| Elizabeth
Warhanik was one of Seattle’s most prominent early artists.
She excelled in oil, watercolor and printmaking. Her main subject
matter was landscape and still-life-- especially florals--the
flowers derived from her garden.
Born in Philadelphia, Warhanik spent five years teaching in Japan
before moving to Seattle in 1907. In 1910 she married Charles
Warhanik in Seattle and remained there for the rest of her life.
Warhanik was born into an artistic family. Her
parents were both artists who met at the Pennsylvania Academy
of Art . She was related to the Wyeth family, and her sister,
Eleanor Campbell, was an illustrator who became known for her
illustrations for the popular “Dick & Jane” reading
primers.
She studied at Wellesley College (Degree in Classical
Literature) and painting with Charles Woodbury. At the University
of Washington, she studied with Walter Isaacs and Helen Rhodes
and privately with Paul Morgan Gustin and Edgar Forkner.
She exhibited locally with the Seattle Fine Arts
Society (predecessor of the Seattle Art Museum) where she won
a prize in 1917. She exhibited in all of the local Annuals from
1916 through the 1950’s.
In 1930, Elizabeth Warhanik became one of the Founders of the
Women Painters of Washington and the first President of the organization.
With the WPW, she exhibited locally and nationally,
winning several awards. She was a member of the Northwest Watercolor
Society and the Northwest Printmakers, as well. Nationally, she
exhibited at the Portland Art Museum, the Pennsylvania Academy
of Fine Arts, Wichita Art Museum, American Arts Alliance, NY,
and the Western Association of Museum Directors (several venues
in museums on the west coast).
In 1930, she had a solo exhibition with the Seattle Fine Arts
Society and in 1938, a solo exhibition at the Seattle Art Museum.
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Elizabeth
Warhanik (standing) and Dorothy Dolph Jensen, c. 1950's

Untitled (Ballard Industrial), c. 1930's, watercolor

Composition,
c. 1930, color blockprint
©David
Martin
& the artist's estate.
Do not reproduce text
or images without
written permission
from David Martin
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