Daybreak (painting)

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Daybreak is a painting by Maxfield Parrish made in 1922. Daybreak is regarded as the most popular art print of the 20th century, based on number of prints made: one for every four American homes. According to the The National Museum of American Illustration, it has outsold Andy Warhol's Campbell's Soup Cans and Da Vinci's Last Supper.^[1] It is still in print.

Parrish referred to Daybreak as his "great painting", the epitome of his work. Measuring xxx by xxx centimetres, the painting employs a formal layout similar to a stage set, with two feminine figures. Painted using preparatory photographs, the models were his regular models, Kitty Owen, Parrish's daughter Jean, and Susan Lewin. Only two figures appear in the completed painting, though pencil studies indicate that the artist originally intended a third near the righthand column.^[2] The composition is arranged on the principle of Dynamic Symmetry popularized by Jay Hambidge.^[3]

Contents 1 Record purchace price 2 Cultural references 3 References 4 External links

[edit] Record purchace price

The painting has always been in private ownership. On May 25th, 2006, Daybreak was purchased by a private collector at auction at Christie's for US $7.6 million. This set a record price for a Parrish painting.

[edit] Cultural references

• In 1995 Michael Jackson produced a music video, "You Are Not Alone", featuring himself and his then wife, Lisa Marie Presley, in which they appear semi-nude in emulation of Daybreak.
• The Bloom County comic book Penguin Dreams and Stranger Things features a cover with many elements of Daybreak and other works by Parrish.
• The Dali's Car album cover "The Waking Hour" uses a detail from Daybreak.
• The Moody Blues album The Present features cover artwork that uses a variation of Daybreak.
• A 1986 Nestle television commercial for Alpine White features a scene imitating Daybreak.

[edit] References

1. ^ Press Release from The National Museum of American Illustration, July 5th 2006
2. ^ Coy Ludwig, Maxfield Parrish, Watson-Guptil, 1973, p. 142
3. ^ Coy Ludwig, Maxfield Parrish, Watson-Guptil, 1973, p. 142

[edit] External links

• A discussion about experiencing the published version and the actual painting.