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Wade Jolly
American
American, (1909–1976)
Wade Jolly (1909-1976)
When Sallie Gillespie resigned from the faculty of the Texas School of Art at the conclusion of the school’s first year, Evaline Sellors called on Wade Jolly, a former classmate, to assume the role of painting instructor. Jolly, a Pennsylvania resident, agreed to an arrangement whereby he would live in Fort Worth while school was in session and return home to Philadelphia between sessions. Jolly and Sellors met in the 1920s at the Pennsylvania Academy of the Fine Arts, where Jolly studied for four years with master colorist Hugh Breckenridge.
Jolly was a sociable man who was scarcely older than those he taught. He proved to be a highly popular and influential figure during the five years he lived and worked in Fort Worth. Reflecting on his studies with Jolly, Bror Utter, in 1979, said, “I found him an excellent teacher because he was very aware of contemporary art, which I knew to an extent.” Utter continued, “He (Jolly) worked in watercolor and pastel, and he liked his people to work outside in watercolor. And his things were sort of impressionistic, but at the same time very linear.”
Utter’s characterization of Wade Jolly’s work is best seen in Jolly’s watercolor paintings from the mid-1930s. Examples include, Ripples, ca. 1935; Untitled landscape, ca. 1935; From Studio Window, ca. 1935; and Untitled still life, ca. 1935. Jolly’s fluid and spontaneous use of watercolor revealed an approach to the medium that his Fort Worth students had previously seen only in books. Jolly students who became closely identified with the modern art movement in Fort Worth included Lia Cuilty, Frank Fisher, Marjorie Johnson, Veronica Helfensteller, Mignon Mastin, and Bror Utter.
Wade Jolly taught painting at the Fort Worth School of Fine Arts until the conclusion of the 1938 spring term, at which time he withdrew from the faculty and returned to Philadelphia.
American
American, (1909–1976)
Wade Jolly (1909-1976)
When Sallie Gillespie resigned from the faculty of the Texas School of Art at the conclusion of the school’s first year, Evaline Sellors called on Wade Jolly, a former classmate, to assume the role of painting instructor. Jolly, a Pennsylvania resident, agreed to an arrangement whereby he would live in Fort Worth while school was in session and return home to Philadelphia between sessions. Jolly and Sellors met in the 1920s at the Pennsylvania Academy of the Fine Arts, where Jolly studied for four years with master colorist Hugh Breckenridge.
Jolly was a sociable man who was scarcely older than those he taught. He proved to be a highly popular and influential figure during the five years he lived and worked in Fort Worth. Reflecting on his studies with Jolly, Bror Utter, in 1979, said, “I found him an excellent teacher because he was very aware of contemporary art, which I knew to an extent.” Utter continued, “He (Jolly) worked in watercolor and pastel, and he liked his people to work outside in watercolor. And his things were sort of impressionistic, but at the same time very linear.”
Utter’s characterization of Wade Jolly’s work is best seen in Jolly’s watercolor paintings from the mid-1930s. Examples include, Ripples, ca. 1935; Untitled landscape, ca. 1935; From Studio Window, ca. 1935; and Untitled still life, ca. 1935. Jolly’s fluid and spontaneous use of watercolor revealed an approach to the medium that his Fort Worth students had previously seen only in books. Jolly students who became closely identified with the modern art movement in Fort Worth included Lia Cuilty, Frank Fisher, Marjorie Johnson, Veronica Helfensteller, Mignon Mastin, and Bror Utter.
Wade Jolly taught painting at the Fort Worth School of Fine Arts until the conclusion of the 1938 spring term, at which time he withdrew from the faculty and returned to Philadelphia.
Artist Objects
River Scene 2017.001