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Hazel Hannell
Hazel Hannell (December 31, 1895 – February 6, 2002) was an American artist and activist, born Mary Hazel Johnson in LaGrange, Illinois. She is known for her pottery, watercolors, woodblock prints, activism for the Indiana Dunes National Lakeshore and development of the Chesterton Arts Fair. She taught pottery in her studio at home and watercolor painting at The Clearing Folk School in Ellison Bay, Wisconsin through her connection to fellow Prairie Club member Jens Jensen.〔http://www.nps.gov/indu/historyculture/early_development.htm〕 She died in Ashland, Oregon while living with Harriet Rex Smith at age 106.
==Education and inspiration (1895 – early 1920s)==
Born in LaGrange, Illinois on December 31, 1895 to an Alabama-born father and college graduate mother, Hazel started painting as early as age 5 using her mother's leftover paints. Throughout childhood she studied painting, and by the command of her father, secretarial studies, since to him artistic wages were not predictable ones.〔Dodge, Dani. ("While the Light is Good, Hazel Hannell, 100, Paints." ) (January 21, 1996). Accessed June 2, 2014.〕 While in high school, Mrs. Hannell also studied at the Saturday morning classes of the Art Institute of Chicago. She graduated from the Emma Church School of Art in Chicago. For income Hazel and her friends worked for Marshall Fields designing chintzes. During that time she learned to love Oriental Art and tuned into the "effect of Divine Intelligence through nature on her heart and mind".〔Dankook University of America. West Meets East. Ashland, OR: Dankook Institute of Asian Studies and Cultures, n.d. Print.〕 In 1987 Hazel revealed her inspiration to the ''Chesterton Tribune'': "Hamada, a Japanese master potter, says you really ought not have to sign things, your works should be recognizably yours."〔Willis, Maragaret L. "Artist's Story Is a Tale of the Dunes." ''The Chesterton Tribune'' August 14, 1987: 4. Print.〕 As Hamada, many of Hazel's works lack signature. Works from earlier years such as her watercolor ''Self Portrait'' (1934) bear a signature in the same medium. It is worth noting that upon many of her works a penciled signature has been placed after their departure from her possession.
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