Rae Sloan Bredin
| Rae Sloan Bredin | |
|---|---|
 |
|
| Born |
9 September 1880 Butler, Pennsylvania, US |
| Died | 16 July 1933 (aged 52) Philadelphia, US |
| Nationality | American |
| Occupation | Painter |
Rae Sloan Bredin (9 September 1880 – 16 July 1933) was an American painter. He was a member of the New Hope, Pennsylvania school of impressionists. He is known for his peaceful spring and summer landscapes with relaxed groups of women and children.
Rae Sloan Bredin was born on 9 September 1880 in Butler, Pennsylvania, son of Stephen Lowrie Collins Bredin and Catherine Sloan. His father was a doctor. He received his primary education in Franklin, Pennsylvania. He attended the Pratt Institute in Brooklyn, graduating in 1899. He studied at the New York School of Art from 1900 to 1903 under James Carroll Beckwith, William Merritt Chase and Frank DuMond. He and Edmund Greacen used Chase's former studio to give art classes. Bredlin went on to the Pennsylvania Academy of Fine Arts in Philadelphia, where he studied under Thomas Eakins and Robert Henri. He first appeared in an Academy exhibition in 1907, and was represented there regularly for the rest of his life.
In 1914 Bredin won the Julius Hallgarten Prize at the annual exhibition of the National Academy of Design. That year he married Alice Price, a sister of the painter Mary Elizabeth Price and of the influential critic and art dealer Frederick Newlin Price. They were married on 14 May 1914 on the lawn of the Price family farm in Solebury, Pennsylvania. They went to France and Italy for their honeymoon, then settled in New Hope, Pennsylvania. They had two daughters and one son.
Author James A. Michener first came into contact with the Bredin family, Alice's sister Mary Elizabeth Price, and their brother Frederick Newlin Price, when he was teaching one of their younger family members, Celia Price, in Junior High School in Bucks County. This young girl apparently gave Michener his first introduction to art, and he later came to know the work of the other New Hope artists as well. Michener treats these artists very sensitively in a Foreword to the first book on the Pennsylvania Impressionists.
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