Elizabeth O'Neill Verner

Elizabeth O'Neill Verner (December 21, 1883 – April 17, 1979) was an artist, author, lecturer, and preservationist who was one of the leaders of the Charleston Renaissance. She has been called "the best-known woman artist of South Carolina of the twentieth century."

Elizabeth Quale O'Neill was born Dec. 21, 1883, in Charleston, South Carolina. She first studied art with Alice Ravenel Huger Smith. In 1901, she enrolled at the Pennsylvania Academy of Fine Arts, where she studied for two years with Thomas Anshutz.

On leaving the academy, she taught art in Aiken, South Carolina, for a time. She then returned to Charleston, where she took up her art studies with Smith as well as with Gabrielle D. Clements and Ellen Day Hale. Inspired by Clements and Hale, she was a founding member of the Charleston Etchers Club and helped to found the Southern States Art League.

In 1907, she married E. Pettigrew Verner, with whom she had two children.

Verner did not become a professional artist until after her husband's death in 1925 left her the sole means of support for her children. With advice from Smith, she worked to adapt her craft so that she could be self-supporting. One avenue she took, like some of her contemporaries, was to publish her prints in books with titles like Prints and Impressions of Charleston that could be sold to tourists. Another avenue was to seek commissions, and she came to specialize in making drawings of historic buildings in the cause of preservation. Among her clients were Williamsburg Historic District, Harvard Medical School, the United States Military Academy, Princeton University, and the University of South Carolina.

Verner made etchings, drypoints, drawings, and (after 1934) pastels of Charleston, favoring buildings, street scenes, and landscapes, working at a studio she kept at her residence at 38 Tradd Street. She also became a portraitist known for representing African-Americans, especially the city's flower vendors. She worked occasionally as a book illustrator, illustrating DuBose Heyward's novel Porgy. Stylistically, her paintings are realism with impressionist overtones, while her etchings and drawings are crisply detailed studies.

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