One of the handful of major female pin-up artists, Pearl
Frush makes a logical third with Zoe
Mozert, who excelled in pastels, and Joyce
Ballantyne, who shone as a painter of oils. Frush's
medium was watercolor, although it is not always apparent
in the published versions of her works.
Fairly prolific in the 1940s and '50s, Chicago artist
Frush produced fresh, beautiful, shapely pin-up girls who
share with the women of Mozert and Ballantyne an individuality
and reality the men in the field seldom achieved. Her originals
are comparatively tiny (typically 19" by 14"), and reveal
a delicate, flawless technique as beautiful as her subjects.
She may be Vargas' only true rival
in watercolor, and Petty's in airbrush.
She was not averse to Elvgren-style
tease a Frush girl could purse her lips and look coyly at
the viewer with the best of 'em but Frush more often presented
her young women in a straightforward manner. By the mid-1950s
she was capable of near photographic perfection.