Maxfield Parrish’s Edison Mazda Calendar Illustrations: Egypt and Prometheus

To elevate the Edison Mazda Lamps brand, General Electric, through the Forbes Lithographic Manufacturing Company of Boston, commissioned Maxfield Parrish to create an annual series of paintings for their calendars. Parrish accepted this lucrative commission, receiving $2,000 per design, and subsequently produced illustrations for seventeen calendars between 1918 and 1934. The series masterfully explored the history and multifaceted qualities and effects of light, encompassing the history and mythology of humanity’s generation of light, the natural beauty of light at dawn and dusk, and the ethereal concept of “dream light.” 

 

Edison Mazda Lamps 

 

Edison Mazda Lamps was a line of tungsten filament light bulbs produced by General Electric. Having patented their version of the tungsten bulb in 1906, GE sought to displace the less efficient carbon filament models with the more dependable and brighter tungsten filament. Introduced in 1909, the Edison Mazda brand drew inspiration from Thomas Edison’s pioneering work in incandescent electric lighting, and Ahura Mazda, the ancient Persian deity associated with wisdom and light.

 

Calendar Success and Circulation

 

These calendars achieved resounding success, not only greatly enhancing the Edison Mazda brand, but also propelling Maxfield Parrish to unprecedented levels of public recognition. Although he was already a celebrated and prolific illustrator, the Edison Mazda calendar series undeniably cemented his place as a household name.

Most of the Parrish calendars were produced in two sizes, a large 38 x 18 inch format for internal use and a smaller 19 x 8.5 inch version for public distribution. The initial 1918 Dawn and 1919 The Spirit of the Night calendars each saw impressive print runs of 400,000, which dramatically increased to 750,000 for 1920’s Prometheus and eventually surpassed one million in later years. From 1917 to 1931, more than 20 million calendars were printed, proving highly profitable for Parrish, who received commissions on each print sold. In 1931, General Electric estimated that these calendars delivered a staggering seven billion advertising impressions for Edison Mazda during that period, assuming each calendar was viewed once daily in the year it was issued. ” (Alma Gilbert, Maxfield Parrish: The Masterworks (Berkeley, California: Ten Speed Press,1992), p. 96.)

 

Printing Process

 

Maxfield Parrish sought to elevate printed reproductions beyond the standard four-color separations of photo-lithography, urging his lithographers to utilize more color separations in order to replicate the depth and luminosity of his intricately layered paintings in print. The Forbes Lithographic Manufacturing Company committed to faithful reproduction with exceptional dedication, employing up to fourteen color separations that were printed on individual lithographic stones. With the original painting always in view, lithographers used the printed stones as guides for their meticulous drawings on stone matrices, which were then transferred to durable aluminum plates, which were more suitable for the massive print runs.To ensure color register accuracy, the printing paper was coated and stored in the climate-controlled press area, preventing potential distortions caused by humidity. This dedication to precision resonated with Parrish’s perfectionism, fueling his enthusiastic engagement with the project. (Alma Gilbert, Maxfield Parrish: The Masterworks (Berkeley, California: Ten Speed Press,1992), p. 95.)

 

Prometheus

 

 

Maxfield Parrish’s Prometheus, commissioned for the 1920 calendar and painted in 1919, was the first image in his series chronicling humanity’s evolving mastery of light, which subsequently included Primitive Man (1921), Egypt (1922), Lampsellers of Bagdad (1923), and Venetian Lamplighters (1923).

The painting presents a compelling visual interpretation of the myth of Prometheus, the Titan who stole fire from the Olympian gods and gifted it to humanity. This act, symbolizing the evolution of civilization and cultural progress, established Prometheus as the patron of artists and intellectuals, bringing enlightenment to the world. The Prometheus myth, in essence, anticipated humanity’s eventual mastery of light. Just as Prometheus stole fire from the gods, humans harnessed the power of lightning, unlocking the secrets of electricity and ultimately culminating in the reliable glow of Thomas Edison’s incandescent lamp. 

Parrish’s heroic portrayal depicts Prometheus in classical Greek splendor, bathing the idealized youth in a warm, golden light as he triumphantly returns to earth bearing the divine flame. Seamlessly integrating ancient Greek iconography with his own unique artistic vision, Parrish masterfully synthesized Old Master principles, Pre-Raphaelite aesthetics, and his own imaginative flair to create a fantastical scene that resonated with contemporary audiences and aligned with General Electric’s corporate vision.

The ethereal landscape surrounding the figure is a testament to Parrish’s imaginative artistry. He crafted these signature “Parrishscapes” by blending observed and imagined natural elements, which is seen here in the distant, enigmatic mountain landscape that unfolds behind Prometheus. The artist’s masterful command of color is showcased through the dramatic moonlight that illuminates the serene lake and rugged terrain, imbuing the scene with a captivating natural luminosity. The velvety, midnight blue, reportedly inspired by the unique atmospheric effects of New England’s cloud-filtered light, further enhances the scene’s otherworldly quality.

In Prometheus, Parrish’s signature technique of layering transparent colored glazes culminates in a striking display of luminosity. This work, with its rich color palette and meticulous detail, exemplifies the qualities that cemented Parrish’s status as one of America’s most celebrated illustrators.

Egypt

 

 

Maxfield Parrish’s Egypt, commissioned for the 1922 calendar and likely painted in 1920 or 1921, formed part of his series chronicling humanity’s evolving mastery of light, following Prometheus (1920) and Primitive Man (1921). This work, alongside Lampsellers of Bagdad (1923), depicts the early use of oil lamps. Venetian Lamplighters (1923) concluded this historical sequence.

Parrish’s Egypt is a study in exploring the effects of different light sources, juxtaposing the warm glow of hanging oil lamps with the soft luminescence of moonlight. He meticulously depicts the interplay of light and shadow, evident in the luminous skin of the three figures, the reflective gold adornments, and the ethereal glow of the harp strings. The harp’s inclusion introduces a sonic dimension, evoking gentle music and enhancing the scene’s tranquility. The crisp reflection of the figure in the still water further emphasizes this serene calm of the dream-like garden, as Cleopatra, adorned in a semi-sheer robe and gold jewelry, gazes at the luminescent night sky, painted in Parrish’s typical blue. Notably, Parrish avoids the overtly sensual portrayals of Cleopatra common in Western art of the period, instead presenting her with a dignified air, wearing the protective vulture headdress associated with the goddess Nekhbet. Susan Lewin modeled for this image, one of six Mazda calendars for which she posed. 

The calendar’s design is rich in detail, featuring an intricate border of scarabs, into which Parrish subtly incorporated his initials. The scarabs’ jade green wings contribute to a jeweled cloisonné effect. This depiction of Cleopatra revisits a subject Parrish had previously explored on a gift box for Crane’s Chocolates in 1917, a commission he welcomed, describing Cleopatra as a “lady of history of undoubted charm.” (As quoted in Coy Ludwig, Maxfield Parrish, (New York: Watson-Guptill, 1973, p. 134)

The 1922 release of this calendar proved prescient, coinciding with Howard Carter and Lord Carnarvon’s discovery of Tutankhamun’s tomb that November. This event ignited a 20th-century wave of Egyptomania, captivating the public’s fascination with Ancient Egypt and permeating Western culture.