-date=June 15, 2016|archive-url=https://web.archive.org/web/20160613222520/http://www.tylermuseum.org/MaxfieldParrish.aspx|archive-date=June 13, 2016}}</ref> Parrish worked with ''[[Collier's]]'' from 1904 to 1913.<ref name="JVJ" /> He received a contract to deal with them exclusively for six years. He also painted advertisements for D.M. Ferry Seed Company in 1916 and 1923, which helped him gain recognition in the eye of the public.<ref name="center for book" /> His most well-known art work is ''[[Daybreak (painting)|Daybreak]]'' which was produced in 1923. It features female figures in a landscape scene. The painting also has undertones of Parrish blue.<ref name="CW" /> In the 1920s, however, Parrish turned away from illustration and concentrated on painting.<ref name="NEHS" />

[[File:Cadmus teeth.jpg|thumb|upright|''[[Cadmus|Cadmus Sowing the Dragon's Teeth]]'' (1908), created for ''Collier's'']]
In his forties, Parrish began working on large murals instead of just focusing on children's books.<ref name="center for book" /> His works of art often featured [[Androgyny|androgynous]] nudes in [[fantasy|fantastical]] settings. He made his living from [[posters]] and [[calendars]] featuring his works.<ref name="center for book" /> Beginning in 1904, Susan Lewin (1889–1978) posed for many works, and became Parrish's longtime assistant.<ref name="artpassions">{{cite web|title=About Maxfield Parrish|url=http://www.artpassions.net/parrish/parrish.html|website=Maxfield Parrish Art Collections|access-date=June 15, 2016}}</ref><ref>{{cite book |last1=Cutler |title=Maxfield Parrish and the American Imagists |publisher=Chartwell Books |pages=435–437}}</ref> From 1918 to 1934, Parrish worked on calendar illustrations for [[General Electric]].<ref name="NYtimes">{{cite news|last1=Jacobson|first1=Aileen|title=The Art of Maxfield Parrish|work=The New York Times |url=https://www.nytimes.com/2016/01/24/nyregion/the-art-of-maxfield-parrish.html?_r=0|access-date=June 14, 2016|agency=The New York Times|date=January 23, 2016}}</ref>

In 1931, Parrish declared to the [[Associated Press]], "I'm done with girls on rocks", and opted instead to focus on landscapes. By 1935, Parrish exclusively painted landscapes.<ref name="CW" /> Though never as popular as his earlier works, he profited from them. He would often build scale models of the imaginary landscapes he wished to paint, using various lighting setups before deciding on a preferred view, which he would photograph as a basis for the painting (see for example, ''The Millpond''). He lived in [[Plainfield, New Hampshire]], near the [[Cornish Art Colony]], and painted until he was 91 years old. He was also an avid [[machinist]], and often referred to himself as "a mechanic who loved to paint".<ref>Cutler L.S., et al. (2007)</ref>{{rp|34}}

==Technique==
[[File:LIFEMagazine30Aug1923.jpg|thumb|upright|Painting for 30 Aug 1923 ''[[Life (magazine)|Life]]'' edition]]
Parrish's art is characterized by vibrant [[color]]s; the color ''[[Cobalt blue|Parrish blue]]'' was named after him. He achieved such luminous color through [[Glaze (painting technique)|glazing]]. This process involves applying layers of translucent paint and oil medium (glazes) over a base rendering.<ref name="parrish house" /><ref name=":0">{{Cite journal |last=Ludwig |first=Coy L. |date=1965 |title=From Parlor Print to Museum: The Art of Maxfield Parrish |url=https://www.jstor.org/stable/774899 |journal=Art Journal |volume=25 |issue=2 |pages=143–146 |doi=10.2307/774899 |jstor=774899 |issn=0004-3249|url-access=subscription }}</ref> Parrish usually used a blue and white monochromatic [[underpainting]].<ref name="JVJ">{{cite web|title=Maxfield Parrish|url=http://www.bpib.com/illustrat/parrish.htm|archive-url=https://archive.today/20121206013058/http://www.bpib.com/illustrat/parrish.htm|url-status=usurped|archive-date=December 6, 2012|website=Illustrators|publisher=JVJ Publishing|access-date=June 14, 2016}}</ref>

