On this day in 1878, Pamela Colman Smith was born. Although you may not have heard this artist's name, you will have almost definitely seen her work: among many other achievements, Smith illustrated the famous Waite-Smith tarot deck.

Smith's most famous illustrations in the tarot deck appear everywhere, and are synonymous with tarot. But there was much more to this artist, illustrator, writer and occultist than her tarot deck.
Early in her career, Smith illustrated works of WB Yeats, and travelled with the Lyceum theatre group. She also wrote and illustrated her own books, including books about Jamaican folklore.
While juggling all this, Smith also found the time to hold open houses for artists, and be active in the Suffrage Atelier, a collective of illustrators contributing work to further the cause of women's suffrage - this is an illustration she made for the cause.
In 1907, Smith became the first painter to exhibit at Alfred Stieglitz's Gallery 291, becoming the first painter to show at a gallery which had previously been devoted to photography. Her show was successful, and she showed twice more.
Smith had synaesthesia and painted music, such as Bach's Chromatic Fantasy and Beethoven's Symphony 5 in C minor.
Here's a few more of our favourite Pamela Colman Smith works:
Sonata No. 11 - Beethoven (1907, watercolour on paper board)
Sketch for Glass, 1908, Watercolour and ink on paper
Sea Creatures, undated, watercolour on paper
Little is known about Smith's personal life. She may have been gay - she never married, and she lived with a woman, Nora Lake, for 20 years, and one of her best friends, Edith Craig, was an out lesbian.
We also don't know with certainty about her race. She had a white father, but was often read as black or Japanese.
So, now you know her name. Pamela Colman Smith is the artist behind the famous tarot deck you see everywhere, and there was more to her than that.
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More from History

Thank you so much to the incredible @gregjenner and his team for having me on "You're Dead to Me" and to @kaekurd for being so hilarious and bringing Gilgamesh the restaurant into my life!

Here’s a thread of some of the stuff referenced in the podcast for those interested


First of all, what even is cuneiform?

It’s a writing system from the ancient Middle East, used to write several languages like Sumerian and Akkadian. Cuneiform signs can stand for whole words or syllables. Here’s a little primer of its evolution
https://t.co/7CVjLCHwkS


What kinds of texts was cuneiform used to write?

Initially, accounting records and lists.

Eventually, literature, astronomy, medicine, maps, architectural plans, omens, letters, contracts, law collections, and more.


Texts from the Library of Ashurbanipal, who ruled the ancient Assyrian empire when it was at its largest in the 7th century BCE, represent many of the genres of cuneiform texts and scholarship.

Here’s a short intro to the library via @opencuneiform https://t.co/wjnaxpMRrC


The Library of Ashurbanipal has a complicated modern and ancient history, which you can read about in this brilliant (and open access) book by Prof @Eleanor_Robson

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I just finished Eric Adler's The Battle of the Classics, and wanted to say something about Joel Christiansen's review linked below. I am not sure what motivates the review (I speculate a bit below), but it gives a very misleading impression of the book. 1/x


The meat of the criticism is that the history Adler gives is insufficiently critical. Adler describes a few figures who had a great influence on how the modern US university was formed. It's certainly critical: it focuses on the social Darwinism of these figures. 2/x

Other insinuations and suggestions in the review seem wildly off the mark, distorted, or inappropriate-- for example, that the book is clickbaity (it is scholarly) or conservative (hardly) or connected to the events at the Capitol (give me a break). 3/x

The core question: in what sense is classics inherently racist? Classics is old. On Adler's account, it begins in ancient Rome and is revived in the Renaissance. Slavery (Christiansen's primary concern) is also very old. Let's say classics is an education for slaveowners. 4/x

It's worth remembering that literacy itself is elite throughout most of this history. Literacy is, then, also the education of slaveowners. We can honor oral and musical traditions without denying that literacy is, generally, good. 5/x