Maxfield Parrish (1870-1966), a master of make-believe, was the greatest illustrator of the first half of the 20th century. By 1925 he was one of the most sought-after artists in America, his popularity so great that one in four households had a Maxfield Parrish art print on their walls. His Parrish-blue skies, sensuous figures and lush dreamscapes created a magical world into which all could escape. Graceful maidens and benevolent dragons, inhabitants of a fantastical landscape, stirred the imagination of the public and made 'Maxfield Parrish' a household name.

From the 1890s onward, Maxfield Parrish rescued America from the Victorian doldrums, creating exciting new images which were to have an everlasting impact. People could not get enough of Parrish's uniquely crafted images, from his very first published work, an 1895 Easter cover for Harper's, until 1963 and his last Brown and Bigelow calendar, Peaceful Country,which appeared just before his death in 1966. His famous 'girls on rocks' and the neo-Classical signature piece, Daybreak, were emblemic of the 1920s. Parrish became America's most popular illustrator at a time when illustration reigned supreme, when the competition between illustrators was fiercest, long before advancing technologies lessened the need for hand-created images. In an age of superlative illustrators he was the most in demand by magazine art directors, book editors, and publishers of fine art prints. Before advertising developed into a profession, a near-science, Parrish was the first artist advertising agencies and their clients thought of, knowing his unforgettable images were guaranteed to sell their products. They were used on everything from chocolate to Jell-O, from hams to automobile tires, from soap to cameras, bicycles, silverware,cosmetics, beer - the list is endless.

Parrish's popularity did not diminish until the mid-1960s,when copyists and imitators flooded the market with quasi Parrishes and boredom set in. The exciting new media forms also affected the demand for static images. By then, Parrish was in his ninth decade, and although his popularity was not as strong, his influence was still evident in rising young artists like Andy Warhol, Victor Vasarely and the Super-Realist Movement.

A full-blown resurgence of interest in Parrish's works took place in 1989, when Judy Goffman Cutler, of the American Illustrators Gallery, assembled the first comprehensive exhibition since his death - aptly entitled 'Romance and Fantasy'. An enormous success, it generated a plethora of requests for more exhibitions across the U.S.A. and precipitated tours in Asia and Europe. It would seem that Maxfield Parrish's ability to enchant is as strong as ever.

PART Ⅰ

 INTRODUCTION

CHAPTER ONE

 THE LIFE OF MAXFIELD PARRISH (1870-1966)

CHAPTER TWO

 THE WORKS OF MAXFIELD PARRISH

 The Illustrations: Periodicals (1895-1923)

 Books(1897-1925)

 Art Prints, Posters, Advertisements & Other Miscellanea (1917-39)

 Calendars & Landscapes ( 1918-63)

 Murals, Stage Set Designs & Photography (1894-1918)

PART Ⅱ

CHAPTER THREE

 THE AMERICAN IMAGISTS

CHAPTER FOUR

 MAXFIELD PARRISH'S CIRCLE

 CHRONOLOGY

INDEX