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This profile was last updated on 9/25/14  and contains information from public web pages and contributions from the ZoomInfo community.

Position In Illustration

Phone: (617) ***-****  HQ Phone
Email: p***@***.com
Polly Becker Illustration
258 Shawmut Ave # 5
Boston, Massachusetts 02118
United States

 
Background

Employment History

79 Total References
Web References
polly becker illustration » Luggage2
www.pollybecker.com, 25 Sept 2014 [cached]
Polly Becker Illustration
258 shawmut ave #5 boston ma 02118 (617) 426-8284 | polly@pollybecker.com
polly becker illustration
www.pollybecker.com, 12 April 2006 [cached]
Sauce Music | Classical Collectables (SM005) | Well Known Classical Pieces | Orchestral | Dramatic | Elegant | String Quartet | Handel | Beethoven | Mendelssohn | Holst
www.sauce-music.com, 24 April 2014 [cached]
Artwork by Polly Becker
Get a signed limited edition print of this artwork.
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Polly Becker
Polly Becker worked as an illustrator for 10 years in the medium of pen and ink before starting to work with sculptural parts and found objects. 
Living in Boston, USA, Polly started creating her quirky and intriguing artwork, using objects ranging from children's toys, paper cut-outs, hardware and other items, to create small sculptures that she calls 'assemblages'.
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Classical Collectables by Polly Becker Sauce Music
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Polly Becker
Girl in White Interview
www.suehubbard.com, 21 Sept 2013 [cached]
Right: Paula Modersohn Becker, and her daughter, Mathilde, 1907. Last photo.
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In her short time, Becker worked with enormous dedication to paint authentically, and to focus on subjects outside the usual range of German painting of her era. She did not live to see the great transition of which she was a part. Rather, questioning everything, demanding love and fulfillment as a woman as well as freedom as a painter, she was among those who got to the very edge of the Modern. At her death, over 400 paintings and hundreds of drawings were found in her studio.
Elatia Harris: I am struck by how, as a critic and writer about art, you are very much in the trenches, illuminating the sometimes quite difficult art that is happening right now. Yet Girl in White is set in the early years of the 20th century. Did not only Paula Modersohn Becker but her era attract you?
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I'm attracted to the Romantics as well as to the early Moderns and existentialists, so I am quite at home with Paula, who was hungry to discover new things about herself and the possibilities of art.
EH: It used to be that Paula was most often mentioned as a young painter who possibly had an affair ... if not, then a very intense relationship ... with Rilke.
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And Paula had her own highly developed observational language.
EH: Your treatment of their friendship is wonderful to read. Is the Rilke connection how you learned about Paula?
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I discovered Paula in the mid 90s when my first poetry collection, Everything Begins with the Skin, was published. I was invited to give a reading in Bremen and visited Worpswede, the village where she lived in an artists' community on the north German moors. I was taken by the landscape and the directness of the paintings and began to find out about her. There were many parallels in our lives. As a young woman in my 20s, I had lived in a remote part of Somerset in the west of England. At the same age, Paula went to live on the north German moors among artists to discover a form of freedom.
EH: Did she find it?
SH: At first she probably thought that she had. She had come from a loving but bourgeois family and she was very young. In Worpswede she met and married the older Otto Modersohn, a rather academic painter whom she respected. She also met the young poet Rilke and was very attracted to him, as he was to her. Paula was in many ways more intuitively free in her approach to painting than Rilke was, at this point, in his poetry, which was still rather flowery.
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It was perhaps because of this friendship that Paula, a passionate, restless and inquisitive young woman, began to find her relationship with Otto stifling and sexually unrewarding.
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Paula Modersohn Becker, Portrait of Rainer Maria Rilke, 1906 / Paula Modersohn Becker, Portrait of Otto Modersohn, Sleeping, 1906
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Paula Modersohn Becker, Portrait of Rainer Maria Rilke, 1906 / Paula Modersohn Becker, Portrait of Otto Modersohn, Sleeping, 1906
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At marriage, Paula became an instant stepmother - a huge responsibility she put her heart into.
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I suppose some of this lead me to recognise in Paula a longing for romantic fulfilment and love as well as the desire to 'be somebody' as an artist, as she rather naively kept saying.
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There like Paula, I walk a great deal. That is a great aid to creativity. I admire Paula. I think she was brave. I think she was also a good person. Love mattered to her. She was principled but she was also ambitious. She had to come to terms with the fact that life was not how she imagined it would be. So in the end my writing about her is nothing to do with eras, or periods or 'isms' but with a human story, with the struggle for self determination as a woman and an artist.
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EH: Paula had that active interest in others, that instinct to nurture. I am thinking of her portraits of peasants, especially peasant children. In her lifetime, she was following her star as an artist. And despite one devastating early review, she had the respect of most people who knew her. But her fame is posthumous. You represent so well in the book what it is to keep going doggedly, deepening your own art, not caring enough what others think to change yourself to suit them - but certainly capable of being hurt by their condescension and disregard.
