Vivian Hoyt

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Artist Details

  • Vivian
  • Edna
  • Church
  • Vivian Church Hoyt
  • Hoyt
  • William Judson Hoyt
  • Wilma Lois (Mrs. G.S. Kennedy) Margaret Hoyt Howard Church Hoyt
  • November 28, 1880
  • Walworth, Wisconsin
  • January 13, 1957
  • grew up in Walworth, Wisconsin

    March 1938: 1035 Pleasant, Oak Park, Illinois

    August 1938:  951 Thomas Street, Oak Park, Illinois

    1943: 312 South Oak Park Ave., Oak Park, Illinois
  • Oak Park, Illinois
  • Muralist, Painter-Oil, Printmaker
  • School of the Art Institute of Chicago, Chicago, Illinois                        
    Saugatuck Art School, Saugatuck, Michigan
    She studied design, composition, illustration, portraits, figure, landscape, still-life and murals.
  • Array
  • 1904: St Louis World's Fair Exposition, St. Louis, Missouri

    1932, 1935, 1938, 1940: Annual Exhibition of Works by Chicago and Vicinity Artists, Art Institute of Chicago, Chicago, Illinois

    1938:  Mandel Brothers Galleries, Chicago, Illinois [solo]

    1940:  Kenosha (WI) Art Museum, Kenosha, Wisconsin [solo]

    1941, 1943: National League of American Pen Women, Drake Hotel, Chicago, Illinois

    December 1945: Austin, Oak Park and River Forest Art League, Oak Park, Illinois

    All-Illinois Society of Fine Arts, Chicago, Illinois

    Austin, Oak Park and River Forest Art League, Oak Park, Illinois

    Newcomb-Macklin Galleries, Chicago
  • Chicago public schools: murals
  • Austin/Oak Park/River Forest Art League, Oak Park, Illinois

    Art Institute of Chicago Alumni Association, Chicago, Illinois

    National League of American Pen Women
  • Teacher, Art Institute of Chicago, Chicago, Illinois       

    Teacher, Austin, Oak Park, River Forest Art League, Oak Park, Illinois
  • Her grandfather, Cyrus Church, came west to Walworth in 1837.

    Lectures on “Why I Like to Experiment in Art”, and “The New Vision.”

    Is listed in Who’s Who in American Art and Leading Women of America.

    her “relativity paintings”: working in pastels from a moving car… first she gets the “feel” of the landscape, soaking herself in the mood, whatever it happens to be…Then she beings to work tentatively so that the first are soft and have a tendency to vagueness. As she progresses so the unrolling story of the land progresses, growing in strength and power until she comes to a climax much as a dramatic performance, and the ever-changing landscape is a dramatic thing, comes to a climax from which it quickly rounds out to completion. Working very rapidly she does everything in single strokes, something after the manner of the Chinese, never mixing her colors, and the results is that she finds it a strenuous job which leaves her exhausted at the conclusion of a series. This is particularly true as she feels art needs to get back to the emotional feeling and it is her emotional reaction to what she sees that she tries to get down, and does, that others may experience it with her.  When the car stops, she says, she loses all her feeling of rhythm.” -- "Village Artist's Works Compared to "Relativity"", Oak Leaves, March 17, 1938 p. 10