Betty Waldo Parish

Betty Waldo Parish (1910–1986) was an American printmaker and painter who exhibited with nonprofit organizations, including the Fine Arts Guild, the Pen and Brush Club, and the National Association of Women Artists, as well as commercial galleries.

[1] In 1930 or shortly before, she joined the Art Students League where she worked with Kenneth Hayes Miller, John Sloan, Reginald Marsh, Eugene Speicher, and Anne Goldthwaite.

[18] An image of the prize-winning painting, a landscape called "The Lower Lot," appeared with the New York Times article describing the show.

[3] In the late 1950s and the 1960s her work appeared in retrospective solo exhibitions in places such as the Utica Public Library[31] and the Rural Supplementary Education Center in Stamford, New York.

[3] Parish was a skillful printmaker and painter who worked in a modernist representational style on subjects that were predominantly landscapes, cityscapes, figures, and still lifes.

Along with other artists in a group show, he said in 1933 that her work was free from "freakishness and imitation"[34] and (as already noted) later that year called one of her paintings "grimly impressive.

"[36] In 1933 a critic for the New York Sun named Parish as one of a group whose works "edged to the fore" and accomplished "more or less engagingly what the artist set out to do.

[39][40][41][42] Her father was William Francis Parish (1874-1939), an engineer who specialized in machine lubricants and who was known for his work in military aviation and in developing synthetic oils.

[1] In 1942, after divorcing Darrow, she married Richard Comyn Eames, a farm equipment specialist and breeder of collies, ponies, and horses.

[3][49] Sometime after the birth of the two children, Richard Comyn Eames moved to St. Croix, Virgin Islands, while Parish remained in New York.