Bessie Potter Vonnoh was one of the most prolific and popular sculptors of genre in the first decades of the 20th Century in America. Her popularity and fame were based on her choice of subject matter---primarily mothers and children at play and in intimate little groupings---rendered in a tender, intimate, engaging, and somewhat nostalgic fashion which made them extremely appealing to the public which loved her wholesome and easily recognizable style. In contrast to the pretentious memorials and elaborate architectural creations of her peers and fellow sculptors working during the same period, Vonnoh like Mary Cassatt was able to sculpt works which exuded a sense of delicate domesticity balanced with the simple joys of motherhood.
Bessie Potter Vonnoh was born in St. Louis, Missouri in 1872. About 1890 she traveled to Chicago and apprenticed with Lorado Taft at the Art Institute of Chicago. She later became his assistant and helped him with sculptures that he submitted at the Columbia Exposition of 1893 where she also exhibited some of her own works. At the fair Vonnoh was fascinated with the small figures by the Russian sculptor Paul Troubetzkoy which more than likely inspired her own later varied iterations of mothers and children. In 1894 Potter rented her first studio and said "I left behind me forever the swaddling clothes of art student life and became a professional." And "I invited my girl friends to pose, making little statuettes of them just as they dropped in, dressed in all the incongruities of the day." Her approach was a radical rejection of the classical Greek ideals and instead she sought to capture the everyday beauty of her modern world in modest sizes that she called statuettes. In 1896 she modeled A Young Mother, thought to be one of her first along the mother and children themes. These works won recognition as her Young Mother received a bronze medal at the Paris Exposition of 1895 and again along with Midsummer won honorable mentions at the Pan-American Exposition in Buffalo in 1898. In 1899 Bessie Potter married the painter Robert Vonnoh. Their time together was marked by one of mutual respect and promotion of one another’s works.
Springtime of Life captures the purity and innocence associated with both childhood and the season of spring, making it an ideal subject for garden statuary. Many of Vonnoh’s garden sculptures depict young children or adolescent girls in states of joy and harmony, often engaged in dance, play, or interactions with nature. In this sculpture, Vonnoh’s young girl represents an early, innocent stage of life, the “Springtime of Life." She holds a flower and a shell, referencing youthful curiosity as well as the natural world, further emphasize the connection to youth and nature.
The original life-size model also included a bunny at the girl’s feet, which was omitted in the smaller-scale version. This same model appears in Vonnoh's later multi-figure composition In Arcadia, where the distinctive tendrils of her hair serve as the model’s defining feature.
One of Vonnoh's closest colleagues noted that this model marked a significant shift in her work, showcasing increased "grace, distinction, and simple beauty." It also represents a move toward a more attenuated, willowy figure, enhancing the sense of sprightliness. Sometimes referred to as simply Spring, this model reflects Vonnoh’s evolving style and her ability to capture the essence of youthful vitality and beauty.Private Collection, Chicago (acquired circa 1940)
Private Collection, Chicago