His paintings/illustrations were unique in that they depicted a highly idealized fantasy world that was accessible to the general public. Although you will rarely see a glimpse of that color in reality, he was and still is linked with a particularly bright shade of blue that coated the skies of his landscapes. And it was not an easy task for him to complete. He invented a time-consuming process that involved a cobalt blue base and white undercoating, which he then coated with a series of thin alternating coatings of oil and varnish. When exposed to ultraviolet light, the resins he employed, known as Damar, fluoresce a shade of yellow-green, giving the painted sky its distinctive turquoise tint.{{cn|date=July 2022}}

Parrish used many other innovative techniques in his paintings. He would take pictures of models in black and white geometric prints and project the image onto his works. This technique allowed for his figures to be clothed in geometric patterns, while accurately representing distortion and draping. Parrish would also create his paintings by taking pictures, enlarging, or projecting objects. He would cut these images out and put them onto his canvas. He would later cover them with clear glaze. Parrish's technique gave his paintings a more three-dimensional feel.<ref name="vintage">{{cite web|title=Maxfield Parrish|url=http://www.vintagememorabilia.com/index.cfm/page/maxfield-parrish-signed-autograph-signature-vintage-print-stage-manager|website=Vintage Memorabilia|access-date=June 14, 2016}}</ref>

The outer proportions and internal divisions of Parrish's compositions were carefully calculated in accordance with geometric principles such as [[dynamic rectangle|root rectangle]]s and the [[golden ratio]]. In this Parrish was influenced by [[Jay Hambidge]]'s theory of Dynamic Symmetry.<ref>Cutler, Parrish & Cutler 1995, p. 2.</ref>

==Cultural influences==
[[File:Princess Parizade Bringing Home the Singing Tree.jpg|thumb|left|upright|''Princess Parizade Bringing Home the Singing Tree'' from ''Arabian Nights'' (1906)]]
Parrish's works continue to influence pop culture. ''Daybreak'' is seen in a treehouse in [[Terrence Malick|Terrence Malick's]] 1973 film ''[[Badlands (film)|Badlands]]''. The cover of the 1985 ''[[Bloom County]]'' cartoon collection ''[[Penguin Dreams and Stranger Things]]'' comprises elements of ''Daybreak'', ''The Garden of Allah'', and ''The Lute Players''. The poster for ''[[The Princess Bride (film)|The Princess Bride]]'' was inspired by ''[[Daybreak (painting)|Daybreak]]''.<ref name="NEHS" /> In 2001, Parrish was featured in a United States Post Office commemorative stamp series honoring American illustrators, including Parrish.<ref name="Stamps">{{cite web|title=Interlude (The Lute Players), Maxfield Parrish|url=http://usstampgallery.com/view.php?id=7e6ad7a4395d017c3725c7d7561218a745e59b68|website=U.S. Stamp Gallery|access-date=June 14, 2016}}</ref>

The 1986 television commercial announcing Nestle's Alpine White chocolate bar, entitled "Sweet Dreams," staged live-action representations of Parrish's ''[[Ecstasy (painting)|Ecstasy]]'', ''[[Dinky Bird (painting)|Dinky Bird]]'', and ''Daybreak''.<ref>{{cite web|title=Nestlé Alpine White "Sweet Dreams" Commercial 1986|url=https://www.youtube.com/watch?v=DIIU2JvoMX4 |archive-url=https://ghostarchive.org/varchive/youtube/20211212/DIIU2JvoMX4| archive-date=2021-12-12 |url-status=live|website=YouTube| date=January 10, 2014 |access-date=January 10, 2014}}{{cbignore}}</ref>

The [[Elton John]] album ''[[Caribou (album)|Caribou]]'' has a Parrish-inspired background.<ref name="elton john">{{cite web|title=We Celebrate the 40th Anniversary of Elton's Album "Caribou"|url=http://www.eltonjohn.com/we-celebrate-the-40th-anniversary-of-eltons-album-caribou/|website=The Official Site of Elton John|access-date=June 15, 2016|archive-url=https://web.archive.org/web/20160813142211/http://www.eltonjohn.com/we-celebrate-the-40th-anniversary-of-eltons-album-caribou/|archive-date=August 13, 2016}}</ref> [[The Moody Blues]] album ''[[The Present (Moody Blues album)|The Present]]'' uses a variation of the Parrish painting ''Daybreak'' for its cover. In 1984, [[Dali's Car]], the British New Wave project of [[Peter Murphy (musician)|Peter Murphy]] and [[Mick Karn]], used ''Daybreak'' as the cover art of their only album, ''[[The Waking Hour]]''.  The Irish musician [[Enya]] has been inspired by the works of Parrish. The cover art of her 1995 album ''[[The Memory of Trees]]'' is based on his painting ''The Young King of the Black Isles''.<ref>{{cite web|url=http://www.artpassions.net/cgi-bin/show_image.pl?../galleries/parrish/blackisles.jpg |title=Art Passions |publisher=Art Passions |access-date=August 10, 2014}}</ref> A number of her music videos include Parrish imagery, including "[[Caribbean Blue]]".

