“I have grown so that I can carry out the vision of the picture I see. “I am proud of my success with Fidelia’s portrait,” he wrote in December to Phoebe Brown (1823–1903), wife of William Augustus Brown (1817–1891) in whose Brooklyn home the two young painters had first met. Lay painted his first portrait of Fidelia Bridges the next winter, six months before her initial summer in Old Lyme. 1865įidelia Bridges, Still Life with Robin’s Nest, 1863. Ĭarte de visite photograph of Fidelia Bridges, ca. In 1871 she began working primarily with watercolors. After traveling for a year in Europe, she returned to Brooklyn in 1868 and resumed work in her studio along with her friendship with Oliver Lay. Her early paintings in oil, portrait-like studies of the natural world, display an intimate, often exuberant, observation of landscape details. A carte de visite photograph likely taken the previous year shows her posed with a wooden paint box and a folding umbrella against a rocky woodland backdrop. Postcard, LHSAįidelia Bridges had already made sketching trips with her Philadelphia mentor William Trost Richards (1833–1905) to Lake George and the Lehigh Valley by the time she met Oliver Lay in Brooklyn in 1865. “Made a study of a tree on canvas 9 x 11 not very good, finished May 25 th back of Huntleys with water &c,” he wrote in a notebook that would chronicle his artistic efforts between 18. Young Oliver began recording his sketches in Laysville at age fifteen. Members of the Lay family remained substantial property owners in the town for more than two centuries, and Oliver Lay spent all his boyhood summers in the section north of the village called “Laysville.” There his father’s brother Squire Oliver Ingraham Lay (1799–1876), for whom he was named, erected a handsome stone mill in 1839 and served for many years as judge of probate. Beers, 1868, LHSAĪssertions that Fidelia Bridges “introduced Oliver Lay to the pleasures of Connecticut” ignore the portraitist’s longstanding ties to Old Lyme where his ancestor John Lay (1633–1696) settled in the 1650s. Lay took a house here a few years since and found abundant opportunities for her lovely foreground water-color drawings.” Miss Fidelia Bridges “from the suggestion of O. “Lyme has attracted the attention of several artists,” The New Haven Register reported in 1882. But letters and newspaper columns document extended periods when she painted fifty miles east along the shoreline on visits to the family home of New York portrait painter Oliver Ingraham Lay (1845–1890). Accounts of her artistic career uniformly describe Stratford as the location for her graceful nature sketches during the mid-1870s. The importance of Old Lyme as a setting for Miss Bridges’ studies of wildflowers, grasses, and birds has not yet been noted. “Miss Fidelia Bridges, after spending last summer near the lakes in the center of the town, came again this year, and expects to make it a special summer resort for the prosecution of her beautiful art.” Īttributed to Charles Parsons, Rogers Lake, 1876. “Artists are beginning to find the picturesque attractions of the neighborhood,” local painter Ellen Noyes Chadwick (1824–1900) wrote to historian Martha J. The elegantly drawn botanical studies by Fidelia Bridges (1834–1923) featured in the Florence Griswold Museum’s stunning summer 2017 exhibition Flora/Fauna: The Naturalist Impulse in American Art highlight the experience of an exceptionally talented American watercolorist during three formative summers sketching and painting in Old Lyme. Florence Griswold Museum, Gift of The Hartford Steam Boiler Inspection and Insurance Company I am a performer who is loyal, committed, trustworthy, enthusiastic, and who demonstrates impeccable characteristics.Feature Image: Fidelia Bridges, Wild Roses Among Rye, 1874. I have trained my whole life in multiple areas of dance and have experienced different ways to connect with an audience. I am a driven and multifaceted model/performer with a unique look and character. Determined and focused to achieve my goals
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