Biography
Portraiture (Those We Meet)
Interpersonal relationships were an important part of Adeline's life. The letters she and Frank sent while they were stationed in the Near East detail her interest in making friends. Despite the sober circumstances that brought them there to provide aid, Adeline made an effort to build community. The siblings' letters recall numerous polo outings, horseback riding, and social gatherings. The many snapshots she took of friends and acquaintances further speak to the importance of her social relationships.
People were also an important subject in Adeline's art. She built her skills in portraiture by auditing and taking art class at Washburn University, including sketching and introductory drawing classes (1945–46), life drawing (1952–53), and portrait and figure painting (1953–54). Though the models of these three paintings are unknown, they demonstrate her interest in capturing the people in her life. The accompanying visual analyses encourage you to imagine yourself in Adeline's role as the interpreter of the sitters' appearances and emotions.
Adeline Peers, Portrait of a Woman, 20th century, double-sided oil on canvas (Gift of Adeline Peers, 0000.1.5)
Cool tones surround the stoically sitting woman. Her arms are only recognizable through Adeline's handling of the light, emphasizing the shadows caught by the woman’s top. The blues settle, creating a stark boundary from the neckline up. Adeline focuses with precision on the reality of the woman's skin. From the pronounced cheekbones to the slight tendons in her neck, the details speak to Adeline's keen observation.
Adeline Peers, Man in Green, 20th century, oil on panel (Gift of Adeline Peers, 0000.1.8)
Vivid yellow hues contrast with the man’s warm, radiant skin, creating a casting of light around his body. The green button-down shirt fades into the gradient of saturated tones of the background. Vertical strokes mimic the creases of the shirt, while guiding the viewer to the sharp collar. Like many of Adeline's models, he sits solemnly, the absence of eye contact providing distance from the viewer.
Adeline Peers, Portrait of a Woman, 20th century, double-sided oil on canvas (Gift of Adeline Peers, 0000.1.4)
Deep in contemplation, the woman rests her left hand on her cheek as her gaze peers off into the distance. Her stern eyes and eyebrows suggest an almost emotionless state of thought. She leans forward, propped up by the support of her right arm resting on her knees. The saturated blues of her jacket highlight the subtle warmth of the background tones, and her bangs echo the tilt of her chin. The woman's casual, introspective state suggests her familiarity with Adeline.
Landscape (That Which We See)
Adeline traveled extensively throughout the United States, Asia, and Europe, experiencing familiar and unfamiliar sights and taking in the moments of her surroundings. Her journeys still remain mostly uncontextualized; what little we know comes from the faint memories of her life in newspapers, letters, archival materials, and her art. Like many artists throughout history, she was interested in visually preserving her memories of the lands and cities she traveled through. Sometimes she photographed them, and occasionally she painted them. These two landscapes capture vistas from her travels within the United States.
Adeline Peers, Morning Glow on Mount Meeker, 20th century, oil on paper (Gift of Martha J. Herrick, 2019.0171)
Adeline encapsulates her experience of a Colorado landscape in this mountain scene. A cool morning breeze fills the crisp air as dawn passes. A central valley creates distance from the base of the mountain. Trees and greenery disappear as the temperature decreases with the height of the terrain. The small cabin in the midground blends in seamlessly, as if not to obtrude on the beauty of the nature surrounding it.
Adeline Peers, Mesa Near Alcalde, 20th century, acrylic on canvas (Gift of Adeline Peers, 00-11-224)
Warm hues and organic curves dominate a New Mexico landscape that we see through Adeline's eyes. Untouched by the bustle and noise of cities, industry, and people, the scene is calming; you can almost hear the whistling wind. The hearty green shrubs dotting the foreground cease abruptly before the hills, creating a natural boundary. The rolling hills gently climb toward the background, filling the scene and highlighting the enormity of the pure, untouched surroundings.
Still Life (That Which We Possess)
Adeline had an interest in material goods. In various letters she sent while stationed overseas with the American Committee for Relief in the Near East, she remarked on the silks, copper, ornate rugs, and handmade items she saw. This interest extended to her artistic practice, too. Several of Adeline’s paintings in the Mulvane collection are still life compositions. In these works, she captures the details, textures, and volumes of carefully arranged objects. They reference the daily, and at times, the mundane. Nevertheless, her use of color reveals the life within ordinary items that were collected, used, and loved.
Adeline Peers, White and Blue China, 20th century, double-sided oil on canvas (Gift of Adeline Peers, 0000.1.5)
Porcelain vessels featuring ornate designs jut from the dark magenta and navy of the background. Although their origin is unknown, it's easy to imagine that Adeline picked them up during her travels abroad. Two fruits wait on the tabletop, soft and ripe. The fruits and vessels collect the light, casting small shadows on the table.
Adeline Peers, Still Life with Bottles, 20th century, double-sided oil on canvas (Gift of Adeline Peers, 0000.1.5)
Light gathers on a rounded teal bottle, creating a bright reflection in the center of the composition. An angular brown bottle glows with golden light, shifting your gaze left to climb the draped blue-violet cloth. Blue and magenta fabric encloses the imagery, emphasizing the purposeful placement of the objects.
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