[[File:Daybreak by Parrish (1922).jpg|thumb|''[[Daybreak (painting)|Daybreak]]'', 1922]]

In the 1995 [[music video]] "[[You Are Not Alone]]", [[Michael Jackson]] and his then wife [[Lisa Marie Presley]] appear semi-nude in emulation of ''Daybreak''.<ref name="michael jackson">{{cite web|title='You Are Not Alone' Video was based on Maxfield Parrish's 'Daybreak'|url=http://www.mj-777.com/?p=2585|website=MJJ-777|date = March 19, 2010|access-date=June 15, 2016}}</ref> The Italian singer-songwriter [[Angelo Branduardi]]'s fourth album ''[[La pulce d'acqua]]'' of 1977 featured nine inlay full colour print reproductions of painter Mario Convertino's works; one of them is clearly inspired by Parrish's ''Stars''.{{citation needed|date=June 2016}}

The original painting of ''Daybreak'' sold in 2006 for US$7.6 million.<ref name="LA times">{{cite news|url=https://www.latimes.com/archives/la-xpm-2010-may-21-la-et-quick-20100521-story.html|title=Quick Takes: Mel Gibson sells Maxfield Parrish's 'Daybreak' at a loss'|agency=Los Angeles Times|date= May 21, 2010|access-date= October 22, 2012}}</ref> The [[National Museum of American Illustration]] claims the largest body of his work in any collection, with sixty-nine works by Parrish including the 1910 Curtis Publishing Company's 18-panel mural commission. Some of his works are located at the [[Hood Museum of Art]] in [[Hanover, New Hampshire]], and a few at the [[Metropolitan Museum of Art]] in New York. The [[San Diego Museum of Art]] organized and toured a collection of his work in 2005.{{citation needed|date=June 2016}}

The American painter [[Norman Rockwell]] referred to Parrish as "my idol".<ref name="norman rockwell">{{cite news|last1=McKinley|first1=Sandra|title=Cooperstown art exhibit showcases Maxfield Parrish|url=http://www.democratandchronicle.com/story/lifestyle/art/2015/06/05/cooperstown-art-exhibit-showcases-maxfield-parrish/28560745/|access-date=June 15, 2016|agency=The Ithaca Journal|date=June 5, 2015}}</ref>

In [[Alan Moore]]'s 32-issue comic series [[Promethea]], the cover of Issue #13 was noted by the artist on the cover as "after Parrish", imitating his style.<ref>{{cite web |title=The fields we know |url=https://www.angelfire.com/comics/eroomnala/13.html |website=Angel Fire |access-date=9 September 2020}}</ref>

==Personal life==
[[File:Ecstasy, 1929.jpg|thumb|left|upright|''Ecstasy'' (1929) was widely published on a calendar for [[Mazda (light bulb)|General Electric Mazda]] in 1930.<ref name="MPGallery" />]]
While studying at Drexel, Parrish met his future wife, Lydia Ambler Austin, who was a drawing teacher. The couple were married on June 1, 1895, and moved to Philadelphia. They would go on to have four children together.<ref name="Eaton">{{cite news|last1=Eaton|first1=Aurore|title=Looking Back with Aurore Eaton: Lydia Parrish leaves NH for a life in Georgia {{!}} New Hampshire|url=http://www.unionleader.com/apps/pbcs.dll/article?AID=/20151217/LOCALVOICES06/151219246|access-date=March 26, 2017|work=UnionLeader.com|publisher=New Hampshire Union Leader|date=December 16, 2015|language=en}}</ref><ref name="center for book" /> In 1898, Parrish moved to [[Plainfield, New Hampshire]], with his family and built a home that was later nicknamed "The Oaks".<ref name="after the hunt" />{{rp|110}} The home and an adjacent studio were surrounded by beautiful landscapes that inspired Parrish's drawings.<ref name="center for book" />