SH: Paula was interested in others, the peasants, the quality of their life, the landscape and above all in art and its transformative power. But she died so young. I also think being German was a disadvantage. It is not so sexy as being French, is it? If she had been born a bit later it might have been different, she might have been part of all that Weimar republic stuff, or part of the Blaue Reiter. But she came before the great movements of psychoanalysis and women's suffrage. But as I said earlier, she was brave, and her life does demonstrate that being an artist is mostly about doggedness, about finding the strength to keep going even though you are not sure exactly what you are doing or whether it will work.
EH: She got to me because she was painting ahead of her time, ahead of the art culture that produced her. She came before the Salon d'Automne of 1906, and died the next year. There's the Paula in art history, and the Paula that no academic reading will ever truly uncover. Because I knew you first through your writing about art, I might have been a little surprised at Girl in White - it's not primarily a novel driven by art history, nor is it a biographical novel. Indeed, it would be a wonderful novel if it were about a wholly fictional character, a dedicated painter who worked hard and died in the classically tragic way for young women just as she was getting things off the ground. I'm fascinated by how you incorporated her letters.
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You explore it through Mathilde, Paula's grown daughter in the Germany of the 1930s ... a historical character of whom not much can be learned.
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I suppose what interests me with Paula was that at that point it was all so apparently innocent. Could anyone have seen that German Romanticism would have led to the gas chambers? Yet within a generation it had done. I don't think the Worpswede lot were proto-Fascists, except perhaps Carl Vinnen, who espoused what now seem rather unpalatable ideas, as can be seen in his interest in Langbehen's revisionist book on Rembrandt. But did that mean he wanted to kill Jews and homosexuals?
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Hans am Ende, Spring Day in Worpswede, 1898 / Paula Modersohn Becker, Birch Trees in a Landscape, 1899
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And how Paula longed -- for personal significance, for fulfillment. She didn't just long for it from a sofa, either, but knew how to pay the price of pursuing it -- the disapproval of family and society, the loss of security, comfort, and even the means to stay warm and keep to a proper diet. So much loneliness is involved too. One senses this in The Forgetting and Remembering of Air, as well.
SH: I think in the Yeats sense, as a writer, I am always looking for an appropriate mask, a persona that I can adopt through which I can explore my concerns, which tend to be loss, love, memory, how we create a sense of self, how we fall short of what it is we feel ourselves and want to be.
Paula Modersohn Becker Self-portrait with Hand on Chin 1906 / Paula Modersohn Becker Self-portrait, 1906-7 Paula Modersohn Becker, Self-portrait with Hand on Chin, 1906 / Paula Modersohn Becker, Self-portrait, 1906-7 Paula Modersohn Becker, Self-portrait with Hand on Chin, 1906 / Paula Modersohn Becker, Self-portrait, 1906-7
Sauce Music | Great Music, Great Art | Discover New Artists | Illustrators, Painters, Street Art, Photographers, Designers | Discover Music For Productions
www.sauce-music.com, 28 July 2013 [cached]
Meet The Artists | Meet our artists. | Get Free Art | Revenge is Sweet | Graham Carter | Sam Chivers | Polly Becker | Meet The Artists | Get Free Art | Jessica May Underwood | Jonathan Lucas | Sam Chivers | Revenge is Sweet | Meet The Artists | Get Free Art | Jessica May Underwood | Jonathan Lucas | Graham Carter | Good Wives and Warriors | Meet The Artists | Get Free Art | Graham Carter | Simon Wild | Stuart Witter | Jessica May Underwood | Meet The Artists | Get Free Art | Stuart Witter | Jonathan Lucas | Simon Wild | Maria Corte | Meet The Artists | Get Free Art | Maria Corte | Simon Wild | Jonathan Lucas | Polly Becker | Meet The Artists | Get Free Art | Stuart Witter | Sam Chivers | Revenge is Sweet | Simon Wild
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Meet The Artists | Meet our artists. | Get Free Art | Revenge is Sweet | Graham Carter | Sam Chivers | Polly Becker | Meet The Artists | Get Free Art | Jessica May Underwood | Jonathan Lucas | Sam Chivers | Revenge is Sweet | Meet The Artists | Get Free Art | Jessica May Underwood | Jonathan Lucas | Graham Carter | Good Wives and Warriors | Meet The Artists | Get Free Art | Graham Carter | Simon Wild | Stuart Witter | Jessica May Underwood | Meet The Artists | Get Free Art | Stuart Witter | Jonathan Lucas | Simon Wild | Maria Corte | Meet The Artists | Get Free Art | Maria Corte | Simon Wild | Jonathan Lucas | Polly Becker | Meet The Artists | Get Free Art | Stuart Witter | Sam Chivers | Revenge is Sweet | Simon Wild
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Polly Becker
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Polly Becker
Polly Becker worked as an illustrator for 10 years in the medium of pen and ink before starting to work with sculptural parts and found objects. 
Living in Boston, USA, Polly started creating her quirky and intriguing artwork, using objects ranging from children's toys, paper cut-outs, hardware and other items, to create small sculptures that she calls 'assemblages'.
...
'Classical Collectables' features artwork by Polly Becker.
...
Polly Becker
...
Polly Becker
Polly Becker worked as an illustrator for 10 years in the medium of pen and ink before starting to work with sculptural parts and found objects. 
Living in Boston, USA, Polly started creating her quirky and intriguing artwork, using objects ranging from children's toys, paper cut-outs, hardware and other items, to create small sculptures that she calls 'assemblages'.
...
'Classical Collectables 2: At The Movies' features artwork by Polly Becker.
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Polly Becker
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