26 Facts About Ethel Myers

Mae Ethel Klinck Myers, better known as Ethel Myers, was a New York Realist artist and sculptor strongly influenced in her work by the goals of the Ashcan School and its leader and famous teacher, Robert Henri.

Mae Ethel Klinck was born in Brooklyn, New York in 1881.

Ethel Myers's father was already dead and so she became an orphan.

Ethel Myers was later adopted by Michael and Alfiata Klinck, an affluent couple who renamed her Mae Ethel Klinck.

Ethel Myers studied at the Chase School and the New York School of Art from 1898 to 1904.

Ethel Myers became personally acquainted with the painters George Luks, John Sloan, William Glackens, Arthur B Davies, Ernest Lawson and Elmer Livingston MacRae.

The content of this article from The International Revue on Ethel Myers reveals how strongly she responded to the inspiration and goals that Robert Henri, as teacher, had set forth for his students.

Ethel Myers calmly said, Well, think it over for a week and let me know.

Ethel Myers had never been to my house and knew nothing about me.

Jerome Myers and Ethel Klinck were married in a small church ceremony in October 1905.

Ethel Myers's adoptive mother had already told her daughter she did not approve of her marriage to Jerome because he was a poor man and an artist, preferring Ethel Myers's earlier engagement to a businessman.

Ethel Myers subsequently cut Ethel off from the considerable inheritance that she had been promised.

Ethel Myers soon made a career decision to move away from doing pictures of the Lower East Side and instead turned to an innovative approach in creating small, realistic sculptures.

However, she married painter Jerome Ethel Myers, and subjegated her career to his, which meant she did not receive her deserved recognition during her lifetime.

The little group called 'Gossip' by Ethel Myers is one which has something of the quality of the famous Fifteenth Idyl of Theocritus.

One day, as Ethel Myers was playing the piano, she looked up to see Virginia naturally dancing to the rhythm and the emotional feeling of the music.

Ethel Myers encouraged her daughter to perform, both privately and publicly.

In spite of having limited financial resources to draw from, Ethel Myers took on all management and organization of Virginia's blossoming career.

Ethel Myers organized a series of recitals throughout New York City, booking theatres, handling contracts, and coordinating costumes, set design, musicians, publicity, and the printing of tickets and programs.

In spite of Ethel's personal success at the 1913 Armory show, and the enormous publicity surrounding all that took place, the event itself did not end up shining a spotlight on the work of American art and artists as Jerome Myers had originally hoped.

Ethel Myers urged Jerome to go to London, where Fry believed he would find a rich market for his work.

Virginia Ethel Myers, to do a solo evening of her own dances that had won critical acclaim in numerous New York performances.

The American Embassy strongly advised Jerome and Ethel Myers to leave Paris at once.

Ethel Myers is both retrospective and introspective, and exists always.

Ethel Myers believed strongly in the importance of her husband's artistic career, and never hesitated in putting her own artwork to the side to pursue entrepreneurial activities that would help her family weather economic difficulty.

Ethel Myers maintained the Jerome Myers Memorial Gallery in New York City for a number of years.