Parrish suffered from [[tuberculosis]] for a time in 1900.<ref name="after the hunt" />{{rp|110}} While sick, he discovered how to mix oils and glazes to create vibrant colors.<ref name="morning herald" />

From 1900 to 1902, Parrish painted in [[Saranac Lake, New York]], and [[Castle Hot Springs (Arizona)|Castle Hot Springs, Arizona]], to further recover his health.<ref name="National Museum" />

Parrish's youngest child, Jean, posed for ''Ecstasy'' just before leaving for Smith College. Jean was the only child to follow her parents' profession.<ref name="MPGallery">{{cite web|title=Maxfield Parrish Gallery|url=http://maxfieldparrish.info|website=maxfieldparrish.info|access-date=March 26, 2017}}</ref>

Parrish developed arthritis. He accepted his last commission in the late 1950s. By 1960 his arthritis prevented him from painting.<ref>{{cite book |last1=Cutler |title=Maxfield Parrish and the American Imagists |publisher=Chartwell Books |pages=98–99}}</ref> He died on March 30, 1966, in [[Plainfield, New Hampshire]], at the age of 95.<ref>{{cite web | url=https://www.nytimes.com/1966/03/31/archives/maxfield-parrish-painter-and-illustrator-dies-at-95.html | title=Maxfield Parrish, Painter and Illustrator, Dies at 95 | work=The New York Times | date=March 31, 1966 }}</ref>

== Works ==
=== Book illustrator ===

* Baum, L. F. –  [https://archive.org/details/mothergooseinpr00baumgoog ''Mother Goose in Prose''], Way & Williams, 1897
* Read, O. – [https://archive.org/details/bolanyonovel00read ''Bolanyo''] (cover), Way & Williams, 1897
* Butler, W. M. – [https://archive.org/details/whistreferencebo00butl ''Whist Reference Book''] (frontispiece), Yorston, 1898
* Grahame, K. – [https://archive.org/details/goldenage00grah ''The Golden Age''], Lane, 1900
* Irving, W. – ''Knickerbocker's History of New York,'' Russell, 1900<ref>{{Cite web|url=https://books.google.com/books?id=jZDPeRaaRPEC&dq=knickerbocker%27s+history+of+new+york+washington+irving+1914&pg=PA252|title=Book Review Digest|year=1916|publisher=H. W. Wilson Company}}</ref>
* Grahame, K. – [https://archive.org/details/cu31924013459247 ''Dream Days''], Lane, 1902
* Carryl, G. W. – [https://archive.org/details/gardenofyearsoth00carrrich ''The Garden of Years''] (frontispiece), Putnam, 1904
* Field, E. – [https://archive.org/details/poemsofchildhoodfiel ''Poems of Childhood''], Scribner & Sons, 1904
* Wharton, E. – [https://archive.org/details/gri_33125008561694 ''Italian Villas and their Gardens''], Century, 1904
* Smith, A. C. – [https://books.google.com/books?id=ZaxEAAAAIAAJ ''The Turquoise Cap, and The Desert''], Scribner & Sons, 1905
* Wiggin, K. D. – [https://archive.org/details/arabiannightsthe00wigg ''The Arabian Nights''], Scribner & Sons, 1909
* Hawthorne, N. – [https://archive.org/details/wonderbookandtan00hawt/ ''A Wonder Book and Tanglewood Tales''], Duffield, 1910
* Scudder, H. – [https://archive.org/details/cu31924014518561/ ''The Children's Book''] (cover), Houghton Mifflin, 1910
* Hawthorne, H. – [https://archive.org/details/lureofgarden00hawtiala ''Lure of the Garden''], Century, 1911
* Palgrave, F. T. – ''The Golden Treasury,'' Duffield, 1911{{citation needed|date=July 2020}}
* Saunders, L. – [https://books.google.com/books?id=lg87j_JadwEC ''The Knave of Hearts''], Scribner & Sons, 1925
'''Muralist'''

