Maurice Prendergast and his twin sister, Lucy, were born at their family's subarctic
trading post in the city of
St. John's, in
Newfoundland, then a
colony in
British North America. After the trading post failed, the family moved to
Boston. He grew up in the
South End and was apprenticed as a youth to a commercial artist. At 14 he went to work in a dry goods store as a package wrapper. This conditioned him from the start to the brightly colored, flat patterning effects that characterized his mature work. He was also inspired by the example of Boston Impressionist Childe Hassam. A shy individual who experienced increasing deafness in his later years, Prendergast remained a bachelor throughout his life. He became closely attached to his younger brother
Charles, who was also a post-impressionist painter. Prendergast studied in
Paris from 1891 to 1895, at the
Académie Colarossi with
Gustave Courtois and
Jean-Joseph Benjamin-Constant and at the
Académie Julian. During one of his early stays in
Paris, he met the Canadian painter
James Morrice, who introduced him to English
avant-garde artists
Walter Sickert and
Aubrey Beardsley, all ardent admirers of
James McNeill Whistler. A further acquaintance with
Édouard Vuillard and
Pierre Bonnard placed him firmly in the
Post-Impressionist camp. He also studied the work of
Vincent van Gogh and
Georges Seurat at retrospectives held in Paris in 1891 and 1892. Prendergast was additionally one of the first Americans to espouse the work of
Paul Cézanne and to understand and utilize his expressive use of form and color. Prendergast returned to Boston in 1895 and worked mainly in watercolor and
monotyping. A trip to
Venice in 1898 exposed him to the genre scenes of
Vittore Carpaccio and encouraged him to experiment with even more complex and rhythmic arrangements. His inventive watercolors of Venice are among his most appreciated works today. In 1900, he had major exhibitions at the
Art Institute of Chicago and at Macbeth Galleries in New York, which earned him critical acclaim. He showed in a
National Arts Club exhibition in 1904, through which he befriended the painters
William Glackens,
Robert Henri, and
John French Sloan. He exhibited with them in 1908 at Macbeth Galleries, along with George Luks,
Everett Shinn, and
Arthur B. Davies, a group collectively known after the show as
The Eight. Glackens in particular became a lifelong friend. Despite poor health that hindered his work, Prendergast continued to show in major exhibitions throughout the remainder of his life. Important collectors like Albert Barnes and Ferdinand Howald became his patrons after his shows at the Carroll Gallery and the Daniel Gallery. His seven works at the landmark
Armory Show of 1913 presented examples of his stylistic maturity. Seen in company with the most adventurous examples of Post-Impressionism and Fauvism, "his critical reception grew more favorable in [the] immediate aftermath [of that exhibition.]" In 1916, he participated in the "Fifty at Montross" show at the Montross Gallery, which also included works by Cézanne,
Matisse, Seurat, and Van Gogh. His work was the subject of a retrospective at
Joseph Brummer Gallery in 1921, but the Metropolitan Museum of Art declined to host a Prendergast memorial retrospective after his death in 1924; at that time, his art was still seen as too demanding and advanced for the Metropolitan's trustees. His first New York memorial exhibition was held ten years later at the Whitney Museum of American Art. =="The Eight"==