Background
Edmond Quinn was born on December 20, 1868 in Philadelphia, Philadelphia County, Pennsylvania, United States. He was the eldest son of John and Rosina (McLaughlin).
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Edmond Quinn was born on December 20, 1868 in Philadelphia, Philadelphia County, Pennsylvania, United States. He was the eldest son of John and Rosina (McLaughlin).
Quinn's early studies in art were made at the Pennsylvania Academy of the Fine Arts, and especially under Thomas Eakins. Since he had a gift for color and an aptitude for seizing a likeness, he seemed destined for the career of a portrait painter.
After undergoing the usual privations of the young artist with more talent than money, Edmond Thomas Quinn was able in his twenty-fifth year to spend some months in Spain, where he came under the influence of Velazquez. He next went to Paris. Delighting in form as well as in color, he studied modeling under the French sculptor J. A. Injalbert. During one of his later sojourns in Paris he made some excellent oil portraits, including one of Anatole France (1906). This likeness, fine in color and in drawing, discloses that psychological penetration which was one of his many gifts. His sensitive temperament was ill-adapted to the difficult contacts often the lot of a portrait painter; he therefore chose sculpture as a means of livelihood and as his chief mode of expression. Quality, not quantity, was his aim, and no work left his studio until after he had devoted to it his best efforts. In time he attained distinction in three branches of the sculptor's art: the portrait bust, the portrait statue, and the ideal figure.
In 1917 his statue of Gen. John C. Pemberton was erected in the National Cemetery, Vicksburg, Miss. The commission was awarded to him out of a number of competing sculptors of note. Dedicated in 1918, the figure is not only a true portrait of Booth, but also a noble conception of Hamlet. A decade later, Quinn completed the model for another admirable statue, the portrait of Henry Clay in an attitude of impassioned eloqence. This work, the gift of the United States government to Venezuela in return for Venezuela's gift of a statue of Bolivar, was erected at Caracas in 1930, a year after the sculptor's death in New York City.
Among the sitters for his many masterly busts (or heads) were Father Sylvester Malone, Prof. Franklin Hooper, Cass Gilbert, Brander Matthews, Clayton Hamilton, Albert Sterner, Felix Salmond, Victor Herbert, Vincente Blasco Ib ñez, Edwin Markham, Francis Wilson, Eugene O'Neill, James Stephens, Leon Kroll, Miss Clare Eames, and Mrs. H. K. Murphy. In New York University are his busts of Chancellor Kent, Edwin Booth, James McNeill Whistler, and Dr. Oliver Wendell Holmes. He served on the Municipal Art Commission of New York, 1918-1919, and was treasurer of the New Society of Artists. After his marriage, he moved with his wife from Brooklyn to Manhattan, where their home became an intellectual center frequented by leaders in all the arts. The closing months of his life were clouded with melancholy, no trace of which appears in his final work. He ended his life by drowning. A memorial exhibition at the Century Club in 1933 showed his technical competence, his grasp of character, and his feeling for beauty.
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Edmond Thomas Quinn was a member of the Players and of the Century Club, an associate member of the National Academy of Design and a member of the Architectural League of New York, the National Sculpture Society, the Newport Art Society, and the National Institute of Arts and Letters.
Quinn had a keen sense of humor, though in his make-up Celtic melancholy predominated over Celtic mirth.
In 1917 Quinn married Emily Bradley, of Newport, Rhode Island.