* "Old King Cole" – [[St. Regis New York|St. Regis Hotel]], New York, 1906<ref name=":0" /><ref>{{Cite web |last=Vanamee |first=Norman |title=Walls of Fame |url=https://magazine.stregis.com/walls-of-fame/ |access-date=2023-01-29 |website=Beyond: The St. Regis Magazine |language=en-US}}</ref>
* "Pied Piper" – [[Palace Hotel, San Francisco|Palace Hotel]], San Francisco, 1909<ref>{{Cite web |last=Nolte |first=Carl |date=2013-08-22 |title=Restored Pied Piper returns to namesake bar |url=https://www.sfgate.com/bayarea/article/restored-pied-piper-returns-to-namesake-bar-4754251.php |access-date=2023-01-29 |website=SFGATE |language=en-US}}</ref>

==References==
{{Reflist|30em}}

==Further reading==
* Cutler, Laurence S.; Parrish, M.; & Cutler, J. G. (1995). ''Maxfield Parrish: A Retrospective''. San Francisco: Pomegranate Artbooks. {{ISBN|0-87654-599-1}}.
* Cutler, Laurence S.; Judy Goffman Cutler; [[National Museum of American Illustration]] (2004). ''Maxfield Parrish and the American Imagists''. Edison, NJ: Wellfleet Press. {{ISBN|978-0-7858-1817-5}}. {{oclc|57069888}}.
* Flacks, Erwin (2007). ''Maxfield Parrish Identification and Price Guide'', 4th ed. Portland, OR: Collectors Press. {{ISBN|9781933112343}}.
* Ludwig, Coy (1973). ''Maxfield Parrish''. New York: Watson Guptill. {{ISBN|0-8230-3897-1}}.
* Smith, Alma Gilbert (2005). ''Maxfield Parrish: Master of Make-believe''. London: Philip Wilson. {{ISBN|9780856676017}}.
* Yount, Sylvia. ''Maxfield Parrish: 1870–1966''. New York: Harry N. Abrams, Inc, 1999. {{ISBN|978-0-8109-4367-4}}.

==External links==
{{Portal|Biography}}
{{wikiquote}}
{{commons}}
{{wikisource author}}
* {{usurped|1=[https://web.archive.org/web/19991004045304/http://www.bpib.com/illustrat/parrishc.htm Illustrators, Maxfield Parrish's glazing techniques]}} 
* [http://archives-manuscripts.dartmouth.edu/repositories/2/resources/2656 The Papers of Maxfield Parrish] at Dartmouth College Library
* [https://web.archive.org/web/20110209230455/http://www.americanillustration.org/artists/parrish/parrish.html Parrish Collection at The National Museum of American Illustration]
* {{Gutenberg author | id=9605| name=Maxfield Parrish}}
* {{Internet Archive author |sname=Maxfield Parrish}}
* [http://www.gutenberg.org/2/0/9/1/20916/20916-h/20916-h.htm Illustrated text of ''The Arabian Nights'']
* [http://artpassions.net/parrish/parrish.html Maxfield Parrish Art Gallery]
* [http://www.nocloo.com/golden-age-childrens-book-illustrations-gallery/ Children's Book Illustrators Gallery – Large Archive of Maxfield Parrish's First Editions illustrations]
* [http://www.americanartarchives.com/parrish,m.htm Maxfield Parrish artwork can be viewed at American Art Archives web site]
* [http://hdl.loc.gov/loc.rbc/juv.28132 The Arabian Nights] From the Collections at the Library of Congress
*{{Cite archival metadata
|author = Finding aid author: Thomasina Morris
|title = Maxfield Parrish research collection
|url = http://archives.lib.byu.edu/repositories/14/resources/11038
|repository = L. Tom Perry Special Collections
|location = Provo, UT
|date = 2011
|access-date = May 29, 2016
}}
{{Society of Illustrators' Hall of Fame}}
{{Authority control}}

{{DEFAULTSORT:Parrish, Maxfield}}
[[Category:1870 births]]
[[Category:1966 deaths]]
[[Category:American illustrators]]
[[Category:Art Students League of New York faculty]]
[[Category:Artists from Philadelphia]]
[[Category:Pennsylvania Academy of the Fine Arts alumni]]
[[Category:Haverford School alumni]]
[[Category:Haverford College alumni]]
[[Category:20th-century American painters]]
[[Category:American male painters]]
[[Category:People from Plainfield, New Hampshire]]
[[Category:20th-century American male artists]]